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Go Full-Frame in February with 25% Off

Feel the love in February! Get 25% Off Our Full-Frame Digital Cinema Cameras + Lenses all-month-long!

ARRI ALEXA Mini LF $1,600/day less 25%  •  Canon C500 MK II $550/day less 25%    Sony VENICE $1,300/day less 25%    Sony FX9 $425/day less 25%

 

Rehoused Leica R Primes in 19mm24mm28mm35mm, 50mm60mm Macro90mm, 135mm $85/day (each) less 25%

Zeiss Supreme Primes in 21mm, 25mm, 29mm, 35mm, 50mm, 65mm, 85mm, 100mm $200/day (each) less 25% 

Zeiss 28-80mm PL/EF Compact Zoom $350/day less 25% 

Zeiss 70-200 PL/EF Compact Zoom $350/day less 25%

Zeiss Otus Primes in 28mm, 55mm, 85mm $75/day less 25%

Sigma Cine PL/EF Primes in 20mm, 24mm, 35mm, 40mm, 50mm, 85mm, 105mm T1.5 and 14mm, 135mm T2.0 $70-85/day (each) less 25%  

Angenieux Optimo Ultra 12x Zoom Call for Rate less 25%   Angenieux EZ-1 30-90mm / 22-60mm Zoom $250/day less 25% •  Angenieux EZ-2 15-40mm / 45-135mm Zoom $250/day less 25%

Capture full-frame resolution for more detail and exceptional image quality when you rent our full-frame digital cinema cameras and lenses at 25% off! Reach out to Rentals by email or phone at 800-rule-com.

How do the Full-Frame Lenses compare? Click here to watch our lens test, shot with the ARRI ALEXA Mini LF and comparing the Rehoused Leica R, Zeiss Supreme Prime, and Sigma Cine Prime.

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The New Vega Upgrade for Ready Rig Is a No Brainer

With a simple install and immediate results, the new VEGA upgrade is a no-brainer for rental houses and owner-operators alike. Owner-operators, click here to follow Ready Rig’s simple upgrade instructions.

The improved stability and weight control make the upgrade worth every penny. For any gimbal job, add a Ready Rig with VEGA to your order for improved stability and weight control. The VEGA absorbs unwanted motion to capture smooth and fluid shots with the controls at your fingertips. You’ll love the improvements in this motion tool — made by industry professionals for industry professionals!

Take the VEGA for a spin and let me know what you think. To book it, reach out to Rentals by email or call 800-rule-com.

Dylan Law, QC/Logistics & MoVI Tech

 

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Capture an Affordable Anamorphic Look with the Atlas Orion Lenses

Unique bokeh characteristics, focus breathing, desired flaring, EF or PL mount, fast T-Stop (for anamorphic), standard front diameter (114mm), and affordable cost — these are just some of the features found in the Orion 2x Anamorphic lenses from Atlas Lens Co.  

The Orion series (we have both A and B sets) brings anamorphic shooting to the masses! While traditional anamorphic lenses can be out of reach, budget-wise, we’re thrilled to carry the full set that includes the 32mm, 40mm, 50mm, 65mm, 80mm, and 100mm anamorphic prime lenses.

My favorite part of carrying these lenses here in Rentals? I love when customers come into the shop with a smile on their faces because they can now bring the anamorphic look to their clients and their projects. 

The size and weight of these lenses make them great for handheld, tripod, dolly, gimbal, and drone workflows. Once you see your first few frames through these anamorphic lenses, you will understand what Atlas Lens Co. has done for the industry. 

-Dylan Law, QC/Logistics & MoVI Tech

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The ALEXA Mini Goes Full Frame with the LF

If you’re reading this, you’re probably a camera nerd — and if you’re a camera nerd, you’ve probably heard of this company called ARRI. They’re from Germany. They’ve been around for like, 100 years or so. Us camera nerds know that when ARRI announces a new camera, it’s a big deal. They make cameras that have an enormous impact on how our industry operates — and the new Alexa Mini LF is no different.

Full frame video has been increasing in popularity over the years — it’s hard to say where it started to pick up steam, but the Canon C700 Full Frame and RED Monstro Vista Vision are certainly the big cameras that hit the market first — followed closely by the Sony VENICE and ALEXA LF. We knew these cameras were coming, as lens manufacturers had been posturing for a full frame cinema option for years. 

When ARRI released the ALEXA LF, the baby brother of the large format ALEXA 65, we knew that full frame was an official part of cinema. While the ALEXA LF is a wonder of engineering, it is still packaged in the heavy and bulky ALEXA-style body. Great for large scale shoots and multiple operators, but not so great for the everyday indie or commercial setups. This is where the ALEXA Mini has found its footing, with its small scale lending itself well to gimbals, drones, and operators of every stature with its democratizing 5lb body.

Enter: The ALEXA Mini LF. The full frame, 4.5K capable, 5.7lb ALEXA. When going through the specs, one can find themselves wanting to use words like “full frame monster” and “game changer” — or other buzzword camera nerd affectations. There is no need. It’s an ARRI ALEXA Mini LF. Enough said.

The Mini LF can do all the things it’s family members can – but with some added resolutions. Below, a list of the various options for SUP 6.0:

 

The camera’s size has also remained mostly unchanged, with a few updates on body design to accommodate the newer Codex Media.

 

 

Speaking of media, ARRI has chosen to abandon the CFast format (thankfully) and has moved to the newer Codex Compact Drives. Some will say this media choice is expensive – and that’s because it is! Very much so. Coming in right around $2,400 bucks per 1TB card, they’re up there, but no more so than any other professional recording media. Have you met my friend, the RED Mini Mag? Or how about the Sony AXSM cards? Those run over $4,500 per TB!

ARRI is being aggressive with its promotion for this camera, same as the ALEXA LF — listing it’s dynamic range as higher than “any production camera.” A bold claim, but anyone who’s shot with these cameras can attest to its authenticity – these are the closest to film DR you’re going to get. 

ARRI has also chosen to remain with their Alev III sensor, assuring that the same ARRI Color Science that has won so many awards over the years is maintained at their higher resolutions. Other updates include higher usable sensitivity with lower noise, new internal ND filters, improved timecode and audio connectivity, two built-in microphones, and a brand spanking new Viewfinder – the MVF-2 HD OLED EVF. 

This new model has a 4” flip out monitor, and a newer flexible cable to cut down on wear and tear. The camera is packed full of small improvements which really proves that ARRI listens to their users and is always tweaking their designs to best serve their customers. It gives every camera they make a sense of true professionalism. 

The big draw, of course, is the full frame image. There’s something I’ve always loved about the field of view you get when shooting full frame — there’s just something about it. Perhaps it comes from years of taking still photos, or maybe my early career shooting with the 5D (MK II, so you know I’ve got that OG DSLR street cred. Where my AF100 folks at?) Regardless of why, the full frame immersion paired with the ARRI look is a match made in heaven. I very much look forward to seeing some of the amazing films and content produced with this camera — it’s a game changer, and a full frame monster.

Missed the ARRI ALEXA LF and Mini LF along with Signature Primes and accessories at our September Pub Night?  Click here for event photos.

– Alex Enman, Engineer

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Optical Support Jackal Rickshaw is the Perfect Tool

Ahhh… dreams do come true! The Jackal by Optical Support is the perfect tool for our clients and our local production market. From the easy travel case to the quick adjusting wheel base, the Jackal has it all and more.

Rickshaws have been on film sets for many years now and come in all shapes and sizes. We do a large amount of Flowcine Black Arm work at the shop, and the team at Optical Support jumped on the opportunity to help us combine both worlds.

We are very excited for our clients to take the Jackal for a spin. It’s ready for any Handheld, Easyrig, MoVI, Ronin, Steadicam, and Black Arm jobs you may have. And, if you rent the Jackal in September, you’ll get 25% off the regular rate. Click here to learn more or contact rentals@rule.com or 800-rule-com.

-Dylan Law, QC/Logistics & MoVI Tech

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Roll into Fall with 25% Off the Jackal Portable Camera Rickshaw

Rent the Jackal Portable Camera Rickshaw at 25% off in September!

The Jackal rickshaw from Optical Support is a lightweight, portable camera rickshaw that’s perfect for gimbal, handheld and Steadicam use.

With a jockey wheel for precision tracking and two wheel fast mode, an extending axle for stability, adjustable footrests, camera accessory mount for mounting stabilizer systems, and a compact design that allows for quick packing into one handy case — you can rent it all-month-long at 25% off!

Click here for our Jackal product page and here for our fancy flyer! The Jackal rents for $225/day LESS 25% discount in September. Watch our video motion test with the Jackal below and read Dylan Law’s blog post on the Jackal here.

 

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The New Feature-Rich Cinevate Horizen Sliders

(UPDATE! Rent a variety of our Sliders + Jibs — including the Cinevate Sliders — at 25% in March! Click here for details.)

You cannot reinvent the wheel, but Cinevate tried to do just that with the new Horizen Slider series. Cinevate states “We combined your feedback with our 13 years of manufacturing expertise to create our most intensively designed product, ever.”

At first I was skeptical because what can you really modify on a slider to make that much of a drastic change? I soon found out — a lot. The major feature that separates this slider from any other is the newly designed adjustable resistance control. This system actually runs off of a magnet which creates a completely silent, fluidic operation.

When first using the Horizen I noticed this right away. My biggest problem with sliders is adjusting the tension because you can never get it just right. The camera never seems to glide seamlessly unless you are controlling the slider with a motion controller, which can be easily integrated when using this slider. Since the resistance control is now magnetic, you will never have to deal with this problem again.

Besides being the best feeling slider I have used, the Horizen comes with a whole bunch of other awesome features. It natively supports both 100mm and 75mm ball heads. It also has multiple ways to mount it, whether it be on a tripod with its new center mount or with two stands on both sides. If you want to ditch the stands and go lightweight, there are quick-stow, all-terrain legs that come attached with it. This slider is also filled with a ton of mounting options for accessories like monitors.

With a payload of 100 pounds and the option of 3 or 5 feet, the Cinevate Horizen slider is ready for whatever your situation may call for. Click here for product details on the 3-foot slider and here for the 5-foot slider — both are available to rent. See what you think and let us know.

-Alex Lopez, Quality Control Technician

 

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LiteMat+ Plus 8: Large, Soft, and Light

LiteGear has taken a stronghold in our rental inventory and the LiteMat+ Plus 8 is a great new option for any job. LiteGear stands out with their low-profile design and incredibly soft and color-accurate light. Mounting their products is a dream come true for any DP/gaffer/grip. The LiteMat+ Plus 8 has all these features and packs a serious punch when it comes to output.

The form factor of this light makes for a great, large source and minimizes the amount of lights you may need for your setup. I had a chance to work with the +8 the other day and it was the perfect fixture for the job. It was as easy as putting on the SnapGrid and tossing the light up into the ceiling.

If you’re a fan of LiteGear or interested in trying a new light with a large source — this is the one!

Dylan Law, QC/Logistics & MoVI Tech
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SL1 Mix + Mini Mix LED’s: High-Color Performance, Advanced Technology, Easy-to-Use

Durability, high-color performance, ease-of-use, advanced technology, and portability are all features that I look for when bringing new lights into our rental pool.  The SL1 Mix and the Mini Mix from DMG Lumiere provide all of the above, and make them a perfect fit for our rental clients.

Having the complete line-up of Rosco Gels at your fingertips is one of the many features of both the SL1 Mix and Mini Mix. While this isn’t new in the world of LED lighting, it’s nice to see these options integrated by many manufacturers.

Both fixtures can be powered by batteries, and this is, hands-down, my favorite feature. Production is a fast and furious business, so the ability to quickly power a fixture via battery is crucial!

Last but not least is the DMG Lumiere app that controls both of these units. Making your own colors, matching sources, dimming, and creating your own lighting libraries are just a few of the benefits that this app offers its users.

Both units are available to rent at Rule Boston Camera. Take either or both for a test run with our 25% discount in May. Click here to email rentals or call 800-rule-com.

-Dylan Law, QC/Logistics and MoVI Tech

 

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Stay Focussed with the Light Ranger 2

The demands on today’s focus puller are ever-increasing.  Extremely sharp, modern lenses, ultra-high resolution cameras and the expanding popularity of full-frame lensing and formats are challenging camera assistants everywhere.  In addition, productions are increasingly shot with higher page counts per day, leading to less or no rehearsal, more shots with wide-open lens apertures and generally adding more stress to the focus puller.

Enter Preston Cinema Systems’ Light Ranger 2.  It’s a device with LED sensors that tracks subjects’ distance; when coupled with a PCS HU3 handset and a MDR3 or MDR4 motor driver, it becomes a powerful tool for the focus puller.  The tracking data is relayed to a video interface which overlays sixteen vertical white boxes of the sensor over a live camera signal. This enables the user to remain looking at a monitor instead of splitting their attention between hand unit marks and live-video.

In Manual mode, these bars move up and down indicating whether an object inside the white box is closer to or farther away from camera and how much the user needs to move the lens and at what speed.  When an object is sharp, the box turns a reassuring green.  In Basic mode, the individual bars give an individual distance read-out as if sixteen laser-tape measures were atop the camera.  The most stunning feature of the Light Ranger 2 is Auto-Focus mode.  With a button-tap on the HU3 the LR2 will display a user adjustable (size and position) red box representing the subject to be kept in focus. Pushing another button on the hand unit, the focus will ‘park’ on the object and stay focussed independent of any camera movement; very helpful when subjects wipe the frame.

The Light Ranger 2 is available to rent here at Rule Boston Camera. Contact Rentals by email or phone at 800-rule-com.  Join us for an overview of the LR2 on Thursday, March 21st from 12n-1pm. No RSVP’s needed. Click here to view the event on our website and here to view the event on our Facebook page.

-Tim Coughlan, Senior Engineer