WIFVNE Mentorship Event: BTS with Producers + Directors

Join Women in Film and Video-New England for a panel discussion focusing on the vast world of production. These Producers and Directors form a talented group of women with a wide range of experience working on all aspects of production — from creative planning and directing to production logistics and management — they are behind the scenes, in the field, and on set with travel that takes them or their crews all over the country and around the world.

You’ll hear about the work they do from the creative elements of writing, developing, and directing content to all aspects of production including scheduling and hiring, budgeting, shooting, directing, and, at times — editing through to post-production.

They manage companies, people, and projects for a variety of platforms including film, television, radio, digital and event content for advertising and brand campaigns, sports, commercial, corporate, and documentary content.

Moderated by WIFVNE President, Alecia Orsini, the panelists (see below) will share their personal experiences on education, mentorships, how they got their start in the industry, how their experiences shaped where they are today, challenging moments, and what they value most about the work they do.

Click here for more details + to register! $5 WIFVNE Members • $10 General Admission • ALL ARE WELCOME!

MODERATOR:

Alecia Orsini, WIFVNE President and CEO at Good Natured Dog Productions

PANELISTS:

Joan Cassin, Freelance Director / Producer for Commercial Video Production + Television Production at www.joancassin.com

Kristen Kearns, COO / Executive Producer at ELEMENT

Nikki McMorrow, Director / Creative Director at (add)ventures

Jackie Mow, Director / Producer at Rock Salt Creative

Catharine Uyenoyama, Production Manager, Producer, Principal at DGA Productions

Anya Adamsky, Production Manager, Producer, and Social Media Manager at DGA Productions 

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Spots Available! Hands-on Internship for Spring Semester

CALLING ALL STUDENTS! Join Rule Boston Camera for our Spring Semester Internship starting in January and ending in April for 2 days a week of high-level training and hands-on access to the latest film and video equipment and technology.  You’ll learn the basics from our team in the Quality Control Department with exposure to the in’s and out’s of Rentals and Engineering along with demos of the latest and most popular gear from our tech team.

P

Interested? Send resumes to Dylan Law at law@rule.com. This is an unpaid internship.

Click here to see our Interns in action.

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Analog Is Alive and Well with the ARRICAM ST

Despite popular belief, analog acquisition is alive and well in 2019.

The continual re-birth of photochemical filmmaking has given us at Rule the great joy of keeping our film cameras on hand for new generations to discover. After a long pause we are finally able to bring a new (to us) film camera into our offerings.

The ARRICAM ST (short for Studio) is the flagship culmination of ARRI’s long history in building beautiful motion picture cameras — with the ST combining features from the ARRI 535B and the Austrian Moviecam Compact into one elegant camera system. It is a whisper quiet film camera (under 20dB) with all the bells and whistles one would expect from a studio camera.

One of my favorite features of this particular ARRICAM ST is that it has a 3 perforation Super 35mm movement. This allows you to frame for 1.78, 1.85, and 2.39 while using 25% less film. Less film means longer takes on the same 400′ and 1000′ loads as well as a significant cost savings in processing, prep, and scanning of your film. While not as aggressive a savings as shooting 2 perf, 3 perf affords you more flexibility for choice of aspect ratio and still leaves you some wiggle room for reframing when shooting for a 2.39 aspect ratio.

My second favorite feature is the programmable speed control box on the side of the camera. By working in conjunction with the electronically controlled spinning mirror shutter, the speed control box can generate speed ramps from anywhere within 1-60fps at the push of a button. The ability to “slow time on a dime” is something incredibly special when imaged on film. Cue up your favorite Wes Anderson film for reference.

I’m admittedly quite personally biased to shooting film. While many will find good reasons to disagree, I feel that nothing quite matches the characteristic response of a spinning mirror exposing emulsion. Film after all has the built-in “film look” that many of us try to desperately mimic with every digital cinema camera that races down the track. Film negative has unparalleled highlight handling, smooth motion cadence, and fine organic texture. Film is even more forgiving to focus pulls.

If you haven’t had a chance to experience the guilty pleasure of shooting film, perhaps the ARRICAM ST can be the muse for your next project and your first photochemical romance.

-Adam Van Voorhis, Equipment Manager

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Now Taking Orders for the Canon EOS C200 Digital Cinema Camera

Coming Soon to Rentals and Now Taking orders for Sales! The Canon EOS C200 Digital Cinema Camera is the latest “ready-to-go” production camera from Canon that delivers outstanding image quality, performance and versatility, making it ideal for film, documentary and television production, corporate and event photography, and newsgathering.

Features include:

• 8.85 Megapixel Super 35mm 16:9 CMOS sensor that supports 4K (DCI) recording with a maximum resolution of 4096 x 2160 pixels

• Fully compatible with new and existing Canon EF-Mount lenses

• Built-in Viewfinder with LCD Touch Panel, Camera Grip and Handle Unit

• Dual DiG!C DV 6 Image Processors

• Dual Pixel CMOS AF Technology

• Internal 4K RAW Recording with New Cinema RAW Light

• Internal 4K UHD and Full HD Recording in MP4

• Full HD 120P / 100P Slow Motion Recording

• Professional Workflow

• HDR Viewing

• ACES 1.0 Support

• Wide Range of Connectivity Options

Sales is taking orders. Contact sales@rule.com or 800-rule-com for details. We’ll be adding the C200 to our Rental inventory as soon as it’s available. Stay tuned for more details.

SOLD OUT! Capturing + Creating the Filmic Look, from Lighting to Capture to HDR Display with Alister Chapman

Alister’s Workshop is officially SOLD OUT! Thanks to all those who registered. Just a reminder to bring your ticket to the event for entry. Thanks! 

Please visit Alister Chapman’s website for details on other, upcoming workshops, training opportunities and more. 

Sony and Rule Boston Camera present an all-day workshop with Director of Photography and Cinematographer, Alister Chapman at WGBH Yawkey 4K Theater.

At this full end-to-end Lighting and Workflow Workshop for the Modern Digital Cinematographer, participants will learn:

• Light and Shadows: Using a combination of case studies and practical demonstrations, Alister will look at how different lighting techniques can dramatically alter the look of a scene.

• Lenses: What’s the difference between a prime lens and a zoom lens?  Which lenses should you consider for different types of production?

• How light levels effect the noise levels in a finished production, the all-important signal-to-noise ratio, and how to get the best results from any video camera.

• Master the difference between standard gammas, S-Log and raw: Which to use and when, and how to correctly expose S-log and raw.

• The importance of grading and post-production in modern workflows. Using footage shot from the lighting session, discover how to create different looks and styles including the blockbuster look, how to create your own Look Up Tables (LUT’s) and load them into a Sony F7, F5 or F55 camera.

• What is HDR and what do you need to do to ensure your content is ready for the HDR revolution? See how the Sony FS5 can shoot instant HDR material and learn how to use S-log or raw for high quality HDR productions, window pass-offs, running, and more.

Click here to learn more about Alister Chapman.

Thanks to WGBH for facility support with the Yawkey 4K Theater!

10am to 4pm with lunch between 12:30–1:30pm

Showroom Demo: Tube Lighting with Quasar’s Crossfade LED Kit

RBC’s Dylan Law demos our Quasar Crossfade LED Kit with 1, 2, and 4 foot tubes and plug adapters ideal for tight and hard-to-light spaces. Versatile, low-profile, energy-efficient and affordable, these LEDs are perfect for indie films, music videos and shorts.

The LED tubes are flicker-free, fit into standard Kino housings, and are dimmable/fully-adjustable with a wheel at the end of each unit to scroll to the desired color temperature setting from 2000K to 600K.

Stop by for a look! 12:00 to 1:00pm • FREE  • Click here to RSVP.

Interested in renting the Quasar Crossfade LED Kit? Contact us at rentals@rule.com or 800-rule-com.

Click here to watch our new IN THE SHOWROOM video series featuring the latest in production and post-production equipment and technology.

PARKING FOR RBC EVENTS:

If our parking lot at 395 Western Avenue is full, please park at the Brighton Mills parking lot at 360 Western Avenue, Brighton. Please be sure to RSVP so we can forward the parking pass for your dashboard if you park in this overflow lot, or click on RBC PARKING PASS to print your own. Thanks!

Massachusetts Production Coalition Spring Meeting

Join your community of film and media professionals for a special Spring Meeting at District Hall.

*Reserve your ticket here.

SCHEDULE
6:00 – 7:30 pm Cocktail Reception
7:30 – 9:00 pm Presentations

PRESENTATIONS TBA

MEMBERSHIP
Ready to become a member?
Join the Mass Production Coalition online!
massprodcoalition.org/membership

PARKING
Parking is available in the lot on the west side of District Hall. Metered street parking is also available around the building.

PA Workshop

Starting out in the industry? Learning the ropes as a Production Assistant is where many get their start in the business. The Mass Production Coalition will be holding a PA workshop to prepare young industry members entering the workforce. This workshop teaches the skills to be a valuable Production Assistant on feature film and commercial productions in an immersive 1-day training program. Through hands-on training sessions and presentations, attendees gain knowledge to be a successful PA ready to work on set. The workshop is for new PA’s starting out as well as those already in the field- to hone their skill set, gain career insights, and make valuable connections.

Saturday, April 8th 9:30am-3:00pm at Red Sky Studios

*info and registration here: https://www.eventbrite.com/e/pa-workshop-tickets-32892040980

SHOWROOM DEMO: An Intro to the New Sony FS7 II

Join RBC Engineer, Tim Coughlan, for an introduction to the new FS7 II from Sony.

Tim will cover the many features of this versatile 4K Super35 digital cinema camera, including Electronic Variable ND filter, Lever Lock type E-Mount with locking collar, improved ergonomics, and the 18-110mm servo zoom lens. 

12n to 1pm in the Showroom

Click here to RSVP • FREE

Interested in buying or renting this or other Sony products? Contact us at answers@rule.com or 800-rule-com or check our website sales and rental pages for product details.

Click here to watch our new IN THE SHOWROOM video series featuring the latest in production and post-production equipment and technology.

PARKING FOR RBC EVENTS:

If our parking lot at 395 Western Avenue is full, please park at the Brighton Mills parking lot at 360 Western Avenue, Brighton. Please be sure to RSVP so we can forward the parking pass for your dashboard if you park in this overflow lot, or click on RBC PARKING PASS to print your own. Thanks!

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Quality Control

Every day, the engineers and Quality Control technicians here at RBC, check, reset, clean, test, calibrate and otherwise ensure that our equipment is ready for the next shoot.

Engineer, Jeff Dickerson, recently checked in the ARRI 60mm Macro Lens PL mount. Both front and rear elements got a detailed inspection and cleaning for dust, scuffs and scratches that get logged (if found) for future reference. He also tested the iris and focus rings to make sure they were turning smoothly and that the iris blades open and close correctly. The body of the lens was checked for scratches and dents in the metal that could cause issues, and to wrap it up, he checked to be sure that all of the screws on the lens and PL mount are accounted for and as tight as they need to be before putting the lens back in rotation. 

With the 60mm macro lens, a rear element scratch is alway a scary thing. The rear element is responsible for focusing the entire image onto the film plane (or sensor in the 21st century), so a scratch to this piece of glass will almost certainly show up in an image if damaged. Fortunately for this one, the scratch is on the perimeter of the glass, outside of the sensor’s view which does not affect image quality and flaring.