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In recent history, several of Hollywood’s most prominent directors have begun to favor digital cinematography. For nearly a decade, Michael Mann has been at the forefront of this filmmaking revolution.
Mann, quoted as saying “the future is digital, without a doubt,” has favored digital video cameras such as the Viper FilmStream and Sony CineAlta HD in the production of his most recent films. Mann shot around 50 percent of 2004’s “Collateral” in HD after considering the results of low light footage shot with high-end digital cameras. With most of “Collateral” filmed at night, Mann turned to digital filmmaking for its ability to capture a broader and more detailed range of colors than 35mm technologies.
 Moving Picture on set of 2006 "Miami Vice"
When Mann returned to Florida to direct 2006 feature film “Miami Vice,” digital filmmaking continued as a cornerstone to his approach. Roughly 75 percent of “Miami Vice” was filmed on Viper cameras with supplemental footage captured by Sony HDW-F950, Sony HDW-F900 cameras and 35mm film cameras. Shooting on 35mm for less than five percent of the production, “Miami Vice” director of photography Dion Beebe explained that he and Mann “did not want to mimic a film look.” Rather, as seen in Mann’s most recent attempt with “Public Enemies,” he sought to establish an image that relies on the uniqueness of the digital medium rather than attempting to emulate the celluloid aesthetic.
While digital cinematography’s evolution has allowed for its adoption by big time directors and name brand studios, it has equally become more available to independent and aspiring filmmakers. With the introduction of digital behemoths such as the Red One and Phantom HD, indy filmmakers are now, more than ever before, finding opportunities to create technically spectacular films without a blockbuster budget.
With budget cuts over the past five years, Florida film tax incentives have taken a hit. After a reduction from $25 million available in 2007 down to $5 million in 2008 then up again to $10.8 million this year, visiting productions to the Sunshine State have varied in volume and become increasingly scarce. As other states have pushed to get in on the $60 billion U.S. film industry, Florida now more than ever needs to reclaim its title as a film production heavyweight.
Florida’s Office of Film & Entertainment (Tallahassee, FL) promises films with a budget of $625,000 or more an expenditure-based rebate of 15–22%. Independent Florida films must have a budget of $100,000 or more to receive a similar rebate of up to 17%.
These incentives fall short when compared to plans put into action by several other states. Michigan pulled in Clint Eastwood’s “Gran Torino” and a whopping 27 additional features this year, versus luring just three Michigan-based films in 2007. This is the result of a dramatic change in Michigan incentives that now provide tax refunds to the tune of 40% across the board on in-state expenditures and require a minimum budget of $50,000 to qualify. While the Wolverine State has set a new bar for incentive plans, other states continue to draw Hollywood’s attention. Louisiana, Massachusetts, and New Mexico have each launched massive incentive campaigns resulting in relative production increases within each state. Equally, California has passed incentive plans that aim to maintain its status as an industry hub while reclaiming productions that have sought out greener pastures.
 Florida-based film production.
In most cases, tax based film incentives are directly related to the amount of production expenditures spent within each state. If a given production doesn’t spend money in-state they can’t fully reap the benefits of corresponding tax breaks. Accordingly, this develops a mutually beneficial relationship between the state and the production companies.
This direct interaction of giving productions tax breaks to stimulate in-state spending has trickle-down benefits to a vast range of businesses. According to Michigan State University’s Center for Economic Analysis, Michigan communities benefited from more than $65 million in spending from film productions in 2008.
While much of Michigan’s effort is focused on building an infrastructure within the state, leading to an anticipated eventual reduction of their huge incentives, Florida has long maintained a strong infrastructure for film production. According to a study by the University of West Florida’s Haas Center for Business Research, Florida’s film industry has an in-state economic impact of $29.3 billion. Rental houses, postproduction facilities, professional studios, sound engineers, grips, gaffers, and camera operators continue to operate from Miami to Jacksonville and beyond. It is this infrastructure that will carry Florida’s production into the future and with a positive change in incentives, will once again establish Florida as a leader in this nation’s film production.
Canon’s EOS 5D Mark II Digital SLR camera has coupled the creative power of a full-frame CMOS sensor in a relatively compact and affordable camera body, together with groundbreaking HD video capture that opens the door to a much wider range of imaging possibilities for photographers. Along with the ability to capture full HD video clips at 1920 x 1080 resolution, Canon’s EOS 5D Mark II Digital SLR camera features a 21.1-megapixel full frame 24 x 36mm CMOS sensor.
 The full size sensor of the Canon 5D Mark II SLR advances progressive HD technology HD and SD Video Capture:
Canon has taken its expertise in imaging, photography and video capture technology to a new level with the EOS 5D Mark II Digital SLR. Featuring 16:9 Full HD video capture at 1920 x 1080 pixels and 30 fps as well as 4:3 standard TV quality (SD) video capture at 640 x 480 pixels and 30 fps, both capabilities appearing for the first time in a Canon SLR camera.
The EOS 5D Mark II features a huge, full-frame sensor. A 21.1-megapixel CMOS sensor delivers images of up to 5616 x 3744 pixels. And since it is full-frame, all lenses will deliver the angle of view they would on a 35mm camera without a conversion factor. Thanks to improved noise reduction technologies, images shot even at highest sensitivity will be remarkably smooth.
Video capture is part of the camera’s ‘Live View’ function which allows skilled photographers and cinematographers to adjust image sharpness, contrast, color saturation and white balance, and have those settings apply to the movie image. Moreover, the EOS 5D Mark II camera’s HD video capability enables new levels of creative expression through its unfettered access to the complete line of more than 60 Canon EF lenses, which provide an incredible variety of visual effects including everything from ultra-wide-angle and fish-eye to macro and super-telephoto, including many large-aperture L-series professional lenses that can keep the main subject in razor-sharp focus while blurring the background beyond recognition.
 Huge capture potential in a small package. The EOS 5D Mark II will record video up to 4GB per clip or a maximum continuous movie capture time of 29 minutes and 59 seconds, whichever comes first. Depending on the level of detail in the scene, a 4GB memory card can record approximately 12 minutes of video at full HD resolution or approximately 24 minutes in standard definition. Video clips are recorded in .MOV format using an MPEG-4 video compression and sound is recorded using linear PCMii without compression. The new camera features an input terminal for external stereo microphones as well as a built-in monaural microphone for convenience. To help show off those fantastic movies as well as still photos, the EOS 5D Mark II camera includes an HDMI (High-Definition Multimedia Interface) output to display crisp, clear images on a High-Definition TV.
 Size does matter. For more technical specs on the Canon 5D Mark II check out Moving Picture.
 A variety of accessories are available to integrate the Canon 5D Mark II into your current film or video production workflow.
The Sony PMW EX-3 has been designed to shoot spectacular images right out of the box, using the preset default settings. However, like all Cine Alta-branded Sony cameras, the EX-3 also comes with the ability to customize the final look of the recorded images through the manipulation of an extensive array of choices in recording formats, gamma curves and color matrix options.
 Sony PMW-EX3 CineAlta XDCAM EX SxS solid-state camcorder. The EX-3 gives the shooter the ability to save directly in the camera’s memory up to 6 different “Picture Profiles”. The adjustments for gamma, white balance offset, color matrix, detail, knee, black pedestal and black gamma are all selected and saved as a Picture Profile, which is accessed through a separate menu from the main menu.
 The Picture Profile menu button is located to the immediate left of the power switch. Use this menu to choose or fine tune your profiles. The main menu is used to choose all the other camera settings, including video format and frame rate, gain setup, audio input and output settings, viewfinder settings (markers, zebra etc.), video output options, and many others. For reference, here’s a link to the manual: http://www.movingpicture.com/downloads/pmw-ex3_ops_manual.pdf
It is a simple procedure to save these camera settings, as well as a single Picture Profile, to a SxS card for quick camera setup for future use, or to setup another Sony EX-3. (Please keep in mind, that whenever transferring “looks” and gamma and color settings from one camera to another, the resulting images may vary. That is why in critical situations, it is necessary to utilize a high quality test chart and instruments, such as a waveform monitor and vectorscope, especially when matching cameras on a multi-camera project.)
Once you have finished selecting the various camera settings in the main menu and chosen a Picture Profile that you have created, simply open the main menu, choose the last option, “OTHERS” and then the second option, “CAMERA DATA”. This is where you can save (“STORE”) the settings to a pre-loaded formatted SxS card, or load (“RECALL”) settings from a previously created SxS card.
 With a SxS card inserted in one of the slots, use the main menu to either "store" a profile on a card, or "recall" a profile from a card. Unfortunately at this time, although the camera's internal memory will save up to 6 picture profiles, only 1 profile will save per card. Since only one file can be created per SxS card, and the smallest of those cards (8GB) can cost hundreds of dollars each, one solution is to purchase the Hoodman SDHC SxS adapter card (approximately $100), which will allow you to use less expensive, high quality SDHC memory cards, and thereby economically create and save multiple set-up files for different shooting senarios.
 A variety of SxS cards are on the market including Hoodman's RAW SxSxSDHC adapter and RAW SDHC cards. Finally, once your new settings are loaded in the camera, there are still many important options that need to be selected via the various manual controls and switches on the camera and lens itself. These include, shutter on/off, ND selection, white balance, gain, and auto or manual lens functions such as zoom, iris and focus.
Content provided by:
Steve Ciffone
First Assistant Camera
http://www.ciffone.com
ciffone@att.net
At Moving Picture, here in Miami / Fort Lauderdale area; the workflows of television & film production has been very different. Our video productions are aimed at achieving the best possible picture immediately in the camera, while the film approach separates distinct stages. First capturing an image with a wide dynamic range and then manipulating the picture in either a filmlab, telecine or in post-production.
Based on our High-End Camera rentals, the Sony HDCAM SR Decks, ARRI D-21, Viper FilmStream, Panavision Genesis and the Sony F23 are pretty much the best of the best in high definition; setting the standard in High Definition production.
 Currently there are several HD cameras competing to replace Film. HDCAM SR has proven to be a workhorse technology for film and television production and post work. So the question is; how do we get our footage edited and Mastered cost effectively?
The Answer: ProRes 422 and ProRes 422 (HQ) CODECS has become a industry standard for sometime in the professional marketplace, by offering innovations in digital cinema and NLE workflows. As a matter of fact, Apple pioneered cost effect solutions to NLE, and the end result is Final Cut Pro 7. With a plethora of hardware and software options, let’s try and narrow down the best advantages offered by this emerging technology.
Developers and manufacturers are improving the quality of HD and SD with new camera technologies, more robust compression codecs, and the advancement of progressive vs. interlaced recording; at the same time reducing the file size and throughput requirement. This is a major achievement, for Final Cut Pro 7, and a benefit for all of it’s end users. The demands on drive throughput has come back. In the days of the 15,000 rpm Cheetah’s, quad stripped UL4D Ultra 360 SCSI drives, and fiber channel raids, it was a challenge to playback uncompressed SD media in realtime. We shelved our SCSI drives and replaced them with FIREWIRE. The holy grail of storage solutions. With the birth of DV and HDV, and the actual cost per gigabit was pennies per megabyte.
Now we have a new generation of storage and media requirements that are mammoth; because we all want and crave HD.
As the progression of technology forges ahead at lightning speed, it is hard to keep up with the advancements and technological breakthroughs…Now lets add a plethora of workflows, to add insult to injury. Starting with standard definition SMPTE 259M, single link SMPTE 292M and dual link high definition SMPTE 372M. From analog to combined SDI, HD-SDI, Dual Link SD and HD-SDI 4:4:4, 4:4:4:4, HSDL,CineForm Prospect HD/4K, Neo HD/4k and 2K just to name a few. Mix it up a little more with file formats such as DPX, Cineon, RED, TGA, TIFF, BMP, AVI and Quicktime. The add, multiple format support: 1080p @ 23.98-, 24-, 25-, and 29.97 frames per second (fps) 1080i @ 50 and 59.94 Hz -720p @ 23.98-, 24-, 25-, 29.97-, 50-, and 59.94 fps. Whew and that’s just the beginning…
Once again, it’s time to go back to engineering basics. The old waveform monitor and vector scopes have gone digital, and so has odd line interlaced scanning. And the plot thickens…
If you want D5 or better quality imagery using Final Cut Pro 7, I suggest using CineForm CineDDR. CineForm®, Inc., creators of high-fidelity compression-based workflow solutions, and Drastic Technologies, a developer of digital disk recording and data infrastructure technology to accelerate the migration of post production workflows away from expensive and cumbersome tape-based formats, towards more efficient and cost-effective file-based recording and playback. The result of this technology partnership, CineForm CineDDR. This partnership combines CineForm’s mastering- quality compression with Drastic Technologies’ DDR technology providing a software-based alternative for professional acquisition and playout. CineDDR delivers a high-end accelerated workflow, creating media files that are immediately usable in post.
 The CineDDR DX This is a major breakthrough for those mastering their final edit in Final Cut Pro. There is one hitch; you need to add the AJA XENA/KONA 2K I/O card, a preferable 3.0 or better Quad core processor, and a external SATA Raid adapter with extreme performance RAID 6 engine, and double digit Terrabyte’s of storage.
For those of us on a more modest budget; The Final Cut Pro ProRes family offer new solutions; such as, ProRes 422 (Proxy), ProRes 422 (LT), and ProRes 4444, in addition to the original ProRes 422 and ProRes 422 (HQ). Three new versions of Apple’s ProRes codec joins the ProRes family. ProRes 422 (Proxy). great for editing or offline editing on a MacBook or MacBook Pro. ProRes 422 (LT). For projects such as news, sports, and multicam events that require reduced file sizes at broadcast quality. ProRes 4444. For compositing and digital workflows that require the highest-possible image fidelity. The ProRes Codec uses variable bit rate (VBR) encoding to minimize file sizes for storage efficiency. It also optimizes decoding to offer multistream, real-time editing performance of SD, HD, and 2K source video.
 Final Cut Studio, Featuring Final Cut Pro 7 A lot of added value for an Upgrade. Apple’s Final Cut Pro 7 lets you edit virtually anything with the highest-possible quality, including camera-native editing of a wide range of leading SD, HD, and 2K formats. With expanded support for file-based formats and more ProRes options, Final Cut Pro 7 definitely offers maximum flexibility.
XDCAM, AVC-INTRA and DVCPRO-HD is gaining a lot of momentum and industry attention. No question, viable formats with endless possibilities, and it is gaining a lot of Buzz. Use the Log and Transfer function in Final Cut Pro to ingest Panasonic AVC-Intra and DVCPRO HD from P2 cards, Sony XDCAM EX, and AVCHD. Or Sony offers a free download of their XDCAM Transfer software to ingest XDCAM, 18, 25, and 35-Mbps XDCAM HD, and XDCAM HD 422 media. with this format you can comfortably run your project from a internal/external SATA II, preferably serial drive.
A major plus and feature is the open format Timeline, it lets you mix and match source material in a wide range of formats, and even different frame rates. Edit any combination of HD and SD, including NTSC and PAL, in a single timeline, all in real time. Final Cut Pro 7 offers real-time scaling, playback for video in various camera-native formats . Final Cut Pro 7 lets you edit any professional format natively, and there’s no need to transcode video from camera-native formats.
For those who want the best quality from your XDCAM, AVC-INTRA and DVCPRO-HD source, a software-based solution is available. You can assemble your own CineDDR recording/playout system. Add a Intel Core i7-based PC or Mac, SATA II RAID 6 storage, and a AJA Xena (Windows) or Kona (Mac) input card. The cost to build a dual-link recording and playout CineDDR system is less than $10,000. Building it would be approximately 1/10 the cost of purchasing a HDCAM SR deck. I think this is a worthwhile investment of time and money, and the end result will make you a believer as well.
 Xena; the future of HD processing. Count on Moving Picture to offer you answers to your Rental and Technical needs.
When shooting on green screen, there is a common expression used on the set; “we’ll just fix it in post.” But, for the best results, and keeping your composite editor sane, it is a good practice to follow these simple tips:
1 : Light your screen evenly. Kino Flos are usually the best; offering a very even light and intensity. Shadows, wrinkles and gradients in intensity can make it more difficult for your compositor to control the colors in post.
 Lighting is especially important! Key Light, Fill Light and Back Light help separate the subject from the background. An even background fill helps too, especially Kino Flos from Moving Picture! 2 : The greater the distance between the screen and your subject the better. If your subject is too close to the green background, the light being used to light the screen will begin to reflect onto your subject. When the time comes to key out the green, part of your subject will get keyed out with it. The edge pixels will also pick up the green interference, making the edge of your subject appear jagged with green artifacts.
 If your subject is too close to the green screen, you will encounter reflected green light, ruining the effect in post.  Keeping your subject away from the background will minimize the amount of green light that spills onto your subject. Moving the subject away from the background also enables you to utilize a good back light to create a solid edge light, free of green artifacts. This separation also helps avoid shadows that can murk up the green screen. Keep in mind that as the subject moves away from the screen, you may need a bigger screen due to the perspective of your shot making the screen appear smaller.
 When the subject is too close to the background, not only is there a risk of reflecting green light onto the subject, but shadows created on the screen can be difficult to key out in post.  With more separation, a better backlight can be utilized to outline the subject, shadows disappear, and imperfections in the screen become out of focus. 3 : When possible, if the composited scene is supposed to appear to be outside, shoot it outside. The natural power of the sun is very hard to replicate indoors. If that is not possible, at least shoot the proper color temperature with properly balanced lights. But most importantly, make sure your lighting scheme for the green screen matches the lighting scheme for the plate background shot. The shadows need to fall the same way and the exposure should match. ALWAYS shoot your plate shot first.
 A properly shot green screen shot will reproduce the color and edges of the subject realistically and sharp. None of the green from the screen should be visible in the final product.  Spilled green light can cause loss of color in the keyed subject and hard to remove green edge artifacts. 4 : If you are shooting a subject that will end up being out of focus in the scene, do not shoot them out of focus. Shoot them in focus and then de-focus them later in the composite when doing the computer graphics work because pulling keys of defocused subjects is problematic.
Many people think achieving a shallow depth of field on DV formats (especially Mini DV formats with smaller 1/4 inch CCDs) is virtually impossible. Although it can be difficult, it is not impossible.
 Shallow depth of field can be achieved with a little patience on small DV cameras. Here are some tips for achieving that Hollywood style narrow depth of field effect. First, make sure your subject is placed as far away from the background as possible, this will make throwing the background out of focus much easier. Next, move your camcorder a considerable distance from the subject, this will force you to use the extreme end of your camcorders zoom range. Using a tripod (this is essential when zoomed right in to avoid shaky images, remember, when the image is magnified in this way, every tiny movement is magnified too) zoom right in and compose your shot accordingly.
Next, set your camcorders aperture to it’s widest setting, although there will be a slight drop in image resolution and quality, this is the trade off you have to make to achieve a shallow depth of field. I won’t go into the scientific side of why this works, but this wide aperture will help enormously in achieving a shallow depth of field.
Now, because you have set the aperture manually it will almost certainly affect your exposure (it will probably be overexposed by now), compensate for this by using ND (Neutral Density) filters, either the camcorders built in ones (if it has them) or the glass variety that screw onto the front of the camcorders lens. Company’s like Hoya, Lee, Tiffen and Formatt make good quality glass ones.
 Most camcorders have built in ND filters, but several after-market filters are also available. If there is not a matte box for your model camera, look into screw-on filters. If you follow these basic rules you will achieve a very respectable shallow depth of field, even from camcorders with smaller 1/4 chips. This technique should also be applied when carrying out “Pull Focus” shots to make the effect more obvious
The Panasonic AJ-HD-1400 is an invaluable solution for HD production. The AJ-HD-1400 records at 100 Mbps with 4:2:2 color sampling and intra-frame compression in multiple U.S. and worldwide Formats.
 The Panasonic AJ-HD1400 DVCPro HD Recorder/Player. The Multi-format HD/SD system records in 1080/59.94p, 1080/50i, 720/60p, 720/59.94p and 720/50p. The AJ-HD-1400 provides a new D-Sub 15-pin encoder remote control terminal. (component 1080/50i, 720/60p, 720/59.94p and 720/50p. This gives the AJ-HD-1400 data transmission capabilities that rival many studio recorders – something you wouldn’t expect in such a compact, affordable unit.
 AJ-HD1400 Back Panel.
Operating on either AC or DC (12 V), the versatile AJ-HD-1400 is a great desktop or rack-mounted VTR for studio or EFP field use.
The recorder features HD-SDI digital input/output and IEEE 1394 input/output, a built-in up/down converter, and its compact design makes it a great space-saver for desktop use and/or in-studio editing.
The AJ-HD1400’s RS-422 9-pin remote interface allows assemble/insert editing similar to a studio recorder. Control from an external editing controller allows to the frame editing precision (with HD-SDI connection and using TC mode). This interface also makes the AJ-HD-1400 a good choice for high-end production in non-compression, nonlinear editing systems.
With Eight whopping Channels of Digital Audio, the AJ-HD-1400 offers superb 16-bit linear PCM sound quality, with eight embedded channels. The AJ-HD1400 uses HD-SDI for independent input/output and editing of all eight channels.
The AJ-HD-1400 is a Multi-format HD/SD system; it also converts from a VariCam 50p-recording (over 60p) source with native 720p/50 or PAL output.
The new Gamma Conversion function for Use with the AJ-HDC27H Varicam Cinema Production System, some of the functions offered in the earlier AJ-GBX27G HD Gamma Corrector are now built right into the AJ-HD1400, making it a simple, low-cost solution for producing cinema or film-like Video. There are two modes (TELECINE 5, TELECINE 6) for converting source materials recorded using the F.REC mode and gamma curve into video images with a film-like tone. There’s also a CINEON mode for converting data into a gamma curve suitable for film recording.
For those who don’t have capture cards this is the perfect solution, the AJ-HD-1400 can transfer DVCPRO compression data without quality loss to a PC or Mac based nonlinear editing system, for low-cost desktop HD editing, with the IEEE 1394 interface.
As an added bonus feature, you can preview your HD content from your timeline in Final Cut Pro, in real time, to an External SD or HD monitor via Firewire, SDI or HD-SDI through the AJ-HD-1400. A Great feature!
SD output is also possible. HD sources can be down- converted and output as either DVCPRO 50 or DV data. You can also use the AJ-HD1400 for convenient backup recording from the AJ-HDX900 or AG-HVX200 DVCPRO HD camera-recorder.
For pro setups the AJ-HD-1400 has a bit more horsepower. The 8 Bit HD-SDI input/output and SDI output for applications such as line recording and in-studio production Built-in up/down/cross converter for playing back DVCPRO 50/DVCPRO/DV/DVCAM tapes and for outputting a converted HD signal
Designed with comprehensive editing features, there’s also an aspect ratio conversion function for added flexibility. . Supports VANC metadata (UMID, CC, etc.)
The AJ-HD1400 records and plays data that conforms to the UMID standard and contains a variety of supplementary information. (UMID stands for Unique Material Identifiers, which are defined for AV material use in the SMPTE 330M international standard) This allows it to read GPS data (latitude, longitude and altitude) recorded by the AJ-HDX900/AJ-SDX900 Camera- Recorder.
The AJ-HD1400 can handle VANC for a variety of user data including Closed Captioning, Dolby Dial Norm, and network signaling. By Inserting important metadata services to the VANC area of a video item at the time of production, post-production or ingest, it ensures that the data is permanently associated with the material from then on.
With 64 minutes of recording time on an AJ-P126L cassette, and all of the robust features, this deck is a lot of bang for the buck.
Originally introduced as a portable dimming Kino Flo for videographers, the Diva-Lite has blossomed into an everyman’s soft light for lighting news studios, feature films, television productions and professional still photo shoots.
 The Kino Flo Diva-Lite 400 The latest Diva-Lite 400 cool light boasts Kino Flo’s trademark modular fixture designs with full-range dimming, switching and remote control features.
 Built-in controls located on back of Diva. The Universal model can be used anywhere in the world, from 90VAC to 265VAC. Diva-Lite 400 fixtures are versatile, controllable, portable fixtures designed for the rigors of location work. All Diva-Lites can go from nighttime to daytime interiors by switching True Match for daylight quality lamps. It’s like having two lighting set-ups in one kit.
 Kino Flo made this kit lightweight and easy to transport. “When we invented the Diva-Lite in the mid 1990’s, we didn’t anticipate that the light would be so popular outside the video community for which it was designed,” said Frieder Hochheim, founder and president of Kino Flo. “Diva-Lites are still strongest in the digital video and HD markets, but they continue to find favor with productions shot on film.”
One of the most unique Diva-Lite features is the Kino Flo designed True Match lamps that deliver the most accurate color reproduction for film or video capture of any fluorescent lamp in the market.
 Diva-Lites operate on 55Watt twin tube compact fluorescents. Kino Flo’s True Match® KF55 and KF29 are designed for daylight and tungsten respectively. True Match lamps operate without generating much heat, run for more than 10,000 hours and are formulated to match the spectral sensitivity curves of film and digital imaging equipment. The compact 5500K and 2900K lamps are used in the Diva-Lites and match other True Match lamps, as well as other professional HMI and tungsten light sources, without color correction.
Moving Picture has found the Diva-Lite especially invaluable for crews that intend to travel abroad, especially to the Caribbean where small island-hopper airplanes are the preferred mode of transportation. Self-contained in suitcase sized lightweight cases, the Diva-Lite is the perfect soft light on the go.
 The Rugged Motorola CP200 Walkie Talkie According to Motorola, the CP200 is the best selling walkie talkie in America. At Moving Picture, we specialize in renting walkie talkies to the film and television business, but have also found success in providing two-way communications in other industries such as schools, events and factories. Anywhere a reliable, long-lasting method of communication is helpful, the Motorola CP200 is an easy choice. What are the features that make this two-way radio so popular? It’s durable construction, versatility, and affordable price highlight the list.
Durability:
The CP200 passes military standards 810 C, D, E and F and withstands Motorola’s accelerated life testing. Accelerated life testing is laboratory testing that simulates years of field use.
The CP200 is made with a steel chasis and was one of the first two way radios to utilize the unique battery lock-in mechanism. This mechanism is a radio saver. If you accidentally drop this walkie talkie, the battery stays connected to the radio.
Versatility.
Moving Picture rents the 16 channel version of the CP200. This two-way radio transmits on 16 individually selectable frequencies exclusive to Moving Picture walkie talkies, to ensure privacy and prevent interference.
The CP200 accessory line comes with a wide range of options for headsets, microphones, and earpieces. You can customize your system based on which accessory fits in your budget and meets your quality standards. These accessories are plugged into the walkie talkie by a strong, two pronged accessory connector, which prevents the accessory from slipping out of its connection.
16 Channels, quick and easy. This 2-wire earbud has a clip microphone and Push-to-Talk feature to transmit and receive.  Over-the-head style, single-muff/boom mic headset  Remote Speaker Microphone with Coil Cord and Swivel Clip. Affordable:
Moving Picture offers competitive rental pricing, matching or beating any nationally advertised rate. Discounts may also be considered based on quantity and duration of rental, proven pattern of repeat rentals, or the purchase of additional services or rental items.
Moving Picture also provides spare batteries and chargers at no extra charge.
 6-pocket, 120 volt rapid rate, Multi-Unit Charger. To get started request a quote by calling 1-800-800-1361 or email your request to: davidwells@movingpicture.com
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