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ARRI CSC Florida opened their doors to unveil the new ARRI Alexa this past weekend. This great event showcased the stunning engineering and versatility of ARRI’s latest addition to the film and video market. Garnering the attention of South Florida’s seasoned film industry professionals, many experienced camera assistants and directors of photography came out to catch a glimpse of the Alexa at work. Veteran first assistants Andy Fischer and Steve Ciffone, along with luminaries like Bart Tau (DP), were among the crowd.
 Veteran First AC Steve Ciffone with the ARRI Alexa. The Alexa promises to be the next big thing in digital cinema. When you see the image quality produced by this compact yet robust camera, there’s little doubt that this promise will be fulfilled. Weighing just 18 pounds, the Alexa is extremely ergonomic and is easily integrated into a comfortable hand held configuration.
The LCD display features menus that are simple to remember yet still allow for quick modification. The Alexa exemplifies technical prowess without intimidating complexities – seasoned pros won’t experience a steep learning curve (it feels like an old analog friend). Even the menu font size can be seen by older eyes, German engineering at its best!
The Alexa workflow is revolutionary, a feature that is the basis of much buzz surrounding this release. Employing the convenience of Sony SxS cards, the ARRI Alexa offers a seamless workflow from shooting to editing.
Television commercials and music videos will undoubtedly reap the time saving benefits of recording native Final Cut Pro codecs direct to SxS cards. This is a workflow the entire world has been waiting for. With this new setup, you can record ProRes 422 and ProRes 4444 direct to camera, eliminating the painstaking and time consuming process of encoding files prior to editing. DITs will love the array of video outs that allow for custom video output selections. With three video outs and numerous time code options, this camera will be a dream on multi-camera “former film sets.”
 Rent the ARRI Alexa from Moving Picture beginning in August, 2010! Moving Picture will have the ARRI Alexa available in August, 2010. We are very excited about the rental potential of this camera – there have been murmurs that the Alexa could be a “RED Killer.” Heavy hitters in the industry have already started integrating the Alexa into their productions. Martin Scorsese’s latest effort “The Invention of Hugo Cabret,” is using the Alexa in a 3D workflow while Michael Bay’s “Transformers 3” began shooting on the Sony F35 with plans to shift to the ARRI Alexa upon its release. It’s certainly too early to tell whether the RED camera’s popularity will wane but it’s undeniable that the ARRI Alexa will soon become a new contender in the world of digital cinema.
Visit arridigital.com for more information.
The California Sunbounce Pro is a convenient and efficient solution for many lighting situations. Consisting of tightly stretched fabric with two variant sides, zebra (a herringbone pattern of silver and gold) and white, the Sunbounce Pro can function as a reflector, diffuser, or shade. Reflection of light from the zebra side reduces temperature by 400 degrees Kelvin (5000 Kelvin light is reduced to 4600 Kelvin when reflected). Especially helpful when filming outside, the Sunbounce Pro can easily be handheld or c-stand mounted. With a collapsible frame, the Sunbounce Pro can be constructed or disassembled in minutes and will fit inside an extremely compact travel bag.
Rent a California Sunbounce Pro from Moving Picture today!
 
As DSLR cameras like the Canon EOS 5D Mark II and Canon 7D have gained popularity there has been an influx of available DSLR accessories. With DSLR gear flooding the scene we’ve seen the emergence of everything from the Redrock DSLR Cinema Bundle to the Hoodman Hoodloupe Viewfinder to the Marshall V-LCD70P HDMI monitor.
In recent history, Zeiss entered the DSLR ring with their spectacular set of EF mount (Canon compatible) lenses. With a solid metal design (no plastic) and no need for a Canon adapter, the Zeiss ZE series promises ease of use and top of the line image quality. All information is transferred via electronic contacts allowing for use of all exposure modes (shutter priority, aperture priority, auto exposure, etc). Capable of capturing extremely sharp images along with a smooth, filmic bokeh, the ZE lens series is a versatile, crisp alternative to standard DSLR lenses.
 
Capture a professional look for your next video production with a Zeiss DSLR lens. Rent Zeiss ZE DSLR lenses at Moving Picture:
- Zeiss ZE SLR Distagon 18mm Lens T3.5
- Zeiss ZE SLR Distagon 28mm Lens T2
- Zeiss ZE SLR Planar 50mm Lens T1.4
- Zeiss ZE SLR Planar 85mm Lens T1.4
- Zeiss ZE SLR Makro Planar 100mm Lens T2
Matthews Studio Equipment unveiled their new line of “Hot Flags” at this year’s NAB Convention in Las Vegas. Engineered to withstand up to 1800 degrees Fahrenheit, Hot Flags can be placed directly in front of high wattage lights without fear of a burnout.
Comparing the Hot Flag in a side by side test with the Matthews Metal Hi Temp Flag, each was positioned just inches from an ARRI 12K HMI. A hole was burned through the metal flag inside of ten minutes while the Hot Flag showed no signs of damage for the duration of the test. Allowing for safer on set workflow and more versatile lighting setups, Hot Flags are an innovative alternative to your everyday flag.
 Testing the Hot Flag's resistance to heat. Rent these great new flags along with a full selection of other grip gear from Moving Picture. Available for shipping within the United States and abroad.
DSLR camera design, as evidenced by the Canon 5D Mark II and Canon 7D, favors the inclusion of HDMI ports for video playback. Marshall’s 7” V-LCD70P-HDMI monitor takes full advantage of this design.
At only 1.3 pounds, this monitor greatly improves the functionality of a DSLR rig. Easily attachable to an articulated arm, the Marshall V-LCD70P can be seamlessly integrated into a DSLR setup. Packed with features (peaking filter, RGB gain and bias control, adjustable backlight, false color filter, 4-pin XLR power jack) the LCD70P offers a compact and versatile improvement on DSLR workflow.
Rent the Marshall 7″ V-LCD70P-HDMI monitor from Moving Picture for your next DSLR production!
 
ARRI’s newest digital camera, the ALEXA, is set to roll out this summer on a limited run. Featured prominently at this year’s NAB Convention in Las Vegas, the ARRI ALEXA is already being touted as the next evolution in digital cinema.
Utilizing their experience as industry leaders in film camera production, ARRI’s latest effort aims at maintaining this reputation on the digital front. With an ARRI-made Super 35 format sensor, the ALEXA can shoot 1080P direct to the camera.
 The ARRI ALEXA, available at Moving Picture this summer! SxS cards handle the onboard storage for the ALEXA, creating a seamless workflow from shooting to editing. The ALEXA allows you to shoot full 1080P video, encoded down to the SxS cards in Final Cut Pro native codecs (ProRes 422 and ProRes 4444). This means you can shoot a scene, pop the card into your computer and begin editing immediately without wasting a moment on conversion.
Utilizing a Dual Gain Architecture (DGA) in its CMOS sensor, the ALEXA ensures the same wide exposure latitude across a range of sensitivity from EI 200 to EI 1600. This generates low noise images with good detail in highlight and shadow areas. Coupled with the versatility and dynamic range of 13.5 stops, the ALEXA captures a film-like aesthetic unlike any other digital camera.
The ALEXA’s Exchangeable Lens Mount (ELM) system allows for the use of all 35mm PL mount lenses as well as Panavision, Canon or Nikon lenses. Additionally, the ALEXA’s electronics system can easily be removed and replaced for future upgrades.
With a great deal of buzz surrounding the ALEXA’s unique versatility and design, many are projecting that it will redefine the film industry’s expectations of competing gear such as the RED camera systems. Designed for use across feature, television, commercial, documentary, and music video genres, the ALEXA will become available in late June, 2010. Moving Picture plans on holding ALEXA training in the summer of 2010 in Miami, Florida. Rent this revolutionary camera from Moving Picture this summer.
A producer’s job doesn’t end with the wrap party. Keeping a finger on the pulse of the film festival circuit is an essential part of the process. With the number of active festivals growing all the time, this can become extremely overwhelming. For that reason, we’ve created a list of all the upcoming Florida film festival deadlines. Good luck!
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Global Peace Film Festival
Orlando, Florida
September 21-26, 2010
Regular Deadline: Passed
Late Deadline: May 21
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Central Florida Film Festival
Ocoee, Florida
September 3-6, 2010
Regular Deadline: Passed
Late Deadline: June 14
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Freakshow Horror Film Festival
Orlando, Florida
October 8-10, 2010
Regular Deadline: May 14
Late Deadline: August 13
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15 Minutes of Fame Film Festival
Palm Bay, Florida
July 9-10, 2010
Regular Deadline: Passed
Late Deadline: May 15
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Jacksonville Film Festival
Jacksonville, Florida
October 13-17, 2010
Regular Deadline: May 31
Late Deadline: June 15
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Delray Beach Film Festival
December 8-12, 2010
Earlybird Deadline: June 1
Regular Deadline: August 1
Late Deadline: October 15
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Fort Lauderdale International Film Festival
October 22 – November 11, 2010
Earlybird Deadline: June 1
Regular Deadline: July 1
Late Deadline: August 1
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The Clearwater Film Festival
September 29 – October 3, 2010
Regular Deadline: June 1
Late Deadline: August 1
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Independents’ Film Festival
November, 2010 (Dates TBD)
Regular Deadline: June 1
Late Deadline: N/A
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Tampa International Gay & Lesbian Film Festival
October 7-17, 2010
Regular Deadline: June 15
Late Deadline: August 1
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Miami Short Film Festival
Miami, Florida
November 13-20
Regular Deadline: Passed
Late Deadline: June 30
Extended Deadline: August 30
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Naples International Film Festival
November 4-7, 2010
Regular Deadline: July 1
Late Deadline: July 7
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Orlando Film Festival
Orlando, Florida
November 3-7, 2010
Earlybird Deadline: July 1
Regular Deadline: July 25
Late Deadline: August 2
ARRI introduced its new ARRI M18, an 1800W SE HMI, at last year’s NAB convention in Las Vegas. Having become available this past summer, the M18 has proven itself as a versatile and efficient lighting system. With an average lamp life of 750 hours and a tagline as “the brightest HMI you can plug into the wall,” the M18 combines convenience with dependability.
The M18 combines elements of PAR and Fresnel optics to spread an even beam of “TrueBlue” light that is adjustable from 20-60 degrees. This lens-less system provides an intense and broadly focusable output without any need to reach for spreader lenses.
The M18 is deceivingly small for the amount of power it packs. At less than 25 pounds, the M18 is no bigger than a 1200W PAR yet it has a 70 percent higher light output. Adding to the versatility is the newly designed EB 1200/1800 electronic ballast. This allows for seamless switching between 1200W and 1800W functions, thus doubling the M18’s abilities without any cumbersome increase in size.
The Redrock DSLR Cinema Bundle enables cinema-style shooting with cameras that are otherwise limited due to size and design. DSLR cameras such as the Canon EOS 5D Mark II and Canon 7D boast a number of benefits (excellent image quality, low light shooting, etc) but are less than ideal for handheld shooting. The Redrock DSLR rig solves this problem.
The Redrock Cinema Bundle features a protective and stabilizing microSupport cage built from carbon fiber rods (easily disassembled for storage). A padded shoulder mount, including front handgrips, increases mobility. Rounding out the Redrock system is the microFollowFocus, which attaches seamlessly and enables fully functional focus pulling.
The Redrock camera support package also includes a number of options that make life easy for camera operators. With a cheeseplate and rod clamp included, the entire system can go from handheld to tripod in a matter of seconds. Additional add-ons such as the Hoodman Viewfinder Cinema Kit and Marshall V-LCD70P-HDMI Lightweight Monitor can be integrated into the system to meet your specific needs.
For decades, filmmaking and massive budgets have been wed to one another. With the invention and evolution of digital video, the floodgates of quality, yet low cost production have opened. Emerging from the waves of this revolution is the Steadicam Pilot, a newly accessible and functional version of the device that has been beyond the reach of low budget cinema for so long.
 Mike McGowan SOC loves the Steadicam Pilot: "It performs like a much larger, more expensive sled. If I were to fall in a stunt situation, I wouldn't be hurt because it's so lightweight." Having released the Steadicam Merlin and Steadicam Flyer in recent history, Tiffen (formerly Cinema Products) has shown a distinct interest in reaching digitally inclined consumers. While these models accommodated the needs of certain consumer and prosumer enthusiasts, there were several barriers preventing filmmakers from obtaining truly professional results.
As a handheld device, the Merlin was simply exhausting for its user, proving to be impractical for extended use. With the arm/vest addition to the Flyer, we saw a closer resemblance in look and operation to Tiffen’s top end Steadicam Ultra and Steadicam Clipper models. Unfortunately, with weight restrictions preventing the Merlin and Flyer from securing professional video cameras, the quality of cameras available for use with these models left much to be desired.
With the rapid advancement of lightweight, yet high quality digital video cameras, the ten-pound weight restriction of Tiffen’s Steadicam Pilot doesn’t retract from its overall quality. There exists an entire range of professional cameras that fall within this weight class, including but not limited to the: Panasonic AG-DVX-100B, Sony DSR-PD170, Canon XL-1, and Canon EOS 5D Mark II.
 The Steadicam Pilot can be used for several hours without wearing the operator down. No longer relegated to matrimony with cameras of insufferable quality, the Steadicam technology available in the Pilotprovides filmmakers with long awaited professional workflow. Fitted with the essential vest, arm, and sled with monitor, the Steadicam Pilot is a streamlined version of the Flyer yet still closely resembles the aforementioned larger rigs. In contrast to these larger models, the Pilot’s low total weight allows for an entire day of shooting without losing much stamina.
Additionally, while many other competing devices require the loosening and tightening of a series of screws to adjust fore-and-aft and side-to-side balancing, the Steadicam Pilot uses two simple knobs. The Pilot also allows for quality shooting in both high and low modes (you can flip the camera’s orientation for high and low filming) with little time needed for the switch.
All this comes at a price tag of about $4,000, making professional quality Steadicam footage more accessible than ever. A viable option for independent filmmakers and enthusiasts alike, the Pilot is absolutely worth its cost.
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