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MPR’s NAB Show 2017 Gear Picks

MPR’s NAB Show 2017 Gear Picks

Dave Wells scoured the NAB Show 2017 floor for this year’s products of distinction.  He settled on Leica M3 lenses, Sigma primes and zooms, Zeiss CP 3’s, and more.  But on his way he just had to stop by Red Rock Canyon! Watch the video for more:   Bookmark it to Stumbleupon, Digg, and more! Hide...

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Vintage Camera Lenses from the 60’s & 70’s are Popular Again

Vintage Camera Lenses from the 60’s & 70’s are Popular Again

Vintage glass for content creation is on the rise.  At Moving Picture Rental, we’ve fallen in love with Super Baltars for a variety of reasons.  Unlike many modern prime lenses that yield ultra tack sharp results that lack character, reveal imperfections in actors complexions and in general deliver a clinical look, Super Baltars give images high contrast and warm flesh tones plus they create cool flares. Some people say that Super Baltars are the Stradivarius of cinema prime lenses.  That’s why we have these camera lens rental available at our Miami and Fort Lauderdale locations. History Bausch + Lomb’s designed Super Baltars in the 60’s, released them in 1967 and made them into the 70’s.  They were the go-to lenses in a majority of major motion pictures for about 15 years. The Godfather 1 and 2, were shot with Super Baltars as well as a 100’s of other feature films.  Super Baltars superseded the original Baltars (The Seven Year itch, 1955) (The Bridge over the River Kwai, 1957) and were designed to be compatible with the new spinning mirror-reflex camera Mitchel BNCR in 1967.  They were optically re-designed, benefiting from new glass types and optimized for color cinematography. Super Baltars are made from Cobalt glass, so they produce a multi colored green blue flare that is ultraviolet and sharp. Top Ten reasons to make your next camera lens rental Super Baltars: Takes “the edge off” digital sensors. Pair old glass with new technology and you are rewarded with an image that is NOT Status Quo. Super Baltars have a distinct organic character, that is low contrast and produces a subtle green blue flare, unlike many modern prime lenses that are ultra sharp and designed not to flare. Lightweight and easy to use with a rarity that makes them a selling point for your client to try a different approach. Produces a wonderful bokeh (the aesthetic quality of the blur produced in the out-of-focus parts of an image). They cover 6K on RED Cameras on all focal lengths. The cobalt glass renders amazing skin tones.  Were designed so actors look fantastic in their close up.  That they do. They have a certain softness without feeling out of focus. While you can attempt to recreate their look with filters and in post what you end up with is a simulation that is simply not the same look.  You will exceed the rental price by fumbling around for hours in post production. They are affordable to rent but expensive to buy. Latest notable projects shot with the Super Baltars Music Video: Jennifer Lopez with Pitbull “Live it Up” Other than the Super Baltars a 24 to 290...

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Moving Picture Rental Offers DP’s Custom Case Integration

Moving Picture Rental Offers DP’s Custom Case Integration

Mike McGowan, Director of Photography came in for a C300 and Zeiss CP.2 prime rental camera checkout — part of a much bigger shoot hopefully in Miami to come!  We offered up a custom case integration with back packs and hard cases on wheels for Mike’s shoot to minimize checked baggage and add ease-of-use on set as Mike was not shooting in Florida.  We also provided a lite panel Bi-color 1×1 kit.  We packed light-weight extension cords, flex fill, matte box and Red Rock follow focus. After the job wrapped Mike McGowan commented, “ The whole set up worked great, client was super happy, everything rocked!” See Mike’s work at www.miamidp.com Bookmark it to Stumbleupon, Digg, and more! Hide...

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NAB 2015 : David Wells on iKan’s TiltaMax Wireless Focus System with ProductionHub.com

NAB 2015 : David Wells on iKan’s TiltaMax Wireless Focus System with ProductionHub.com

ProductionHub.com interviewed Dave Wells on several products that he found worthy at NAB 2015.  Ikan’s Tiltamax was a contender.  It’s wireless focus, iris, and zoom control system [fiz] complete with touch screen, and detachable zoom control encased in metal and wood combine to produce this product winner.  For more information or to rent the Ikan Tiltamax Wireless Lens Control System call Moving Picture.     Bookmark it to Stumbleupon, Digg, and more! Hide...

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Phantom Flex 2K Provided to Oida Studios for Mizuno Golf Shoot

Phantom Flex 2K Provided to Oida Studios for Mizuno Golf Shoot

Oida Studios of Japan traveled to sunny Florida for a small shoot with PGA Tour pro Luke Donald.  High-speed Phantom shots were the order of the day for a Mizuno golf club commercial.  Then Mr. Donald played a few holes while being filmed by DSLR’s for a web series of instructional videos. Moving Picture provided a Phantom Flex 2K camera package with a Phantom Tech, a Sound Mixer, and a Phantom 1st AC / DSLR Camera Operator. Call Moving Picture for your next Phantom Flex rental.  Available in both 2K and 4K camera bodies.     Bookmark it to Stumbleupon, Digg, and more! Hide...

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NAB 2015 Impressions: Blackmagic Design Micro Cinema Camera

NAB 2015 Impressions: Blackmagic Design Micro Cinema Camera

Blackmagic Design introduced a pair of cameras at NAB this year aptly named the Micro Cinema Camera.  While both cameras share the same form factor and name, they vary in features and intended use so much that it’s difficult to discuss them both at the same time.  Both the “Standard” and “Studio” versions of the Micro Cinema Camera share a Micro Four-Thirds (MFT) lens mount and a rugged magnesium camera housing that’s hardly larger then the lens mount.  The MFT mount is is a good choice, because it’s easy adaptable to Canon EF, Nikon F, or even PL mount with off the shelf mount adapters. The Standard model seems to be geared toward usage on drones or in tight spaces like an A-pillar mount in a car.  It’s also well suited for external suction cup mounting on vehicles with 1/4-20 mount points on the top and bottom of camera.  The Micro Cinema Camera Standard supports 12-bit log Cinema DNG RAW or ProRes (LT/Standard/HQ) recording 1080P at up to 60fps to SD cards.  At 60fps the camera uses a rolling shutter, however, all framerates 30fps or slower utilize a global shutter to prevent the dreaded “Jello Shot” that is all too common among action cams.  The global shutter will go a long way to produce top quality footage in high vibration environments such as car rigs and drones.  There is an HDMI port for monitoring and the camera is powered by industry standard Canon E6 batteries.  Perhaps the coolest thing Blackmagic thought of was this industry-first method of remote controlling your camera on a drone.  They added a clunky 15-pin connector that looks rather familiar…that’s because it’s the same VGA cable you would use to connect a computer monitor.  But this is no monitor port, instead its a custom control interface meant to connect to Futaba 18 channel S.Bus controller (or other compatible controllers) which will allow you to map camera controls to your Futaba RC controller.  Things like iris, exposure, roll/stop, and even focus on certain lenses can be mapped to the switches knobs and buttons on your controller.  The Standard model is priced around $1000 and will ship in July. The Studio 4K model is a different animal altogether.  The  SD card bay goes away on this model and an HD-SDI port is added.  There is not an internal recording option available, instead it has 6G HD-SDI port that can output 4K at up to 30fps or 1080P HD at up to 60fps.  The camera can be remote controlled via an ATEM switcher using CCU protocols.  Additionally, a B4 mount broadcast lens can be powered and controlled from the camera.  The Studio model...

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