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NAB 2015 Impressions: ARRI S60/S30 Skypanel LED

NAB 2015 Impressions: ARRI S60/S30 Skypanel LED

The ARRI S60 and S30 Skypanel lighting system. This LED based product has the same sort of hue and saturation tuning that made their L7C LED Fresnel popular. And you get ARRI’s legendary brand of functionality, versatility, and durability to boot. A variety of front panel inserts allow you to shape the beam to suit the needs of your environment.  Both the larger S60 Skypanel and the smaller S30 can be powered by a block battery, making it an excellent soft light source for the mobile shooter. Additionally, the Skypanels are fully DMX controllable. We expect ARRI to give Kino Flo and LitePanels a run for their money with this product! Bookmark it to Stumbleupon, Digg, and more! Hide...

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Benefits of Renting ARRI Lighting Systems

Benefits of Renting ARRI Lighting Systems

As a production company, cameras and lighting are a must – but when you travel offset to shoot your production, packing a 20 pound light is not ideal. ARRI lights are the most desired lighting systems for any production set, and the latest ARRI M-Series is exactly what every Producer and Director of Photography is looking for. The ARRI M8 is equipped with ARRIMAX Technology and its patented, open face design makes ARRI surpass the competition. M8 lights can be focused between 15° and 65°, allowing for an ideal light field with crisp shadows. Its faceted reflect light output produces 800W and has a temperature tolerance of 6000K. The M8’s cross cooling allows for safe operation at 90° for that perfect shot. The ARRI M8 was designed for mobility, but even as the smallest ARRI light, its 17.2 lb. weights make traveling difficult. If you are shooting your set in Florida, consider renting ARRI lights from Moving Picture. Moving Picture has been a leader in the rental of video production equipment. With over 30 years in the video production industry, you can trust the quality of our production equipment rentals. Moving Picture offers ARRI light rentals, as well as other video production equipment rentals; such as: digital cinema camera rentals, lens rentals, grip truck rentals, camera crews, sound mixers, and other production needs. If you are looking for a high quality light for your location, ARRI lights are a must. Moving Picture can help save you hundreds in shipping, as well as frustration, by renting ARRI lights for your video production in Florida. Call Moving Picture today, to speak with a video equipment rental specialist about your lighting needs and ARRI light rental pricing. Bookmark it to Stumbleupon, Digg, and more! Hide...

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Discovery Channel’s “Investigation Hour”

Discovery Channel’s “Investigation Hour”

Moving Picture provides Camera, Lenses, Grip, Lighting, VTR, and Sound for MS Entertainment’s production of Discovery Channel Latino “Investigation Hour” Moving Picture was contracted to provide a complete shooting package for an MS Entertainment promotional video of the Discovery Channel Latino show “Investigation Hour”. The show features real life crime dramatizations and their subsequent investigations. For this light and fast shoot, a 1-ton grip package with Kino Flo and ARRI Tungsten lighting page was provided. Camera Department received a Sony PMW-F3 camera for Steadicam use, along with a full set of Zeiss CP.2 compact primes. In addition to the provided equipment, Moving Picture also provided a Video Assist package with a Technician, a Sound Mixer with an ENG sound package, 1st AC, Gaffer, and Key Grip. Directed by Alex Messianu, Lensed by Director of Photography Jose Luis Ocejo, Gaffer Jim Pescrille. Check out the finished product on YouTube Bookmark it to Stumbleupon, Digg, and more! Hide...

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Moving Picture with Zimmerman Advertising and ADT Home Security

Moving Picture with Zimmerman Advertising and ADT Home Security

Moving Picture provides Grip, Lighting, Sound, VTR, and Camera Rental for Zimmerman Advertising and ADT Home Security Systems Moving Picture was recently hired to provide a complete production equipment package for Zimmerman Advertising’s ADT Home Security shoot. We sent along a 5-ton grip truck with 1.8K and 4K ARRI HMIs, and a Fisher 11 Dolly. Director/DP Richard Nicolella and Zimmerman Advertising Executive VP Richard Nez lining up a shot. Camera department received one of our ARRI Alexa High-Speed cameras with two of Moving Picture’s new PL Zooms, the Fujinon 19-90mm Cabrio and Canon’s new 30-300mm Cinema zoom. The Fujinon is a wonderful lens. It’s lightweight and compact and has excellent ergonomic features like glow in the dark witness marks and a buttery smooth focus barrel. Moving Picture’s Alexa camera package with our new Canon CN-E 30-300 PL Zoom Zimmerman picked some beautiful homes to use as locations in Fort Lauderdale’s Rio Vista neighborhood, and Mother Nature cooperated with us that day. We look forward to seeing the finished product. Produced by agency EVP and Head of Production Richard Nez, UPM Adam Shilling, Director and DP Richard Nicolella, Camera Assistants Rob Peterson and Josh Baker, Key Grip Todd Smith, Sound Engineer John Zuleta, Locations Glynis Benson. Bookmark it to Stumbleupon, Digg, and more! Hide...

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Ford Motor Company’s “Police Interceptor”

Ford Motor Company’s “Police Interceptor”

Moving Picture provides Grip, Lighting, Camera, and Sound for Jackson Dawson Communications / Ford Motor Company’s “Police Interceptor” Moving Picture recent partnered up with Jackson Dawson Communications to shoot a promotional video to introduce Ford’s Next Generation Police Interceptor Sedan and Utility vehicles. The video featured two models, the Police Interceptor Sedan and the Police Interceptor Utility, both of which share a common vehicle platform. Production’s goals were to highlight the new vehicle’s handling dynamics which feature an industry exclusive All-Wheel Drive System. To achieve this, Moving Picture provided a 3-ton grip truck with specialty car rigs along with a Panasonic HDX900 with a Sound Devices PIX-240 on-board recorder and a pair of GoPro HERO 3 cameras for exterior mounting on the Police Interceptor Sedan. The HDX900 was chosen for its CCD style sensor that is not susceptible to the “Jello Shutter” effect when performing rapid pans. Other cinema style camera systems in this price range feature a rolling shutter, which tends to skew the image during rapid pans. A Go Pro HERO 3 was rigged to the nose of the Police Interceptor Sedan to convey the stability of the new Interceptor chassis. Another Go Pro was side mounted to the Police Interceptor Sedan behind the front tire to demonstrate the lack of brake dive and body roll during aggressive braking and quick transitional maneuvers. The HDX900 spent some time rigged in the back seat of the Police Interceptor Sedan, which gives viewers an idea of how hard the driver was working to maintain control of the vehicle under extreme maneuvers. The Ford Interceptor’s driver, Terry Earwood, was a huge contribution to the shoot. Terry, a former NHRA Drag Racing and Firestone Endurance Series Road Racing champion, is currently a Chief Instructor for Skip Barber Racing School. His exemplary skills behind the wheel allowed us to shoot safely and get some really amazing footage in the process. Produced by Sean Wilson, Directed by Peter Erickson, lensed by DP Michael Balog, Driver Terry Earwood, Gaffer Mike Smallwood, Key Grip Matt Lebeau. Bookmark it to Stumbleupon, Digg, and more! Hide...

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Stop Shooting with the Canon 5D and Begin Shooting with the Sony F3!

Moving Picture recently performed a camera test with Director of Photography, Henry Lynk, using the Canon EOS 5D Mark II, the new Panasonic AG-AF100, and the new Sony PMW-F3L using Zeiss prime lenses in candlelight conditions. The star of the show was, without a doubt, the new Sony F3 camera. The following images are screen captures taken from an uncompressed Apple ProRes 422 HQ, MOV file. The cameras were set to an ISO of 800 and 1600 for these shots using a 50mm Zeiss CP.2 Compact Prime lens. Panasonic AG-AF100 – The AF100 was the biggest disappointment of the bunch. Its ability capture clean imagery quickly falls away as lighting conditions diminish. Notice the complete lack of definition. The cheek, jawline, and neckline have a jagged video effect, and the hairline across the forehead is just a blur. Also, the shadows come across as blotchy and unnatural. We have used this camera in daylight and well-lit environments, and it performs well. This just isn’t the right tool for the job in these lighting conditions. Canon EOS 5D Mark II – The 5D performed about as expected. Excessive contrast and a soft look are unfortunate traits of this camera system. However, as you can see, the facial outline is clear without artifacts, the hair and neckline are discernable, and minor shadows on the face and neck look far more natural than the AF100. Facial features and contours begin to appear, as well as texture on the lips. Sony PMW-F3L – We knew coming into this test that the Sony was going to walk away as the winner of the MPES Candlelight Shootout. What we didn’t realize was how impressive this new camera really is in low light. Everything about this image is superior. You can see individual shadows of hair on our model’s face and the wisp of hair to the right is distinguishable from the hair lying flat beneath. Full facial features, textures, contours, and (dare I say) imperfections are all completely identifiable. The soft natural glow of the candlelight is reflected beautifully off the cheek, something that the AF100 and 5D just couldn’t do. The definition and latitude of this camera is quite amazing, and is very nearly on par with the RED and Alexa. Moving Picture Camera Test (5D vs. AF100 vs. F3) from Moving Picture Media on Vimeo. Download a copy of the Moving Picture Camera Test for Offline Viewing: Internet friendly MPES Camera Test (640×360, 1200kb/s)   16mb H.264 HD MPES Camera Test (1920×1080, 7500kb/s)   95mb Uncompressed MPES Camera Test (1920×1080, ProRes422 HQ)   1.5gb Bookmark it to Stumbleupon, Digg, and more! Hide...

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