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NAB 2015: David Wells on Freefly’s Innovative MōVI Mimic with ProductionHub.com

NAB 2015: David Wells on Freefly’s Innovative MōVI Mimic with ProductionHub.com

Dave Wells was interviewed by ProductionHub.com on several products that stood out on the floor at NAB 2015.  The Freefly MōVI Mimic was one he couldn’t pass up.   When the MōVI first debuted in 2013, camera operators used a remote and a joystick. Freefly’s Mimic changes all that — they added a bar with two handles and a gyroscope attached to a wireless transmitter to send the operator’s kinetic movements to the rig. For more information or to rent the Freefly MōVI Mimic call Moving Picture. Check out the demo here:   Bookmark it to Stumbleupon, Digg, and more! Hide...

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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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Moving Picture’s Guide to Accessorizing your Sony F3

Moving Picture’s Guide to Accessorizing your Sony F3

With all the industry buzz about the new Sony F5, the F3 seems like yesterday’s news.  In many ways, that’s correct.  However, for those of you that own one of these still relevant camera systems, you know it’s a great tool for corporate video, documentary, and low-budget commercial work.  It still produces an excellent image while in S-Log mode, and it still has excellent latitude and meager lighting requirements.  There just isn’t enough justification to spend $20,000 on a properly accessorized Sony F5 if you really don’t need the 2K resolution that camera can provide. It seems that nowadays a camera is only as good as the toys you can bolt to it, and we’ve redesigned our Sony F3 camera support system to be flexible and functional.  Here are some of the toys we’ve purchased to accomplish this. Berkey System Support Accessories Berkey System offers some great accessories for the Sony F3.  Our favorite is the F3 Top Utility Plate and Plate Extension.  This little gem mounts to the camera using the two ¼-20 mount points on the top of the camera and still gives you access to the playback controls on the top.  The utility plate features sixteen ¼-20, six 3/8-16, and a dozen 10-32 tapped mounting points, as well as a focal plane stud on which to hook a measuring tape.  Aside from giving you broad flexibility in mounting additional accessories, it helps to reduce the stress on the plastic camera body by spreading the load of the mounted accessories throughout the entire plate as well as both mount points to camera.  The optional front extension provides even more flexibility as discussed later in this article. The Berkey 15mm F3 Baseplate is a robust unit designed with flexibility in mind.  It provides 15mm lightweight rod mounts that are vertically adjustable for fine-tuning as well as forward and aft adjustment for balance.  On the bottom, there are mount points for the ARRI BP-6 or the ARRI BP-8 19mm Bridgeplate, should you need to run 19mm Studio camera support. Berkey’s shoulder pad system is designed with convenience in mind.  It can be left attached to the baseplate in “disengaged” mode when on a tripod.  When you’re ready to go handheld, simply pop the camera off the sticks, loosen a couple thumbscrews, and swing the shoulder pad 180 degrees to the “engaged” position.  The tripod plate may be left on the camera for this.  All of these Berkey System accessories can be purchased together for about $1000. Shape Front Handles and Movcam Hand Grip Adapter While Berkey System does offer a front handle kit that works with the rest of their camera support system, we’ve...

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Rental Showcase: New Lenses Available at Moving Picture

Moving Picture has been listening to requests and working hard to bolster our rental inventory to meet the wants and needs of today’s shooter.  We are excited to announce the arrival of some new glass that you might be interested in. PL Mount Canon CN-E 30-300mm, T2.95-3.7, PL Mount Moving Picture welcomes the new Canon CN-E 30-300mm PL studio zoom lens to our South Forida rental inventory. The Canon has created a nice package with this lens. The 30-300mm range is broad enough to get a full head-to-toe wide shot, then zoom in for a close up from about 10 feet from the camera. Addditionally, it’s lightweight design (only 13lbs) is half the weight of a Optimo 24-290 lens, which helps with rigging, support, and usage. This lens has a very smooth non-breathing 300 degree focus rotation and witness marks on both sides of the barrel.   Fujinon 19-90mm Cabrio, T2.9, PL Mount The Cabrio is a wonderfully versatile zoom lens, seemingly tailor made for documentary style shooting. The Fujinon Cabrio PL lens has all the best qualities of a broadcast zoom lens while retaining the dramatic shallow depth of field of 35mm format cinema lenses. It’s compact size, light weight, and integrated rocker servo motors for focus, iris, and zoom control make it perfect for handheld ENG style shooting. The Fujinon 19-90 Cabrio is the perfect companion to the Sony PMW-F3 camera (or our new PMW-F5 coming in February). The electronic shoe in the F3’s PL mount powers the Cabrio’s servo system eliminating the need for external power. EF Mount Canon 16-35mm, f/2.8 II USM, EF Mount Canon 16-35mm f/2.8 II USM is the widest lens we’ve found that will work on the Canon 5D without a vignette messing with your shot mojo. This lens was designed from the ground up to work with full frame sensors. It’s convenient wide-angle zoom range compliments the Canon 24-70 nicely.       Canon 24-70mm, f/2.8 II USM, EF Mount Canon 24-70mm f/2.8 II USM has been freshly redesigned by Canon. The new design boasts sharper detail, specifically in the edges and corners. The 24-70mm range has been the workhorse of our Canon fleet of lenses for some time now, and we’re quite pleased to see the design facelift.       Canon 100mm f/2.8 Macro IS USM, EF Mount Canon 100mm f/2.8 Macro IS USM is a beautiful lens in either still or video mode. And a first for Canon, is the integration of their Image Stabilization circuity into a macro lens. You can even operate this lens in a handheld configuration and pull off some wonderfully creative shots.       Bookmark it to...

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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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Kessler CineSlider and Oracle Controller – Affordable Motion Control in a Compact Size

The Kessler CineSlider is a medium duty slider rig used for shooting video or motion time-lapse photography.  Its compact and lightweight design allows it to go where a dolly simply wont fit.  Now you can add dramatic motion to an otherwise static shot, giving your video that “something extra” that filmmakers are always looking for.  The rig will support an ARRI Alexa with a Master or Compact Prime lens, battery, and light-weight video tripod head, The CineSlider gives the small unstable DSLR a solid motion control platform to work from.  You can manually slide the platform, use the crank wheel, or utilize the Oracle Controller for manual or programmed slider motion.  The CineSlider also has a complete array of accessories and mounting hardware allowing you to use a tabletop, a tripod, a light stand, or any combination of the three to support your slider. Moving Picture has rented the CineSlider and Oracle controller for several recent shoots.  Including motion time-lapse photography with a Canon 5D covering Bike Week in Daytona for Harley Davidson and some very cool shots with the Sony F3 on a CineSlider rigged to a moving fire truck for the Fort Lauderdale Fire Department.  Here is a short video montage showing the kinds of unique shots that can be performed with this slider and controller combination. Contact Moving Picture today to rent our new Kessler CineSlider and Oracle Controller! Email sales@movingpicture.com or Phone (800) 800-1361.   Bookmark it to Stumbleupon, Digg, and more! Hide...

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