Jon Fauer, ASC from Film and Digital Times came to Hollywood Camera last month to conduct a series of tests with the Cooke/i Anamorphic primes and the Angenieux Optimo Anamorphic 56-152 zoom with Gianluca Bertone from Bertone Visuals.
They used the ARRI Alexa XT, which is one of the higher end cameras we have here at Hollywood Camera. The lenses are also part of the amazing lens selection that is available here.
Jon Fauer ASC, is one of the publisher/editors at Film and Digital Times and he wrote a 2 page piece on the lenses he tested while at Hollywood Camera. It’s a great read, you can press on the images below to read the article or go to their website and read the full issue.
Call one of our rental professionals on 8189725000 to book a test shoot with these lenses or to check for availability and pricing for your next job.
Film and Digital Times
It was a privilege for me to meet David Stump, ASC, who came in to Hollywood Camera for a test shoot for his upcoming project. David is a member of the ASC and his credits include some amazing films. Just to mention a few, X-Men, X-Men II, Contact and my personal favorite Stand By Me.
David’s next project is a modern Western called BLS Colorado. It’s based on a popular novel from the 1940’s with the adapted screenplay for the teaser written by Joe di Gennaro. They will be shooting in remote locations in Colorado for 7 days with the intent to develop this into a feature production.
David has chosen to film BLS Colorado on the Sony CineAlta F65 with the Leica Summilux-C T1.4, ten piece prime lens set. David loves the look of the Sony F65, especially for this film where he will be shooting a lot of day exteriors and epic landscape shots. Although digital, it gives the feeling of a film based camera due to its mechanical rotary shutter. The F65 will be set on Slog3 Cine (Via RAW player software) and the 14 stops of dynamic range of the Sony Gamut will allow David to capture the maximum out of the scenery and wild life of Colorado. He also felt the glass of the Summilux-C and the sensor of the F65 was a perfect marriage. The Leica primes are lightweight because the mount and lens barrel are manufactured from high-strength titanium and with a T stop of 1.4 they are among the fastest modern lens sets available. All Leica Summilux-C lenses share a uniform length, 95mm threaded lens front, advanced distance focus scales, and similar location of focus and iris rings which allow quick interchange of lenses in a busy production environment. The use of exotic aspherical elements in each lens creates a telecentric path of light from the rear element to the sensor. Telecentricity and aspheric correction not only reduce chromatic aberrations and color fringing, but also create a more even illumination across the entire field.
BLS Colorado will be directed by Joe di Gennaro, David Stump and Scott Crane. Scott will also be producing and acting in the film. They will finish with a cinemascope look, 2.35:1 and will be delivering the film in 4k. Post-production will take place on the second floor at Hollywood Camera using Bertone Visuals color grading room. Designed and developed with filmmakers needs in mind, the brand new Color Grading room features a 4K theater style projector. It allows David to have a full Digital Intermediates facility for grading and mastering all the way to the theatrical DCP.
We wish them the best of luck with the film. We can’t wait till we get some behind the scenes photos sent to us from the amazing landscape in Colorado. We’ll keep you guys posted.
Sony’s latest 4K super 35mm camera is the FS7. This camera is mobile, light weight and produces amazing images. This month we are offering the Sony FS7 package for $395 a day and we will include the new Sony 28-135mm F4 zoom lens for no extra charge (normally $75 a day). This is great for ENG work, with a wide-ranging zoom that covers wide-angle to telephoto.
USE PROMO CODE: FS7 ZOOM
The DMPC offers weekly hands-on training on Sony’s full range of Super 35mm cameras, including the F65 CineAlta™ digital motion picture camera and the F55 4K digital camera.
Today’s training was for the Sony F55. When we arrived in the morning we were seated in the theater section fitted with the latest Sony 4K projector. Spent a couple hours going through the Sony F55 features and recording formats.
Canon C500 PL mount and Leica Summilux-C T1.4 primes special rental package!
Hey guys we have an amazing offer this month from Hollywood Camera. To celebrate the Oscars, in the month of February we are offering a complete Canon C500 PL mount camera package for free when you rent a set of Leica Summilux-C T1.4 primes. The C500 PL mount package is worth over $3,000 a day and includes recording media to capture Canon RAW and an extensive list of support gear which is mentioned below in detail.
Hollywood Camera moved into its 12,000 square foot rental, production and post facility in Burbank in March, 1997. We specialize in motion picture film and digital camera rentals. We take pride in offering exceptional service to our clients and building long term relationships. Our lens collection at Hollywood Camera ranges from some of the all time classics to the latest zoom, anamorphic and primes available on the market. All our camera packages are customized for the productions needs and budgets.
Hollywood Camera Inc is currently hosting a series of classes that are part of the UCLA Extension certificate program in cinematography taught by DP Charles Rose AIC.
The certificate program in cinematography is offered by the department of entertainment studies of UCLA Extension and it requires approximately one and a half years for its completion.
Students from all over the world attend the program and Hollywood Camera Inc is very excited to be a selected vendor of this 100 years old educational institution by providing camera equipment and a production stage for tomorrow’s filmmakers.
Today we had students get hands on with the Arri C2 35mm film camera. It was first released back in 1937 and was one of the first film cameras used in the early years of Hollywood. Instructor Charles Rose covered the theory of film and the mechanical parts of this camera, then students all had a chance to set up tripod, load film and shoot some test shots with the Arri C2.
The Sony pxw FS7 records in XAVC codec on internal XQD media cards in UHDTV 4K resolution (3840×2160), and with a firm update some time this quarter it will also capture full 4K (4096×2160). It can also acquire 12 bit 4K RAW footage when it is paired with the Sony AXS-R5 recorder and the HXR-IFR5 deck. Alternatively, it is also possible to capture RAW using the Convergent Design monitor and recorder Odyssey 7Q. If its promo work or run and gun shooting the Sony FS7 also captures HD in 10bit 4:2:2, which is an amazing format for a super 35mm senor in this price range. Slow motion is capable at 60fps in 4K and 180fps at HD resolution.
Our package can include the new Sony Zoom lens 28-135mm F4 which is fully integrated with the ergonomic handgrip (Start/Stop & Zoom Control) for those that are using the camera in ENG / Broadcast mode.
Sony pxw FS7 Consultation
There have been amazing reviews about the Sony FS7, feel free to drop in and shoot some test footage with us or call and speak to one of our professional rental agents for any questions you may have regarding this camera for your next project.
Check Sony F55 Availability Here!
You can accessorize the F55 however you like that’s best for you and the job in hand, but we have put together our version and we would like to share it with you.
For this camera package we used the O’Connor 2565 fluid head on Ronford-Baker sticks with a standard Mitchell plate. Being a studio setup we decided to use 19mm rods with an additional Arri Quick Release on the bottom.
As for follow focus for this package we recommend the O’Connor CFF-1 since it is accurate, solid and can be mounted on 19mm rods, or 15mm rods with an adaptor or if you decide to use a single channel wireless focus system, the Hedén HLC-DA is a great choice.
When the camera is in studio mode with 19mm rods we used the Arri Matte Box MB-28 that comes with a rich kit of adaptor rings, hard matte mask and barn doors. When the camera is used hand-held style with the lightweight mini 15mm rods we suggest our light weight clip-on Matte Box, Arri LMB15.
An important mechanical accessory for this F55 package is the MTF lens adaptor. This mount adaptor allows you to mount Canon EF lenses on a camera that normally features a PL mount. At Hollywood Camera/Bertone Visuals we have a full set of six Canon Cinema CN-E primes that besides being 4K certified lenses they also have 11 iris blades for nice circular bokh. However, the PL mount is always an option if DP’s want to go for our Zeiss CP2, Cooke S4i or the phenomenal Leica Summilux-C.
I had the privilege of meeting Sean Bobbitt whilst attending NYFA during a private screening of 12 Years of Slave, which was followed by Q&A.
Sean Bobbitt has been behind the camera for a good part of three decades, starting as a news cameraman in the 1980’s. He began working as a cinematographer in the late 1990’s and it was in 2002 when he started his collaboration with Steve McQueen on films such as Western Deep (2002), Hunger (2008) and Shame (2011). It was his work on 12 Years of Slave (2013), which he is most known for and has filmmakers and cinematographers alike discussing his creative techniques.
The video is a 90 minute ARRI workshop where Sean Bobbitt was invited to discuss the art of hand held cinematography and its place in filmmaking.
It’s a must watch if anyone is serious about filmmaking, from directors to cinematographers I would highly recommend finding a spare 90 minutes sitting by yourself, or your super cool hipster film buddies, and listening in to what he has to say.