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THINKING ALOUD

MATCH THE CAMERA MATCH THE LENS

POSTED ON June 26th  - POSTED IN Info, Lenses, Photography
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 accessorized for the productions needs and budgets.

Arri Alexa Plus – The ALEXA Plus is known for its exceptional image performance with 14+ stops of dynamic range. The ARRI color science in the ALEXA Plus provides natural color replication and excellent color separation. Our Alexa cameras besides capturing Apple ProRes internally are also capable of acquiring 3K Arri Raw with our onboard Codex M and S recorders.

Sony F65 CineAlta 4K – F65 uses a unique 20 million photosite Super-35 sensor which has higher resolution than any previous digital motion picture camera. Although digital, it gives the feeling of a film based camera due to its mechanical rotary shutter.  Its 16-bit color depth together with 4K/6K/8K footage output make the F65 unmatched by any other digital camera on the market today.

Sony FS7 –  The Sony FS7 records in XAVC codec on internal XQD media cards in UHDTV 4K resolution (3840×2160), but it can also acquire 4K RAW footage when it is paired with the Sony AXS-R5 recorder and the HXR-IFR5 deck or the Convergent Design monitor/recorder Odyssey 7Q. The FS7 camera is capable of shooting slow motion at 60fps in 4K and 180fps at HD resolution.

CODEX S RECORDER

POSTED ON May 28th  - POSTED IN DIT Tools

The Codex S Recorder is a camera-mountable video recorder that will allow your production to capture RAW footage from the ARRI Alexa and the Canon C500 with embedded audio and metadata, to optional solid-state Codex Capture Drives. Used with the ARRI Alexa, it supports frame rates up to 60 fps in 16:9 and 48 fps in 4:3. Used with the Canon C500, it supports 120 fps at 4K. Onboard S Plus is weather resistant and weighs only 2.4 lb.

Package includes Codex S recorder, USB 3 docking station and x2 512GB capture drive.

Supported Video Formats:

2048/1920 x 1080 I/PSF 10-/8-BIT YCBYCR 4:2:2 OR 12-/10-/8-BIT RGB 4:4:4 23.98, 24, 25, 29.97, 30 FPS  2048/1920 x 1080P 10-/8-BIT YCBYCR 4:2:2 OR 12-/10-/8-BIT 4:4:4 DUAL-LINK 47.96, 48, 50, 59.94, 60, 100, 119.88 FPS  1280 x 720P 10-/8-BIT YCBYCR 4:2:2 OR 10-/8-BIT RGB 4:4:4 59.94, 60 FPS  ARRIRAW 1620P (16:9) 12-BIT BAYER 23.98, 24, 25, 29.97, 30, 48, 50, 59.94, 60 FPS  ARRIRAW 2160P (4:3) 12-BIT BAYER 23.98, 24, 25, 29.97, 30, 48 FPS Canon Cinema RAW 4096/3840 x 2048P 10-BIT BAYER 23.98, 24, 25, 29.97, 50, 59.94 FPS Canon Cinema RAW 4096/3840 x 1080P 10-BIT BAYER 50, 59.94, 100, 119.88 FPS

For the month of May and June we are renting the Codex S out for $350 a day. For more information about the Codex S call 818 972-5000 or email info@hollywoodcamera.com

Codex S Recorder

CODEX S RECORDER WITH CAMERA

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ODYSSEY 7Q RECORDER

POSTED ON May 27th  - POSTED IN DIT Tools, Info
One of our favorite products right now is the Odyssey 7Q recorder/monitor here at Hollywood Camera. We have the license bundle with our Odyssey 7Q so now you can record RAW in ARRI, Canon and Sony. As a monitor, Odyssey7Q features a 7.7” OLED screen with 1280×800 resolution. Additional exposure aids include a programmable false color mode, zebras a waveform monitor and a histogram.

As a recorder the Odyssey7Q captures multiple signals and formats reliably to Solid State Drives. Odyssey7Q records HD or 4K Apple ProRes 422(HQ) or uncompressed video DPX files. RAW data signals from the ARRI ALEXA, the Canon C500 or the Sony FS700/FS7/A7S. Convert the RAW signal into high quality compressed video files for quicker turnaround in post.

COLOR GRADING ROOM

POSTED ON May 26th  - POSTED IN DIT Tools, Info
Designed and developed with filmmakers needs in mind, our brand new Color Grading room features a 4K theater style projector. The partnership with Bertone Visuals allows us to have a full Digital Intermediates facility for grading and mastering all the way to the theatrical DCP at Hollywood Camera. We have put together one of the most advanced and up to date post-production rooms in LA.

With a Sony 4K projector and a full DaVinci color correction system, our clients will have the luxury of grading in 4K with our colorist or have the option of just renting our color bay.

FILM AND DIGITAL TIMES ARTICLE

POSTED ON April 27th  - POSTED IN Info, Lenses, Photography

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 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.

http://www.fdtimes.com/issues/nab-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.

ADVANCED LENSES AT HOLLYWOOD CAMERA

POSTED ON April 17th  - POSTED IN Lenses, Photography

Cooke S4’s, Leica Summilux-C, Optimo Anamorphic zoom and Cooke Anamorphic/i primes, these are some of the most advanced lenses made for filmmakers today and they are available at Hollywood Camera. Visit our website to see what else we have in our vault. All our camera and lens packages are accessorized for the productions needs and budget.

Cooke S4/i primes   

Award winning Cooke S4/i T2.0 Prime Lenses were designed and developed in close technical collaboration with industry professionals. Cooke S4/i optics offer superb optical and mechanical performance, control of flare, distortion, veiling glare and spherical aberrations at full aperture.

Leica Summilux-C primes

At T1.4 the Leica Summilux-C prime lenses are among the fastest modern lens sets available. 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.

Angenieux Optimo Anamorphic Zoom 

Optimo Anamorphic 56-152mm 2S Lens has an optical performance never seen before from any other anamorphic zoom, with a 2x squeeze, no ramping or breathing and a fast aperture of T:4. The unique optical design combines spherical and cylindrical elements in the same group giving this anamorphic lens exceptional sharpness and low distortion.

Cooke Anamorphic/i primes   

All of the anamorphic characteristics demanded by filmmakers today with the Cooke Look® and oval bokeh. Images beautifully rendered for film and especially suited for use with digital cameras. The Anamorphic/i, T2.3 primes have superb optical and mechanical performance. All the primes have a X 2.0 de-squeezing factor and they render a 2.40:1 aspect ratio.

Call one of our friendly staff  for more information or to book a test shoot 818 9725000.

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