Canon C500 PL Package – Jan/Feb Promo
We are excited to announce our New Year Promotion for the Canon C500 PL Package at low cost of $999 per day if rented in conjunction with either of these optics: Cooke S4i / Leica Summilux C / Angenieux Optimo 19.5-94mm / Fujinon 25-300mm T3.5.
In addition, training will be offered to the DIT for using the Canon C500 with a Codex S Raw Recorder. We will teach you the software named VFS (made by Codex) here at Hollywood Camera by Bertone Visuals. It will take approximately 3 hours. No more excuses for not shooting RAW!! You can now receive uncompressed quality like you were using film!!
Valid until February 29th 2016. Mention PROMO CODE: “Canon C500 Jan/Feb” to our rental agents via email or phone.
Incorporating Canon’s revolutionary Super 35mm 4KCMOS image sensor, the Canon C500 4K Digital Cinema Camera offers a number of contemporary high-resolution motion imaging choices. The camera delivers uncompressed 2k or HD 4:4:4 RGB video components at up to 60 progressive fps, which are externally recorded. By employing the YCbCr component-video set at 10-bit depth, the C500 extends that picture-capture rate up to 120 fps. The C500 also features a 4k imaging mode that delivers cinema-centric 4096 x 2160 format, or the TV-centric 3840 x 2160 UHDTV format (sometimes called QuadHD), available to external recorders via industry-standard SMPTO 3G-SDI serial interface for streamlines workflows.
Product Features & Product Specifications
Package List:
- Canon C500 PL 2K/4K
- Codex S on board recorder to capture Canon Raw
- Codex capture drives 512GB X 4
- Codex docking station USB 3.0 (reader)
- Codex Software VFS on MacBook Retina Display
- Alphatron EVF ( SDI )
- Noga arm (short)
- SmallHD AC7 on board monitor
- Noga arm
- Cinoflex Rig
- 4 Anton Bauer batteries and a recharger
- Arri Matte Box
- Shape WLB articulated handles
- Letus master cinema series leather pillow with velcro
- O’Connor CFF-1 follow focus
- O’Connor 2575D fluid head
- O’Connor sticks with spreaders
- O’Connor baby legs with spreaders
- Low Hat Mitchell
- High Hat Mitchell
Cinema Drone – SHOTOVER U1
SHOTOVER, the maker of high performance stabilization platforms, recently announced the debut of the SHOTOVER U1, the world’s first professional grade unmanned aerial vehicle (UAV) for the broadcast, motion picture, law enforcement and industrial survey markets.
Further increasing functionality, the SHOTOVER U1 gimbal (U1g) can be detached from the multirotor and used as a standalone gyro-stabilized platform for mounting on motorcycles, cars, boats, cables and almost anything that moves. Buyers can choose between the U1, which includes both the multirotor and gimbal, and the U1g, which is the gimbal without the aerial component. Other U1 features include redundant flight control and battery systems, customized downlink with two HD video feeds and unparalleled stability even at full zoom. Preorders for the U1, which will begin shipping in Q1 2016, have already topped several dozen units.
SHOTOVER U1
The U1 builds upon SHOTOVER’s expertise in the aerial cinematography space with its industry leading SHOTOVER F1 and SHOTOVER K1 gyro-stabilized camera systems. Recent credits include Hollywood blockbusters Jurassic World, Furious 7 and Spectre; SHOTOVER has also been tapped by the BBC for filming telephoto 4K footage of wolves, bears and caribou in Canada’s remote Northwest Territories for a six-part wildlife documentary series scheduled to air in 2016.
“The SHOTOVER U1 is the first drone specifically designed for broadcasters and big budget filmmakers, allowing productions to employ the same professional grade cameras and lenses they choose for their principal photography,” said SHOTOVER president Alex Giuffrida. “Coupled with unsurpassed reliability and support, the U1 will enable cinematographers to capture breathtaking shots, including those that wouldn’t be possible with a helicopter or crane – such as from inside a waterfall – without having to sacrifice image quality.
The U1’s redundant battery system with on screen feedback of cell voltage and capacity allows the pilot to turn off a failed battery cell and get the ship home safely. And the redundant flight control system provides operators with the ability to quickly switch to a back-up flight controller if the need arises. Additional features of the U1 include a user friendly design that allows operators to easily swap cameras and lenses during a shoot, 10X more pan motor torque than other prosumer gimbals and a unique balancing system for unshakeable stability. Like all SHOTOVER systems, the U1 has no ITAR restrictions, enabling it to be shipped around the world without requiring U.S. State Department approval.
To download the spec sheet for the SHOTOVER U1, please visit: http://shotover.com/site_assets/content/U1specs_10.22.V6.pdf
About SHOTOVER
SHOTOVER is a developer of high performance aerial camera systems for the motion picture and broadcast industries. The company’s line of gyro-stabilized camera platforms offer aerial cinematographers an unprecedented level of stability, control and versatility in a compact package easily configured for 2D, 3D and Ultra HD shooting with the world’s most advanced cameras and lenses. Developed in partnership with the motion picture industry’s top aerial cinematographers, SHOTOVER systems are fully user upgradeable, allowing operators to utilize new professional cameras, lenses and accessories as they come to market. SHOTOVER is online at http://www.shotover.com
SHOTOVER U1
Anthony Richmond A.S.C., B.S.C.
This week here at Hollywood Camera Inc I had the pleasure of interviewing renowned Cinematographer and current faculty chair of the New York Film Academy cinematography department, Anthony B. Richmond A.S.C., B.S.C. Mr. Richmond will be at Hollywood Camera for the next two weeks guiding New York Film Academy students on Film/lighting workshops and preparing them for their upcoming final project.
Anthony B. Richmond, A.S.C. and B.S.C. is an accomplished Cinematographer whose career spans well over five decades. His most recent credits include: Good Luck Chuck; The Comebacks; Shade; Havana Nights; Legally Blond; Ravenous; Men Of Honor; The Sweetest Thing; Someone Like You; Just Friends; John Tucker Must Die; Autopsy; Sex and Lies in Sin City; The Rocker; Alvin the Squeakquel; Coffee Town; as well as The Assets for Peter Medak.
Born and raised in London, Richmond literally worked his way up through the ranks to his current position of Director of Photography. He began at the age of 16 as a messenger with Associate British Cinemas and later with Pathe-News, where he was promoted to the camera department. He next worked as Assistant Cameraman on such films as: Call Me Bwana; From Russia with Love; Devil-Ship Pirates; The Gorgan; A Funny Thing Happened On The Way To The Forum; Truffaut’s Fahrenheit 451 and David Leans’s Dr. Zhivago.
Richmond served as focus-puller on Casino Royale and on Far From the Madding Crowd for Director John Schlesinger – whom he also later served as Cinematographer of the documentary Israel: A Right To Live made just days after the Six-Day War. Shortly after wards, Richmond began to work as Director of Photography on feature films; his first in 1967 Only When I Larf directed by Basil Dearden.
This award-winning Cinematographer has had numerous collaborations with Director Nicolas Roeg, lensing five of his films: Don’t Look Now – for which Richmond won the prestigious BAFTA award; The Man Who Fell To Earth; Bad Timing; Heart Of Darkness; and Full Body Massage for Showtime. Some of Richmond’s other credits include: The Sandlot; Candyman; Stardust for Michael Apted; Playing God; Dirty Dancing: Havana Nights; Rough Riders for John Milius; Silver Bears for Ivan Passer, That’s Life and Sunset for Blake Edwards; The Eagle Has Landed for John Sturges; and The Greek Tycoon for J. Lee Thompson. He also served as DP on Tony Goldwin’s directorial debut Walk On The Moon, Sean Penn’s directorial debut Indian Runner, and Anjelica Houston’s directorial debut Bastard Out Of Carolina, and collaborated again with her on: Agnes Brown and Riding The Bus With My Sister.
Richmond was also responsible for photography on the seminal British music scene of the late 60’s. He shot the Rolling Stones classic, Sympathy For The Devil for Jean-Luc Godard, with which he then collaborated with Michael Lindsey Hogg on The Rolling Stones Rock And Roll Circus and the Beatles Let It Be. His other rock and roll credits include: the Who’s The Kids Are Alright, as well as the Documentary Glastonbury Fayre.
Most recently in 2015, Richmond has been brought on board as New York Film Academy’s faculty chair of the cinematography department. Anthony has taught the next generation of Cinematographers and frequently collaborates with Vendors and the outside community to development lasting relationships between his students and industry professionals. He relishes mentoring aspiring filmmakers and looks forward to meeting with students to discuss their needs on upcoming projects.
In addition, as an accomplished Cinematographer, Anthony is a member of the Academy Motion Picture Arts & Sciences (A.M.P.A.S), British Academy of Film & Television Arts (B.A.F.T.A), American Society of Cinematographers (A.S.C), and British Society of Cinematographers (B.S.C).
After Interviewing A.S.C., B.S.C. Anthony Richmond, it was fascinating to hear how much knowledge, experience, and success Richmond has had throughout his established career. From starting in the camera department in 1959 and working his way up to his current success, Richmond is a prime example to all aspiring cinematographers that diligence and determination certainly goes a long way. Lastly, I asked Richmond what advice he would give to aspiring cinematographers. Mr. Richmond stated that taking chances, keep shooting, and learning from your mistakes is the remedy for success.
Anthony Richmond
Leica 35mm Summilux-C
Leica 35mm Summilux-C lenses are a ground breaking new line of PL mount primes designed to deliver ultra-high optical performance for film and digital capture.
These new T1.4 close focus primes employ a unique multi-aspheric design and high-precision cine lens mechanics to provide unmatched flat field illumination across the entire 35mm frame and suppression of color finging in the farthest corners of the frame with no discernable breathing.
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. Another unique feature is an integrated net ring threaded into the rear element.
Designed to be lightweight yet rugged, the mount and lens barrel are manufactured from high-strength titanium. Leica Summilux-C lenses weigh between 1.6 and 1.8kg (3.5 – 4.0 lbs).
Call one of our rental professionals for further details on 818 972-5000.
Leica 35mm Summilux-C Primes
VFX FILMING AT HOLLYWOOD CAMERA
CHOOSE THE ALEXA, MATCH THE LENS
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.
Arri Alexa 4:3 – With the ALEXA 4:3 cameras, the full area of the sensor is used and a much higher image quality retained. In addition, the unique optical characteristics of anamorphic lenses the magic at the heart of anamorphic cinematography are rendered faithfully and fully in the digital image.
Arri Alexa XT – The ALEXA XT cameras add a number of significant and unique features: a Super 35 sensor with Open Gate and 4:3 sensor modes, in-camera ARRIRAW up to 120 fps, ProRes 4444 XQ, ProRes 3.2K, internal ND filter, Lens Data System, integrated CDL capture, ARRIRAW checksum, included anamorphic de-squeeze and high speed licenses, new viewfinder mounting bracket as well as a new, super silent fan.
Arri Alexa Mini – ARRI Alexa Mini combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry. Designed for specialized shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows the crew to keep a single system that is trusted all over the world.
COLOR GRADING ROOM
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.
Portable Post Production – Dreadnought
A Full Post Production Facility on Wheels. They call it the “Dreadnought“.
A portable post production created after years of research and development by Gianluca Bertone of Bertone Visuals, the Dreadnought is the set solution that every production needs.
Simply put, the Dreadnought 4K is a mobile system that allows one to Edit, Grade (Secondary Color Correction/Power Windows) and Execute Raw Footage on LTO-5 supports.
Directors, DPs, Editors and Colorists can work from set, the production office or even back at the hotel! Post production made easy.
Powered by CUDA technology, the Dreadnought 4K can reproduce in real time any 3K/4K raw footage, like Arri Raw, Sony Raw or Canon Raw. With additional accessories, the Dreadnought can even project 4K on a big screen (Rec 709 Color Space, Ultra HD and 4K Resolution).
The Dreadnought 4K can read digital magazines from ANY 4K digital cameras (like the Sony F65), and ingests “digital assets” (i.e. footage) with 6G SAS and 10 Gigabit fiber optic technology. Rest assured that your entire feature or multi-camera commercial will be stored safely.
This is a powerful system that can transcode for dailies (Apple Pro Res, Avid DNxHD, h264 codec, etc.), and can even make a ROUGH CUT with Avid Media Composer, Adobe Premiere CS6/CC or DaVinci Resolve 11.
Finally, the entire system is transported via a Nissan Cargo Van HD3500 with hydraulic lift, and comes with a skilled technician.
Portable Post Production – Dreadnought
MoVi M10 SET UP AT HOLLYWOOD CAMERA
All our products including our MoVi M10’s when returned from our clients are checked over and serviced by our service team in the rental department. Marko is checking over the MoVI M10 by Freefly Systems, making sure everything is in working order so its ready for our next client.
Check out these pictures we put up that show some of the steps needed for the MoVi M10 to be set up. Today he is testing and balancing the RED Dragon with the Leica Summicron-C 29mm lens.
The M10 is custom designed and custom built. The brushless motors are the perfect blend of performance and weight while the entire rig runs virtually silently. The M10 gives filmmakers total control over the stabilizer with multiple modes for single operators and dual operators.
HOLLYWOOD CAMERA ON FACEBOOK
Check us out on our Facebook page – https://www.facebook.com/hollywoodcamera
