VFX FILMING AT HOLLYWOOD CAMERA
Sound Stage with ‘The Unwilling” Crew
Cast and crew from ‘The Unwilling’ came into Hollywood Camera to film some special effects pick-up shots on our sound stage.
‘The Unwilling’ is a psychological thriller directed by Jonathan Heap, produced by Philip Morton and starring Dina Meyer, Lance Henriksen and David Lipper. If the tag line has any indication, we are in for an edge of your seat experience.
“6 family members gather for the reading of a will. Who will leave alive?”
David Stump, ASC, the cinematographer for ‘The Unwilling’, is a member of the ASC and his credits include some amazing films. Mr. Stump decided to film the principle photography in 4K with the Sony F65, F55 and FS7 and the Leica Sumillux C primes paired with Fujinon 25-300mm T3.5 and 19-90mm T2.9.
The F65 became particular useful with its 16 bit color depth and all the scenes that had to have visual effects were shot with F65 mounted on a Cinetech Capinera dolly also provided from Hollywood Camera. The Sony F55 was used as the camera car and hand held camera, whereas the FS7 was used for the Movi M15 scenes.
The special effects pick up shots today were for a mirror shot that was needed for a scene. Filming with the Sony F65, and the Fujinon 25-300mm they needed a more heavy duty dolly. We provided them with the Cinetech Falcon 2 that is usually available for rental to the customers that are shooting in our stage. David placed the camera on its side to give you the illusion the footage was vertical, yet the prop and actor were in a horizontal position.
Bertone Visuals, our partner company provided the digital acquisition systems (Dreadnought 4K cart) which allow the DIT not only to store and archive the whole film, but also, to take care of the color management and the transcoding on set from 4K Raw and XAVC to 2K Apple pro-res 4:2:2 codec. The editor for the unwilling is currently cutting the thriller/horror movie in Premiere CC.
Gianluca Bertone the president of Bertone Visuals participated as second camera operator and second unit DP, whereas his assistant Marco Paonessa worked as DIT.
The Unwilling is being edited at the new Bertone Visuals grading room located on the second floor of Hollywood Camera. The editor will import his cut via EDL to DaVinci Resolve where Bertone Visuals and Mr. Stump ASC, will grade the whole feature in P3-DCI (for theatrical release via DCP) and Rec 709 for Internet, TV and DVD applications.
We love having productions come over and use our facilities. Our 30 x 35 foot sound stage is available to rent for film, commercial and rehearsals. Call one of our rental agents to book you in for a walk through on 818 972 5000.
CODEX S RECORDER
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
Check Availability!
ODYSSEY 7Q RECORDER
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
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.
HOLLYWOOD CAMERA COMPANY PROFILE
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.
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
RED camera and recording on SSD cards
1) Connect the camera to DC power supply
2) Complete a factory restore on Operating System
3) Set the camera project to the desired Resolution, Frame Rate, and Codec
4) Insert SSD media into the camera
5) Format the SSD using the media menu
6) Shoot 3 shots over 2 min each
7) While shooting the test shots attach a lens to the camera and remove lens cap
It is important that the test shots have variation of color, exposure, and distance to objects. I would suggest pointing the camera around the room and focusing on different objects.
This is because when the camera is only creating black pixels it isn’t really testing the camera’s ability to record an image.
Litepanels 1×1 Bi-Color. Let There Be Light! (Like, 4X the light!)
Litepanels 1×1 Bi-Color
All In One – Tungsten & Daylight
Finally, ultimate color control right at your fingertips. A soft, high output light that lets you quickly dial up any color – from cool white daylight to warm white tungsten. The new Litepanels 1×1 Bi-Color flood lets you adjust color temperature instantly so you can adapt to different shooting conditions and skin tones on the fly. Like all Litepanels’ 1×1 lights, the Bi-Color has a full-range dimmer, remains cool to the touch, runs on AC or DC power, and produces a great, soft-wrapping light quality.
Features/Advantages
- Slim, sturdy, lightweight and portable
- Adjust color from daylight to tungsten and anything in between
- Powered by AC adapter or professional batteries via an optional adapter
- Integrated DMX module with RJ45 (Ethernet) connectors for remote dimming and color temperature adjustment using DMX512 protocol
- Litepanels Cool to the Touch™ heat-free LED technology
- Flicker-free at any frame rate or shutter angle
- 100% to 0 dimming with no noticeable color shift
- Comparable light output of 200W HMI
- Long life LEDs
- Modular design for multi-panel configuration
- View-thru holes to see the talent
- Ballast-free
Portable Post-Production!
A Full Post-Production Facility on Wheels. They call it the “Dreadnought“.
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!
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.