Canon C500 and Leica Summilux-C T1.4 package
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 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.
UCLA EXTENSION – CINEMATOGRAPHY
UCLA Extension
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.
Sony FS7
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!
Sony F55 CINEALTA
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.
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
SEAN BOBBITT B.S.C, ON HAND HELD CINEMATOGRAPHY
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.
Hand Held Cinematography Video
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.
Sony F55 vs Arri Alexa Plus
A good friend of Hollywood Camera Pierre Chemaly who’s been a DP since 1992 dropped in to run some camera tests for his upcoming feature film. Pierre’s shot features/shorts, commercials and Aerial work all over Eurpoe, Africa and the US and like most has seen the transition from film to digital.
Gianluca Bertone from Bertone Visuals and Pierre discuss the pros and cons of the Sony F55 and the Arri Alexa Plus. Pierre wanted a camera package that was the best choice for the job, he wanted something lightweight and shoots 4k Raw, so he has the option to go to a theatrical release and not be restricted in quality.
SONY F55
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