Supporting film and television production requires heavy-hitting services and tools –– from accounting, payroll and top-notch crews to an online database of nationwide film/TV incentives and software for every step of the production process. Media Services is a company that has been providing all of this and more.Read more...
Robert Massey is a cinematographer and the president of Pulse Media, Inc., a full-service video production company. He recalls a producer once telling him, “I have a high-maintenance client, and I don’t need a high-maintenance vendor.” The message was clear: bogged down by pressures to cut costs and satisfy the often contradictory demands of clients, today’s producers have enough to worry about in preproduction. This is why the one-stop shop provided by many crew companies is more needed than ever. “Producers want things to be easy,” explains Massey. “We provide that.”Read more...
For the more than 111 million viewers that watched the Super Bowl they got to enjoy spectacular football up close and personal. This was accomplished by Game Creek Video that outfitted all 18 of its HD field cameras with XJ100x9.3B long-zoom HD lenses from Canon U.S.A. In addition to using Canon's first triple-digit long-zoom HD field lens, Game Creek Video equipped its portable HD cameras with Canon HJ22ex7.6B and HJ11x4.7B ENG-style lenses, and HJ21ex7.5B portable EFP lenses.
The Verona Opera Festival is not only renowned for its sublime operatic performances, but for its historic venue--the 2,000-year-old Roman amphitheatre, built in 30 AD. Since the inception of the Verona Opera in 1913, performances at the Festival at the Arena di Verona have been without live sound reinforcement. K-array, along with the production company, Musical Box Rent, was asked to provide the first sound system to ever be utilized in the legendary arena. The change was prompted by a need for better overall sound quality throughout the venue, including its back rows and terraces. This year marks a milestone in the history of open-air opera, where technology has finally met up with the artistic needs of the genre. To increase intelligibility and perception of detail without detracting from the raw nature of operatic performance, a completely transparent sound reinforcement system was required; K-array’s KK50 Kobra loudspeakers were selected to preserve the traditional atmosphere and acoustics of the theatre. Alessandro Tatini, CEO of K-array, recalls meeting with Musical Box Rent owner Giambattista Zerpelloni while working on the sound for a concert given by Elisa, the award-winning Italian-born singer-songwriter. “In short, the singers, musicians, and directors were afraid of losing the naturalness of the sound, due to the sound reinforcement system,” he says. “It was a difficult concept to convey that in reality, our system wouldn’t amplify at all, but would merely enrich the sound to a minimum degree.”
Redrock Micro today announced the new microRRS clamp for adapting the Really Right Stuff line of quick release clamps and plates for use with Redrock's HDSLR camera rigs.
The explosion of video-capable DSLR cameras (HDSLR cameras) - including the Canon 5D MKII - has resulted in the immense popularity of support rigs from Redrock Micro. Still photographers looking to embrace video have long desired to adapt and use Really Right Stuff, a mainstay in traditional still photography world. Redrock Micro, working in partnership with Really Right Stuff, now offers the microRRS clamp for adapting the Really Right Stuff quick release to Redrock's award-winning cinema rigs and accessories.
Redrock customers now have a choice of camera mounts for their Redrock rigs: the Redrock DSLR baseplate or the microRRS adapter clamp with Really Right Stuff. The Redrock DSLR baseplate continues to be the ideal solution for most video needs. The microRRS with Really Right stuff clamps are a great choice for still photographers who want to continue using their Really Right Stuff quick release system, or for high-end cinematographers who demand the ultimate stability in a camera mounting system.
Key advantages of the microRRS clamp include:
- Adapts Really Right Stuff clamps and plates to Redrock's standards-based support equipment
- Incredibly solid camera support for the most demanding support requirements
- Quick release system for fast camera or lens repositioning
- Camera can be used vertically (advertising and digital signage applications)
- Can be used with either camera or lens support plates
- Uses standard Really Right Stuff clamps and plates
- Completely standards-based solution for maximum compatibility
- Works with virtually all Redrock rigs
"We're excited about collaborating with Redrock Micro to build superior video support solutions," said Joe Johnson, President of Really Right Stuff. "With their experience in video and Really Right Stuff's patented quick release technology, Redrock Micro and Really Right Stuff are a great team."
"It's great to see Redrock integrate Really Right Stuff as an option," said Vincent Laforet, award-winning director, cinematographer, and photographer. "I have been using both products together for close to a year now - on every single camera mount, tripod and slide mount - even technocranes. Redrock and Really Right Stuff are at the heart of any configuration that I use."
"Really Right Stuff is extremely well regarded and hugely popular in the photography world today," said James Hurd, Chief Revolutionary for Redrock Micro. "Our new microRRS clamp really benefits customers by bringing together the best of both worlds for video DSLR rigs and accessories."
Pricing and Availability
The microRRS clamp is available immediately and is priced at $229. The microRRS can be purchased direct from Redrock Micro at store.redrockmicro.com or through one of Redrock Micro's worldwide authorized resellers. Really Right Stuff quick release clamps and plates are available exclusively from Really Right Stuff direct at www.reallyrightstuff.com.Read more...
INCEPTION Earns Top Honors from Cinematographers;BOARDWALK EMPIREand THE PACIFIC Win Big for HBO in TV Categories
Wally Pfister, ASC, Jonathan Freeman, ASC and Stephen Windon, ACS claimed top honors in the three competitive categories at the 25th Annual American Society of Cinematographers (ASC) Outstanding Achievement Awards celebration recently at the Hollywood & Highland Grand Ballroom in Hollywood California.
Pfister won the ASC Award in the feature film competition for INCEPTION. Freeman earned top accolades in the television episodic category for BOARDWALK EMPIRE (HBO). Windon was the recipient of the television movie/miniseries award for THE PACIFIC (HBO). "All of the nominees here tonight earned the respect of their peers," said Richard Crudo, ASC, chairman of the Awards Committee. "Once again, they showed the world that while cinematography requires mastering a complex craft, the art of telling stories with moving images comes from the heart and soul."
The ASC Award for best feature was presented by Oscar®-nominated actress Diane Lane who noted, "At their best, movies have the power to immerse us in other worlds and inspire us to look at our own lives through different eyes."
Pfister, who was regrettably not able to attend, was previously nominated by the ASC for BATMAN BEGINS (2006) and THE DARK KNIGHT (2009). This is his first win. The other nominees in the feature film category were Matthew Libatique, ASC (BLACK SWAN), Danny Cohen, BSC (THE KING'S SPEECH), Jeff Cronenweth, ASC (THE SOCIAL NETWORK), and Roger Deakins, ASC, BSC (TRUE GRIT).
All of the ASC feature nominees are also Oscar®-nominated this year. Emmy® Award-winning actress Allison Janney presented Freeman the Outstanding Achievement Award for the BOARDWALK EMPIRE episode "Home." This is the second ASC Award for Freeman, who previously won in 2005 for the telefilm HOMELAND SECURITY. He has also earned ASC nominations for PRINCE STREET (1998), STRANGE JUSTICE (2000) and TAKEN (2003).
The other nominees in the Television Episodic Series/Pilot Category wereEagle Egilsson, ASC for "Shell Game"/ DARK BLUE (TNT); Christopher Manley, ASC for "Blowing Smoke" / MAD MEN (AMC); Kramer Morgenthau, ASC for "Family Limitation" / BOARDWALK EMPIRE (HBO); David Stockton for the NIKITA pilot (CW); Michael Wale, CSC for "Shield" / SMALLVILLE (CW); and Glen Winter, CSC for "Abandoned"/ SMALLVILLE.
Actress Gillian Jacobs presented the television movie/miniseries to Windon for the "Okinawa" episode of THE PACIFIC. This was Windon's first ASC nomination. Nominated along with Windon were David Gribble, ACS for JESSE STONE: NO REMORSE (CBS) and Jon Joffin for "Episode 2"/ALICE (Syfy).
Oscar®-winner Tom Hanks presented the Board of Governors Award to the Julia Roberts in recognition of her tremendous body of work and contributions to the art of filmmaking. Roberts earned an Academy Award® in 2001 for her powerful role in ERIN BROCKOVICH, and Oscar® nominations for her heartfelt character portrayals in STEEL MAGNOLIASandPRETTY WOMAN.
Her films have grossed more than $2.5 billion worldwide. Hanks and Roberts star together in CHARLIE WILSON'S WAR and the upcoming LARRY CROWNE.
The presentation of the ASC Lifetime Achievement Award to 10-time ASC Award nominee Roger Deakins, ASC, BSC by Joel Coen was a highlight of the memorable evening. Deakins has also earned nine Oscar® nominations. Five of those films were written and directed by Joel and his brother Ethan Coen (TRUE GRIT; NO COUNTRY FOR OLD MEN; THE MAN WHO WASN'T THERE; O BROTHER, WHERE ART THOU?; FARGO). He won ASC Awards for THE MAN WHO WASN'T THERE in 2002 and THE SHAWSHANK REDEMPTION in 1995.
The ASC International Award was presented to John Seale, ASC, ACS by acclaimed director Michael Apted. They collaborated on the Oscar®-nominated film GORILLAS IN THE MIST. Seale's credits include THE ENGLISH PATIENT, for which he won an Oscar®, as well as COLD MOUNTAIN, RAIN MAN, and WITNESS, among others. The Career Achievement in Television Award was presented to Emmy®-winner Michael O'Shea, ASC (CSI: MIAMI) by John C. Flinn III, ASC.
The ASC Presidents Award was given to renowned photographer Douglas Kirkland by Ellen Kuras, ASC. ASC also recognized the next generation of cinematographers with the presentation of the ASC William. A. Fraker Student Heritage Award to undergraduate student Boyd Hobbs of Full Sail University and graduate student Dagmar Weaver-Madsen of UCLA. "The 25th anniversary of the ASC Awards is a celebration of the best that we can be, and an inspiration for those who will tell memorable visual stories in the future," said ASC President Michael Goi. "It is a milestone in our ongoing celebration of the power an indelible photographic image has to move an audience, influence social change, and communicate who we are within a snapshot in time." Last year, Christian Berger, AAC won the ASC feature award for THE WHITE RIBBON. For more information regarding the ASC Awards, visit the ASC website at www.theasc.com or call 323-969-4333.Read more...
SOUND DEVICES CL-9 CONTROLLER EARNS NOMINATION FOR CINEMA AUDIO SOCIETY’S TECHNICAL ACHIEVEMENT AWARD
Sound Devices’ CL-9 Controller, the latest accessory for Sound Devices best-selling 788T Digital Recorder, has been nominated for a Cinema Audio Society (CAS) Technical Achievement Award in the production category. With the addition of the CL-9, the already powerful 788T becomes a complete mixing/recording system.
“We are honored to once again be nominated for a CAS Award.” says Sound Devices Managing Director Jon Tatooles. “Through innovative accessories and our constant firmware updates, Sound Devices is able to offer new and existing 7-Series recorder customers great features and functionality. The CL-9 is the perfect complement to the 788T as it enables the recorder to become a complete mixer/recorder product for critical sound-for-picture and music productions.”
Vertical Ascent, located in Studio City, Calif., is a production company founded by award-winning Filmmaker, Documentarian and Music Video Director Adam Friedman. He is developing and producing an original 3D TV series shot with Panasonic AG-3DA1 Full HD 3D camcorders. The series was developed by Vertical Ascent for iN DEMAND that is expected to be distributed to U.S. cable systems and offered to consumers for free.Read more...
Marshall Electronics, a manufacturer of LCD monitors for Broadcast, Studio, Television, and Production, introduces the world’s first camera-top portable field monitor with integrated HDMI loop-through. This highlydesired feature allows the camera operator to pass-through the HDMI video input from the V-LCD70XP-HDMIPT to another monitor for a client, director, focus puller or crew/talent member to view on-location. This handy "all-in-one" solution bypasses the need for HDMI splitters, additional power sources and other requirements necessary to split the signal.
The V-LCD70XP-HDMIPT monitor includes composite and component inputs, HDMI pass-through, DSLR Ratio Adjustment, adjustable backlight and markers, HDMI Auto Color Space and Ratio detect, manual gamma adjustment, Image Flip, 1/4"-20 mounting on all sides, and a robust power switch.
Litepanels Sola 6™ Fresnel LED lighting fixtures made their network sports main announcers booth debut at Super Bowl XLV on The Fox Sports Network coverage on Sunday. The Sola Fresnel series, from Litepanels, a Vitec Group brand, combines the advantages of LED lighting with the properties of a Fresnel lens, including light projection over long distances and precise focusing and control of the light’s output.
FOX Sports Network has used Litepanels 1x1 fixtures in its NFL broadcast announce booths throughout the 2010 season. FOX’s Super Bowl announcers booth Sunday presented an ideal situation for deploying a pair of Sola 6™ Fresnels for the show opening announce talent shot, introducing announcers Joe Buck and Troy Aikman with the field and Cowboy Stadium crowd in the background. “We can get a greater intensity of light from the Solas, a little more volume of light toward the daylight background,” said Ben Altopp, who is in charge of FOX’s announce booth. “The Solas give us a more push, a little more kick.” Altopp worked in conjunction with Fox’s lighting designer Chuck Noble who took advantage of the Sola 6’s variable beam shaping control to light the well-known announcer team both on the main set with the stadium background, as well as a separate LED wall set.