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Found 24 results

  1. RED DIGITAL CINEMA® announced today that its award-winning HELIUM® 8K S35 and GEMINI® 5K S35 sensors will be incorporated into the RED RANGER® camera ecosystem. These two new alternatives create a robust lineup for creators who prefer an integrated, all-in-one system to the more modular RED DSMC2® camera. The RANGER HELIUM 8K S35 and RANGER GEMINI 5K S35 is available now via RED’s global network of resellers, participating rental houses, and directly through RED. The cameras will be on display for the first time at IBC in the RED meeting room on the fourth floor of the Elicium at the RAI Amsterdam, from September 13-17. Designed to meet the needs of high-end productions, the RED RANGER MONSTRO 8K VV has been well received by cinematographers since its launch earlier this year, and remains a rental house-only product. All three sensor variants of the RED RANGER camera system include the same benefits of the compact, standardized camera body, weighing around 7.5 pounds (depending on battery). The system can also handle heavy-duty power sources to satisfy power-hungry configurations, and boasts a large fan for quiet, more efficient temperature management. The RED RANGER camera system consists of three SDI outputs (two mirrored and one independent) allowing two different looks to be output simultaneously; wide-input voltage (11.5V to 32V); 24V and 12V power outs (two of each); one 12V P-Tap; integrated 5-pin XLR stereo audio input (line/mic/+48V selectable); as well as genlock, timecode, USB, and control. Both V-Lock and Gold Mount battery options are supported. As with all current RED cameras, the RANGER can simultaneously record REDCODE RAW plus Apple ProRes or AVID DNxHD or DNxHR at up to 300 MB/s write speeds. It also features RED’s end-to-end color management and post workflow with the enhanced image processing pipeline (IPP2). RED now offers two separate but equally robust product lineups that give content creators more creative choices. The DSMC2 ecosystem continues to provide the most dynamic and modular cinema camera for users who value maximum flexibility, allowing their imaginations to run wild with configuration options. RED RANGER is the perfect option for those that prefer a less complex and more standardized alternative. “In collaboration with rental houses to bring the RANGER MONSTRO to market, we have heard great feedback from customers, inspiring these two new variants,” said RED Digital Cinema President Jarred Land. “We’re excited to offer the RANGER line-up to a wider variety of professional productions and look forward to seeing the amazing images that are created.” RANGER HELIUM and RANGER GEMINI ship complete with: • New Production Top Handle • Shimmed PL Mount • New LCD/EVF Adaptor D with improved cable routing when used on the left side of the camera • New 24V AC power adaptor with 3-pin 24V XLR power cable, which can also be used with 24V block batteries • Lens mount shim pack • Compatible Hex and Torx tools Additionally, RED plans to introduce Canon EF Mount versions of both RANGER HELIUM and RANGER GEMINI later this year. Pricing for the two new variants is $29,950/€27,450/£24,750 for RANGER HELIUM and $24,950/€22,850/£20,650 for RANGER GEMINI. Go to www.red.com/red-ranger for more information, or visit your local RED Authorized Dealer.
  2. Bright Tangerine VIV Kit 2 (3-Stage) Carbon Mattebox with Accessories Located in Gothenburg, Sweden In excellent condition. See pictures: https://bit.ly/2EZw2HI DETAILS: Bright Tangerine VIV Kit 2 (3-Stage) Carbon Mattebox: 1x VIV Core 1 2x Rotating 4x5.65" Filter Stages 1x Fixed 4x5.65" Filter Stage 3x 4x5.65” Filter Trays Accessories: 2x VIV / VIV 5"- Carbon Fibre Bottom/Top Flag with Dual Variable Side Wings 2x Carbon Side Flags, Inc Flag Mounts with Variable Side Wing 1x VIV and VIV 5 Swing Away Kit : inc Production Swing Away Core 15mm Lightweight arm and VIV dovetail bracket. 1x 15mm LWS Bracket 1x 19mm Studio Bracket 1x Anti Reflective Filter Tilt Control - A.R.F 30 Degrees of Freedom 1x Viv / Viv 5" Filter Guard Safety Lock 1x 150 -143 mm Donut Adaptor Ring 1x 143 mm Rubber Donut - 114 mm with Metal Threaded Ring. Fitted with Retaining Ring for 138mm Round Filters 1x 143 mm Black Hole Donut - Diameter 58mm - 143mm. Conical shaped for lenses that travel - upto 2".Ring for 138mm Round Filter. 1x 114 mm - 110 mm Threaded Adaptor Ring 1x 114 mm - 95 mm Threaded Adaptor Ring 1x 150- 110 mm Clamp on Ring 1x French Flag Bracket with Five 3/8" Threaded Mounting Points for Monitors and Cine Tape 5x Hard Mattes (18-20, 24-28, 32-40, 50-75, 85-180) PRICE 2300EUR (3460EUR new) PAYMENT PayPal or cash in hand Buyer pays shipping, PayPal and custom fees, if any. PICTURES https://bit.ly/2EZw2HI
  3. I'll be traveling from LA to Berlin, Zurich, and then back to LA and I was curious if y'all could tell me about the restrictions/regulations of traveling with gear. I'm trying to put together a small camera package that can be put in to the overhead compartment, I know there's some business with lithium ion batteries so that's definitely a concern. Also, any recommendations for cameras of the 4K variety that are compact would be amazing. Thank you in advance!
  4. Hey all, long time lurker first time poster. I've been working a lot lately, and saving up as well. Now the time has come to invest in some gear (with cash not credit). I'm not here to ask what I should buy with what I have but if I should buy at all? I see that people look for owner operators or sometimes just a DP with camera system knowledge. Is there a benefit to investing a sh-ton into a pro level camera system vs renting per job or vise versa? A bit of background to my area, smaller market city with a big gap from wedding videographers/low budget web to high budget full blown commercial operations. Would love to move into that middle area. Thanks for any insight you can provide!!
  5. Minimal Camera gear for independent productions Not long ago I wrapped an independent feature that was shot in Morocco with a DoP I had already worked for on two more movies. From the very first contact with the production company, it was quite clear that it was a low budget movie, therefore it was mandatory to squeeze the most out of every single euro in order to make the shooting possible according to the schedule, without the need to do extra hours and such. As usual, I advised the director of photography on the gear list, try to get everything I considered necessary and making a separate list of devices and accessories that could be considered dispensable, hoping that finally the production company would come to an agreement with the rental house. Since the prep time had been very short, there was a lot of information about the shooting I wasn’t aware of, and now that I came back I would like to share what I’ve learn from this experience. Speaking about gear and accessories, I realized that there are some of them that are wrongly considered “fancy”, while it’s precisely in low budget productions when they become more handy and/or essential. Here you have my top 3... More info here Camaleon Cinema Services S.L - Fabio Giolitti.
  6. I finally own a decent follow focus. It's a used Zacuto Z-focus. Works great, smooth turn, zero play. I'm using it together with a Sigma 18-35 f1.8, with a this ultra cheap focus ring: https://www.amazon.com/Neewer-Adjustable-Follow-Lenses-diameter/dp/B008PP3LY4/ref=sr_1_2?ie=UTF8&qid=1486941772&sr=8-2&keywords=neewer+focus+ring The Sigma lens itself has a buttery smooth focus turn, and like I said, the Z-focus is basically silk when it's just spinning by itself. But the moment the Z-focus is actually put to use turning the Sigma lens, it takes a little more effort to turn than I feel it should, and there are some subtle vibrations in the movement. Adds up to a less-than-stellar focusing experience. I had a similar problem when I first got the Sigma and the Z-focus. I'd bought a gear ring that was specially fitted to the Sigma, and it proved totally unusable--vibrations galore. Is this a normal problem with cheap, crappy focus rings? I can't find anyone else who describes experiencing this issue quite like I have. Help!
  7. Hey guys, I have a few more I'm tossing up for sale this week: -- 2060HD (with case) + Standards & Babies. I'll throw in adapters and a euro ball hi-hat too. Sticks are Mitchell but you can grab a Matthews or Backstage bowl adapter if you want to go euro/150mm. The head is ready to rock for either Mitchell or Euro ball. *** $7000 and its all yours. -- MB20II Mattebox One more up for grabs. We bumped to 6x6's, so this box has to go as well unfortunately. Great 3 Stage ready to go. Three 4x5.65 trays, Flags (Top and Sides), Mattes, Bellows, 114-110 Ring, 100 and 80mm plus 19mm Rod Adapter *** First $2950 takes it.
  8. I just bought a motor for my Arriflex 2b. It is an Arriflex 24f constant speed motor. When I held the two together, the gear in the center of the motor and the gear in the camera are nowhere near each other, and it looks like there is another gear that is missing. I noticed the cine60 base has an intermediate composite gear, is this the same case in the Arri motor? Can I still purchase one of these gears should they exist? Thanks, Max May DP and Writer: Buteo-Gallus Films
  9. Hello guys. Need help finding a focus ring to adapt into my Schneider 16mm lenses. The problem is the circumference of the focus ring on the lens is 165mm. Redrock Micro has the type "A" ring with the minimum of 180mm. Years ago I've bought from Shoot35 in UK a model that fits perfectly, but they dont' have it anymore. I need 3 more. I know there are the universal 'malleable' rings, but I need the ones that have a larger diameter outside, to reach the follow focus gear. I've been looking around all the web, not even on eBay I could find, new or used. Any help much appreciated. Regards, Flavio
  10. I've been following this guy's videos for a while now and he's built a few things such as lighting gear for very cheap but nothing I had never seen. In his last video he shows how to build a light panel that aims to simulate a window, from old laptop screen. I really think that this is something that could have many applications for filmakers on a budget. The result seems very soft and close to what you could obtain with very expensive gear. Maybe there is another type of DIY gear that is close to this one but anyway, this is the first time I see something like that and I think it's awesome !
  11. For sale: used IDX Wevi CW-5HD Cam-Wave HD Video Wireless Transmission System. Includes a transmitter and a receiver, both configured for V-Mount battery operation. Some cosmetic wear, but fully functional. $900 If interested, please send a PM or an email to sales@tcsfilm.com with any questions. Pictures and serial numbers available upon request. We have multiple units available. SDI Compatibility 150' range Low 1ms latency The Transmitter can run off a V-Mount battery or function off DC power through its 4-pin XLR input Weighs only 1.8lbs
  12. LONDON (July 8, 2015) - Vitec Videocom, the Broadcast Division of the Vitec Group, has announced a distribution agreement with 1SourceVideo, an American distributor of film production equipment. The arrangement includes world-renowned brands Anton/Bauer, Litepanels, Sachtler, OConnor, and Vinten, market leaders in mobile power systems, LED lighting fixtures, and camera supports. Paul Weiser, VP of Sales-Americas for Vitec Videocom, commented on the partnership, "We're very excited about the increased availability of our products nationally and the complementary advantage they will have with 1SourceVideo's portfolio of popular brands such as Blackmagic Design." The new alignment increases circulation of certain Vitec brand products in the United States and gives smaller resellers access to 1SourceVideo's East and West coast inventory. Ultimately, the arrangement provides faster and better service to all channels, especially order fulfillment. Direct dealers of Vitec brands will also receive increased access to support and services. For more information, please visit: http://1sourcevideo.com/
  13. So I am currently going into my senior year at film school, and am trying to work as a PA in LA this summer. I have some money saved up, and am trying to buy some essential gear to have on set. I just don't have enough money right now to buy all the essentials I have been compiling. Do any of you have any suggestions on which are the most important up front? Any suggestions are welcome. Thanks guys.
  14. Gear Helps Camera Department's Smooth Production NEW YORK (April 29, 2015) - Cinematographers Eric Moynier and Michael Caracciolo shoot NBC's hit series, The Blacklist, with support from Anton/Bauer batteries, Litepanels fixtures, and OConnor fluid heads. Mostly shot on location - including Manhattan, the outer boroughs, Long Island, New York's Rockland and Westchester counties and the stages of Chelsea Piers - the show's dramatic storytelling is a perfect match for the tools. The Blacklist stars James Spader as ex-government agent Raymond "Red" Reddington, one of the FBI's Most Wanted fugitives, who comes to work with the FBI to identify a "blacklist" of politicians, mobsters, spies and international terrorists. Moynier and Caracciolo are joined on the set by A camera operator Tom Weston, B camera operator Saade Mustafa, and a third rotating operator. They deploy three Sony PMW-F55 CineAlta 4K digital cinema cameras on an average day, but as many as six cameras are sometimes rolling. They're outfitted with Panavision Primo prime lenses and zooms, and Angenieux Optimo zooms. Moynier estimates that OConnor 2575 fluid heads, rented from Panavision New York, are used 80 to 90 percent of the time. "OConnor has always been my workhorse; it's my go-to fluid head," says Moynier, who has been a fan for the last 20 years. "I love the feel of the 2575. It's like I'm holding the story in my hands. It's not a mechanical device - more of an emotional way to operate. Operating with a fluid head is very different from wheels. It's more personal, more organic. I operate with very high tensions so when I stop pushing, the camera stops in its tracks." Weston is also a longtime 2575 user. "It's a terrific all-around head that's been reliable for years, and a standard of the industry," he adds. "The 2575 is robust but smooth and responds well to a soft touch. It has a great counterbalance, and I can point it straight up or straight down." He also gives kudos to the "strong locking system," a must when cameras are loaded with accessories. "When I put an 11:1 Panavision lens on the lighter Sony F55, then load it up with Preston (camera and lens control), MDR (cable), batteries, two monitors and an eyepiece, it becomes a very heavy and long camera. But if I want to do an extreme tilt, I know the head's locking system will hold it all in place." Weston notes that the 2575 even performs well in the arctic temperatures that New York City experienced this winter. "We shot in 15-degree (Fahrenheit) weather and the lenses can become difficult to focus and zoom sometimes. But we've never had a problem with the OConnor fluid heads," he says. Litepanels 1x1 panels are used extensively on the series, too. "They're small, slim and unobtrusive, so they can be hidden and tucked away on sets," says Moynier. "And you can adjust their intensity." "I love them and use them every day," says gaffer Michael Price. "They're quick to hang as backlights, with no cables; I can add them as last-minute key lights. I even use them off camera to light a dark staircase, or I'll put one on a stand when an actor needs a little work light to study the script." Price likes how he can "change the color temperature of the Litepanels from tungsten to daylight simply by spinning the dial. And they're fully dimmable, too." He powers the Litepanels, rented from ARRI New York, with six Anton/Bauer DIONIC HC batteries, which he values for their long charge life. "We shoot a lot of long scenes, and I never have to change batteries," he says. Anton/Bauer lithium-ion batteries also power the F55 cameras. "We use the DIONIC HCs with real-time display as a source of power in conjunction with our Panavision block batteries," says Hollis Meminger, A camera 1st assistant on the show. "They are extremely useful and carry a decent weight distribution when we are handheld or going extremely low profile inside car rigs, or for helicopter and airplane sequences." He adds that the Anton/Bauer batteries are used "on everything from our monitors to wireless video systems, as well as with our camera stabilization system. The batteries have proven to be extremely reliable and very useful for such a high-impact show as The Blacklist." The popular crime drama's second season is currently airing, and NBC has renewed The Blacklist for a third year. # [Editor's Note: Photos available for download here: https://app.box.com/s/yfei1tjke4dj0xk6y23nf8ugkf6xj736]
  15. Hey guys, These past 6 months have been pretty good to me in terms of work and I'm starting to think about ways I can reinvest some of the income I've made back into equipment in order to a) make myself more marketable as a dp and camera assistant, b ) make it easier for me to do my job well and c) turn a profit by taking small rental fees here and there on gear I bring to each production, etc. My question is, what does everybody consider to be the best options for investment items that don't lose value as quickly, yet are often in demand on set. As a camera assistant, my first inclination is to invest in a great monitor like a smallHD dp7 knowing that I might be able to ask for an extra $50 or 60/day on top of my normal day rate and that it would also help me do my job easier, while being a great monitor for jobs I take as a dp. The next item I thought about was getting a Dana Dolly as they're only around $800 and they go for ~100/day on productions. That's a pretty good rental rate and for lower budget sets, they're very useful. So does anybody have gear suggestions for someone starting out investing in equipment who would like to purchase quality items that would be useful to oneself, yet also make some money on the side that wouldn't depreciate quite as fast as say a camera body? Obviously, lenses are what many will say, but aside from cheapies, they're a bit out of my price range at the moment.
  16. i have a couple of these follow focus gears for Chrosziel follow focus, they are unused, some are same and there is both pitch size for both tv and flm. they are located in sweden, but i can ship almost anywhere. Price: gibe me an offer
  17. Company Brings Quality Field Monitors To Vitec Product line-up LONDON (December 11, 2014) - The Vitec Group today announced that it has acquired SmallHD, the North Carolina company known for its high-quality, high-definition, on-camera field monitors used by videographers, cinematographers, camera assistants and other creative professionals across the filmmaking world. SmallHD will be incorporated into the Vitec Group's Videocom division, complementing its existing brands. SmallHD pioneered the design and manufacture of rugged, future-proofed field monitors based on the company's experience in production, collaborations with other filmmakers, and from extensive customer feedback. SmallHD's association with the Vitec Group will enable it to bring a new range of innovative monitors to customers. "With the rapid increase of independent filmmakers and videographers, the need for quality, high-performing, end-to-end solutions has never been stronger," said Vitec Videocom CEO Matt Danilowicz. "There is definite synergy between SmallHD and Vitec Videocom, especially given that their pioneering drive matches our own. The acquisition enables us to offer another set of professional and innovative solutions for the production workflow, and takes us a step closer to fully addressing the needs of this expanding and exciting market." SmallHD was officially founded in 2009 by Wes Phillips and Dale Backus. The pair, along with a group of friends, had been creating spots for local businesses and entered the Doritos-sponsored Crash The Super Bowl contest with a spot entitled Live the Flavor. The resulting notoriety from winning brought national work in for the team. The demand to complete increasingly higher-calibre work made the SmallHD creatives and production crew aware of a need for better tools. Rather than buying off-the-shelf solutions, they were inspired to create them, specifically field monitors. The DP6 field monitor, their first mainstream product, not only met their own high standards but was immediately sought after by other filmmakers. When SmallHD won an unprecedented second Doritos Crash The Super Bowl challenge in 2010, the company used the winnings to develop its product line and expand manufacturing operations. "We are looking forward to joining the Vitec Group of companies," said Wes Phillips, founder and CEO of SmallHD. "It's exciting for SmallHD to be included among the great brands that they represent. We have aspirations to continue to build outstanding monitors, and Vitec not only encourages that entrepreneurial spirit but offers the support and expertise we need to move forward." SmallHD joins the Vitec Videocom line-up of brands that serves its users in broadcast, cinematography and professional content creation. Other Vitec Videocom brands include Anton/Bauer, Autoscript, Autocue, Camera Corps, Bexel, Litepanels, OConnor, Petrol Bags, Sachtler, Teradek, The Camera Store, Vinten and Vinten Radamec.
  18. Hello. Would like to get some feedback on good/affordable gears for 16mm film lenses, mostly for BMPCC. I own a BMPCC , Schneider and Kern Primes. Looking for : => A good CAGE I own this: http://www.ebay.co.uk/itm/BMPC-Cage-Top-Handle-Grip-15mm-BMPCC-for-Blackmagic-Pocket-Camera-support-system-/261534271701?pt=UK_Photography_Movie_Camera_Accessories&hash=item3ce4a848d5 , which scratches the body a bit when in and out, too heavy and annoying to do Steadicam work. Thinking to get the Varavon (http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=261398476332&fromMakeTrack=true&ssPageName=VIP:watchlink:top:en) as Tilta is quite pricey although people say it's great, I never tried. THe good on the Varavon seem is that it looks light as per designs, but sill the Clamp is too high so in the Steadicam is hard to balance, so I might use one in my shoulder rigs that might be 2/3 of the height. I'm looking for a good one that is practical and fits well, if any other suggestion please let me know. => Good adaptable RINGS for follow focus. Still couldn't find small than 50-60mm (like this 60mm: http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=281387086694&fromMakeTrack=true&ssPageName=VIP:watchlink:top:en) as the barrel of the kerns are ridiculously small (25mm wide). And I'm not sure if the 60mm would fit a Schneider barrel of 45mm for example. Any experience/Ideas of rings? Any other tips around BMPCC gear and accessories, just put in here. Thanks guys.
  19. Hi Cinematography.com I thought you guys would be interested in our awesome camera accessories sale. Up to 50% off of camera accessories for DSLR and compact cameras. These professional quality products will allow you to take your filmmaking and camera skills to the next level. http://www.genustech.tv/collections/specials Also check out our awesome mini jib. A compact lightweight camera jib that allows you to pull of those smooth cinematic shots you want. http://www.genustech.tv/collections/camera-jibs/products/camera-mini-jib
  20. For Sale: MItchell Light Weight Geared Head - Black. I purchased this 3 speed geared head directly from Panavision L.A. - it was in brand new condition and has seen little use since then. The action on the gears is extremely smooth - no slop at all. Panavision did their usual dilligence and have slightly modified the head for smooth operation. This Mitchell Model #135R500 with built in tilt plate comes with: Head # 276, 150mm flat base tie down, 2 wheels, Riser, Panavision shipping case and original owners manual. I am the only owner. This head has been well cared for as you can see from the photo. Price: $5200. + shipping Randall Love - Director of Photography
  21. Guest

    WantToBuy gear

    I wan to buy these. If you want to sell, please email me to avkpr@yahoo.co.in with details and pics. I live in SFO. We can ship stuff if you live somewhere else. BlackMagic cinema camera Kessler pocket dolly v2 Oben BC ball head gimbal Canon lens 70-200 f2.8 baseplate for VCT-R640 tripod Field DP4 monitor 5TB(or 4) external hard drive
  22. Event on April 24 will Feature Video and Audio Production Equipment for Purchase or Lease BURBANK, CA - Bexel's Technical Sales & Solutions (TSS) division will host an Open House this Thursday, April 24, from 2-8 p.m., showcasing its Gold Line of pristine, one-time use broadcast video and audio equipment. Much of the gear, which will be on display in a new showroom at Bexel's Burbank headquarters (2701 North Ontario Street, Burbank, CA 91504), was recently used to cover worldwide sporting events in Sochi, Russia. Available for purchase or lease, Bexel's Gold Line includes a plethora of equipment from camera systems, lenses, accessories and support, to video and audio converters, audio monitoring, speakers, wireless intercom, solid state recorders, microphones, P2 camcorders, and more. Leading product specialists from Bexel, AJA, Lectrosonics, Panasonic, JVC, TSL, Shure, LAWO, Livestream, and more will also be on hand at the Open House to answer questions. The Gold Line of equipment comes with a Bexel Gold 30-day service warranty, plus the remaining manufacturer's warranty.* Each piece of gear has been expertly inspected by Bexel engineers and certified to meet the company's rigorous standards, ensuring every detail of the components has been tested and is in mint, like-new condition. The company will also provide complimentary technical consultation and support or training to the new owners of all Gold Line products. Bexel TSS offers the latest new and pre-owned professional products with top-of-the-line manufacturers, such as Panasonic, Clear-Com, Fujinon, Canon, Litepanels, Sony, Evertz, and many more. The division represents over 200 product lines. Bexel TSS also offers its own line of intercom and audio products made in house under the Bexel ASG brand. To RSVP for the event, which will also include a raffle and refreshments, call 818-565-4300 or email JoyceBente@bexel.com. For more information, visit Bexel TSS at http://www.bexel.com/bexel-tss/. (* Warranties may differ, depending on when equipment was purchased by Bexel.) About Bexel TSS Bexel Technical Sales & Solutions (TSS), a business segment of Bexel Broadcast Services, a Vitec Group Brand, has offered the latest new and pre-owned professional broadcast video and audio products since 1991. Over the years, Bexel TSS has expanded to include exclusive dealerships with top-of-the-line manufacturers, such as Panasonic, Lectrosonics, Clear-Com, Fujinon, Sony, AJA, Evertz, Livestream, and many more. As part of the Vitec Group of companies, Bexel has access to a wide range of industry standard product lines including Anton/Bauer, Vinten, Litepanels, Sachtler and Petrol Bags. Bexel TSS also offers its own line of intercom and audio products made in house under the Bexel ASG brand. Bexel's specialists offer product training and support before and after the sale, as well as in-house equipment maintenance and repair. In an effort to supply the broadcast industry with unequaled service and product solutions at exceptional prices, Bexel TSS represents over 200 product lines. For more information about Bexel, visit www.bexel.com, or follow them on Facebook, Twitter and Instagram. About the Vitec Group Capture the moment™ For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.
  23. Cinelease, Inc., the entertainment industry leader in equipment for hire and service, is seeking qualified individuals to join their UK team. To view available positions visit: http://www.everythinginlight.com/careers/
  24. TL;DR--the right clothing for a job. Sorry for the long post. I may be shooting a film in Thailand sometime in the next year (the producer is a good friend with a great track record, but I'm trying not to get my hopes up--funding for indie features being what it is). Pretty much the entire shoot will take place in a rice paddy with ankle deep water (a group of refugees are trapped in a mine field for much of the film). The producer knows the terrain, and says it'll be very hot and humid (I trust we'll be scheduling around the monsoon season, but I'm including quality rain gear in my must have list). Most tourist guides assume I'll be shopping on main street, not climbing around a rice paddy. We likely will not shoot during the hottest 3-4 hours in the middle of the day, but still--this is the tropics, probably during early Fall. So I'm looking for clothes to protect from sun, rain, insects, and water, and hold up under a lot of physical work. Hats and footwear are of special concern. I've found some hiking guides that help, but I'm looking for specific recommendations on hats, waterproof footwear, shirts, pants, etc. Also, any helpful items I'm missing. The part of the country we'd be visiting is fairly old fashioned. I've read that most Thai are pretty easygoing but I want to put my best foot forward. I've read shorts are considered sort of tacky (they denote physical laborers) but since I'll be doing physical labor, maybe that's not a problem? I'll have light, conservative clothes for city shooting and off days. My colleagues who grew up there will keep me from looking like a fool, but I'd like a non-local visitor's viewpoint as well. My girlfriend thinks this hat is stupid: http://www.duluthtrading.com/store/mens/mens-outerwear/mens-hats-mens-gloves/64108.aspx I could be away for as long as two months, so anything I bring has to be durable and washable. I don't want to look like an ignorant tourist, or a rich jerk. Simple is best. Other advice on working in this environment is welcome. Aside from learning a bit of the language, I need to: -look up proper vaccinations -get prescription sunglasses, ha -find a lightweight belt or harness to keep tools, lenses, and media out of the muck (I'll have an AC, but anything we can do to make our production lighter and easier to move about is a good thing--I'm sure we'll be hiking to some locations where carts will be impractical.
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