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Found 5 results

  1. Please check out our NEW LED TRANSLYTES and POWER LEDS at any of our websites, give us a call if your interested in a DEMO of any of our gear! Sales, Rental, Parts, Service and Repairs. Trade-in specials on HMI and Faceted Pars! Open Monday - Friday, 8am - 5pm 11078 Fleetwood Street Sun Valley, Ca 91352 818-768-8886 http://sunray-lighting.com http://www.dadcopowerandlights.com http://www.filmgear.net
  2. WOODLAND HILLS, CALIF. (Jan. 11, 2016) - Panavision, the entertainment industry's leading designer, manufacturer and rental provider of high-precision optics and camera systems, has reached a distribution agreement with Ludwig Kameraverleih in Germany. The highly regarded rental facility will now be able to provide filmmakers in the region with Panavision's extensive range of spherical and anamorphic lenses, including the popular Primo 70 series for larger sensor digital cameras. This partnership deepens Ludwig's portfolio of filmmaking gear and broadens Panavision's reach. "It was important for Panavision to find a respected partner like Ludwig Kamera that shares our attention to customer service and detail," says Jeff Allen, Panavision's managing director for Europe. "Distributing our high-performance optics for digital cameras through Ludwig allows us to support filmmakers more effectively and efficiently in the region, which has seen a spike in production." Regional and national government entities have taken progressive steps to make Germany an attractive location for international productions. Increased funding and the recent announcement of the expansion of Studio Babelsberg are just a few incentives designed to draw filmmakers to the area. Ludwig Kamera has locations throughout Germany, including Berlin, Cologne, Munich, Leipzig, Hamburg and Erfurt. Martin Ludwig, founder and CEO of Ludwig Kameraverleih, and his highly skilled team have in-depth background knowledge of the German film and TV industry and are known for their high-quality equipment and services. "Teaming up with Panavision is an important milestone for us" says Ludwig. "It broadens our possibilities of service, and allows us to support national as well as international projects with the widest and best range of equipment available." Panavision has been an integral part of the motion picture and television industry for 60 years, servicing many of the big screen's most iconic films including Ben Hur, Lawrence of Arabia, and 2001: A Space Odyssey, to more recent hits as Star Wars: The Force Awakens, Spectre, and Mission Impossible: Rogue Nation, among many others. Panavision currently operates offices in key European cities, including Warsaw, Prague, Paris, Rhône-Alpes, Marseille, Brussels, Dublin, Belfast, Manchester and London, as well as fosters a network of distributors in Rome, Milan, Budapest, Madrid and Barcelona and now Germany. For more information, visit www.panavision.com.
  3. 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/
  4. Hello everyone, I am a student of the Virginia Commonwealth University's Cinema department, and one of our Adjunct Professors is directing a short film as part of his MFA Thesis. The short is crewed largely by former and current students of our program, though the DP is a local professional. While crewing with our students was a non-issue for Grip and Electric for a long time, we have recently discovered that we will be using a 12k HMI, which is something I only have minor experience with, and none of the other team members have yet worked with any light larger than a 4k. As I have not worked with this DP in the past, I am uncertain of the extent to his knowledge of electricity. I figure he knows more than I do, but just to be safe, I want to cover my bases and learn as much as possible before we begin shooting this coming Monday. Currently, we have a 45KVA MQ WhisperWatt Generator at our immediate disposal. I have posted a photo of the specs below. After doing some math (to the extent of my abilities) and talking to a local gaffer (though I did not show him the photo), I have been given the impression that this 45KVA Generator should be sufficient to run a 12k and also support additional lights and power needs. This brings me to my first question: Does this Generator seem like it would be able to sustain a 12k, and still run a distro set-up with 3 100 amp lunchboxes additionally, or would we have to rent out another generator? Discussing with the team, we were at a loss as to whether the 108 Amp "Rated Current" (shown in the photo) refers to the overall output of the generator, or if each phase of the generator is 108 Amps. I realize that the two hots used to run the 12k would be taking at least 50 amps each (Is this correct? Also, I have not gotten a chance to look at the ballast, I only know that it is Magnetic, which I have never used before, and that the light itself is a CMC Silver Bullet. I do not know what the Power Factor is), so it would be best to use the third leg for powering anything else. Related: What are some pros and cons of using a Magnetic Ballast? Having only used Electronic Ballasts, I can only recall various tidbits I have read before: Magnetic ballasts are heavier, but don't break as easily. Are there any problems with Flicker that Electronic Ballasts avoid? The opposite? Finally: What special considerations must be taken into account when using the 12k? I have some experience with setting up 12ks, but only in the capacity of being an Additional Set Lighting Technician who was just following the orders of people much smarter than myself. I have never even come close to needing to know the ins-and-outs of designing a distro set-up to support a light greater than 4k. My plan is to run Banded from the Generator to the 600 amp Distro-Box, three lines of 100 Amp Bates to 100 Amp Lunchboxes, and two Hot lines and the Ground line from the Distro-Box to the 12k whenever it is needed. Is there any major flaw to this plan that I have overlooked? Any other advice that anyone would be able to give us would be greatly appreciated. I know that I have a lot of expansive gaps in my knowledge, and having accidentally stumbled into the position where I am the most knowledgeable member of a team using this intense of a setup, I really don't want to mess anything up. Thank you for your time and thoughts, everyone!
  5. Very big move for a company like Amazon, however, it was expected after all the money they put on developing new teams for their studios and production positions and how well they performed on smaller productions. http://variety.com/t/amazon-studios/ http://techcrunch.com/2015/01/19/amazon-studios-to-produce-original-films-for-theatrical-release/ It wants to market the indie community, which is really good. Their plan for distribution is fab too, let's see if it works though, I hope so! Have a good day!
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