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Found 26 results

  1. Dear all, I once again need your advice on how to approach several night scenes that I'll be shooting in a week's time. The idea is to successfully construct a solid, uniform and believable nighttime ambience for the backgrounds (underexposed deep blue tones) and have dark silhouettes (or partially rimmed subjects) moving against them. In terms of providing a realistic, feasible reference, I guess I should mention the interior night scenes in Amour. The ideal result, however, would be something closer to the Skyfall fight scene in concept, but adjusted to the reality of the circumstances in which my story is going to take place (a family home without any big practical screens as backdrops). In terms of lighting, I was considering using daylight Kinos to construct the soft ambience, as mainly seen in the Amour stills. However, one possible issue that I might be having has to do with the camera + lens set-up. The MX sensor is notoriously underperforming in low light, and the only way to keep the shadows deep and noise-free is to shoot at ISO 320. Not only that, but being the space extremely tight we'll have to use a rectilinear 14mm lens at basically all times. Now, the only option I was given is a first generation 14mm Canon USM F2.8. I had a look at some tests, and optimal sharpness is achieved at around f8. How much light do you reckon I'll need? Are x2 Kinos for ambience + x1 575 HMI + occasional tungsten practicals going to be enough to light the interiors? Also, on a related note, are any of you guys aware of any way I could potentially battery-power fluorescent light tubes? In my head, it would make sense if a battery unit connectable to this mount existed. However, I can't seem to find anything of sorts on the internet. Let me know your thoughts, and as always, thank you very much for your time. Best, Filippo
  2. Hey everyone, I'm new to this site, and I come bearing gifts! More like selling a single gift, but it's a nice one! This camera has 2318 hours on it. It's in great condition, I've never had a single issue with it. It was serviced by Arri about 2 years ago, right before I bought it. Comes with 5x 64gb SxS cards, EVF, and various other cables and accessories. I'm asking $24,000 but I am open to negotiate. Email me at contact@caseycross.com if you are interested.
  3. Hi everyone I am Mohamed From Cairo and my question is about light equipment for women shoes shoot lighting setup. I have frequent women shoes photography sessions, I need light setup equipment that i can use it frequently and easily any recommendations ? best regards Mohamed El-Fallal Thanks
  4. Hi, maybe It'll be interesting for anybody: We have some gear for sale: 1) Canon HJ21x7.8B IASD HD long - $4300. 2) Canon HJ22ex7.6B IASE A - $6000. 3) Fujinon ZA17x7.6BERM-M58 - $2700. 4) Sony HDW-F500 HDCam - $5500. 5) Sony HDW-M2000/20 HDCam - $9500. 6) Panasonic AJ-HD1700 - $2500. Price excludes shipping and your local taxes. Warranty - 14 days moneyback. Payment - paypal. BR, Tina tina.leos@yahoo.com
  5. 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!
  6. Hi everybody, Can anyone recommend an insurance company to cover my gear? Preferably one that you've dealt with before or even made a claim with. I'm not looking to rent it out to anyone else, it's just for my own use. Thanks!
  7. 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.
  8. hi people, may be, it's little bit a noob question but i have to ask. Can anyone make a breakdown of this image and tell what kind of lighting equipment do i need? I have access to canon 7d mark II and sony 7s mark II as camera, and I will operate sololy. thanks barış
  9. The main up-side to the DSLR is that it is small & light & so any paraphernalia (steady cam, jib, slider etc.) designed for DSLRs will be a lot cheaper than for bigger heavier camcorders. The JVC GY-LS300 seems like a pretty small, light camcorder. Is it small & light enough for cheap equipment usually reserved for DSLRs?
  10. I am still new to cinematography. Really need some advises from you. How can a amateur like me shoot a film as professional as possible? Is it more important in equipment or in skills?
  11. I'd appreciate any insight into this mind-boggling issue I had while working on pre-production last week. I was working as Assistant Camera and preparing a rig for the DP, the kit was as follows: Sony A7s, DJI Ronin, Redrock Follow Focus, Atmos Ninja, Radian Pro Transmitter/Receiver. We ran a dummy battery from the Sony and plugged that into 1 of 2 PTAP connections that are built into the Ronin. The other PTAP was used to power the Redrock. Our USB connection was powering the Radians and both the transmitter and receiver were powered by the included USB to included battery packs. Lightweight setup, everything was working fine during calibration... When we powered on the Ronin, both the PTAP connection in the front AND battery unit for the gimbal started smoking. We had a technician on hand, and we quickly powered the solution down and started searching for the source of the extra heat. We had bongo ties that were holding our transmitter to the very bottom of the Ronin (where the battery is). Thinking that plastic from the ties were the issue, I placed velcro onto the bottom of the Ronin instead, and changed one of the PTAP connections for a lighter, shoestring cable. Powered the Ronin on a second time, and both the battery and the GMU on the front motor started melting to the baseplate of the unit, like a hot knife through butter. I have a background in electronics and I have never seen a steadicam unit act like this before. Fortunately, none of the equipment is permanently damaged, but we are left scratching our heads as to why this solution didn't work for us. We don't have a crazy amount of voltage running through the system and the Ronin battery was handling just fine when we were fine tuning the motors. Does anyone have any insight into something I'm missing? Pictures are included of the setup, any help would be appreciated. Thanks all!
  12. A lightweight companion receiver to all Teradek Bolt Pro 300/600/2000 zero-delay wireless video transmitters AMSTERDAM (September 10, 2015) – Teradek, a premier provider of video encoders and transmission systems, announces the Bolt Sidekick, a new addition to their popular zero-delay wireless line-up. With 300 feet of range, a lightweight aluminum chassis, and universal connectivity to all Bolt Pro 300/600/2000 systems, the Sidekick receiver is the perfect companion for users with existing system. Weighing in at only 9 ounces, Bolt Sidekick is the ideal companion for handheld monitors used by 1st ACs and directors. While easily paired with all second generation Bolt Pro systems, the Sidekick runs silent within a 300 foot line of sight. “We’ve received a lot of feedback from our current Bolt users and, with those suggestions, we developed a new product that is now the Bolt Sidekick,” said Nicol Verheem, CEO of Teradek. “Similar to the original Bolt, the Sidekick receiver is very much a device that has been designed and crafted side by side with an extremely passionate, creative community to solve an immediate need on-set.” With its minimal footprint and straightforward design, the Sidekick receiver maintains the standards expected in all Bolt systems: 7-17V range, 2-pin Lemo power input, LED status indicators, and HDMI/3G-SDI flavors. The Sidekick also includes a threaded ¼ 20” point for endless mounting options. Bolt Sidekick ships this fall for $1,990 USD. For more information on the Bolt Sidekick, visit www.Teradek.com. The Bolt Sidekick will be on display along with other Teradek announcements at IBC Hall 11 Stand E55. All products will also be showcased at the new Creative Solutions Los Angeles showroom, 5329 West San Fernando Road, Los Angeles, CA 90039, open Monday through Friday from 9 am – 5 pm.
  13. pre-owned, in perfect working condition with no signs of wear. comes with original case.
  14. Hey Everyone! I am currently Ac:ing a lot and would like to know of any online stores in europe for equipment such as tape, belts & pouches, bags etc. I would love to buy from b&h or filmtools but the shipping to Sweden is ridiculous. In sweden we mostly have rental houses that sells some tape and canned air and such but other than that its only camera and lighting rental. It would be great to have some more brands to choose from than arri and bestboy. And also everything you can get outside of Sweden is cheaper in general. Im particularly looking to buy a lindcraft pouch, some domke wraps and other stuff and found a place in spain (cinetools.es) that has a lot of great stuff. However i contacted them asking for a shipping price 2 weeks ago and haven't got any answer from them yet so i would like to know if they're any good or of other places to buy from. And also their website is spanish only so it is a lot of guessing involved to navigate :P I've been looking at panastore as well in the UK and they got some stuff, however they dont have lindcraft products. Maybe this can become some sort of list of online stores outside the U.S since i guess other people than me also would like to find great stores to get their stuff from. PS. I might sound like a lindcraft fanboy but i have no experience of their products. I have only read that they are the best. Right now I have my bestboy brand AC pouch that is really saggy and would really like a sturdier one. All the best!
  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. The Company's new organization charts the course for the future LONDON - Vitec Videocom, known for its world-class video brands, is evolving its structure: to put the tools and technologies developed for professional broadcasters and cinematographers into the hands of a growing community of independent content creators. The company's push to democratize some of its high-end technology will be supported by a new management team and organizational structure. "Every now and then we take a good hard look at where the video industry is going and how we fit in that picture," said Matt Danilowicz, CEO of Vitec Videocom. "The DSLR video revolution and the explosive growth of live Internet streaming has demonstrated that there is a whole new generation of filmmakers seeking new, affordable technologies that will help them create captivating content for new platforms. Videocom's new management structure helps align us with this new movement so that we can continue to innovate for both the professional video crowd and for this new wave of media producers." Vitec Videocom's latest acquisitions are a testament to its desire to democratize cutting-edge technology. Teradek, SmallHD, and Paralinx, all part of the Division's new Creative Solutions business unit, are well-known as trailblazers, offering high-level technologies at price points that independent content creators can afford. Some of Videocom's other premium brands, such as Litepanels and Anton/Bauer, have also embarked on this path, with the former developing new cost-effective run-and-gun lighting kits and the latter integrating leading-edge battery technology into a new line of affordable broadcast and cinema products. "Vitec Videocom is unique in that it combines legendary brands that have been around for decades with young upstarts that grew out of this new generation of media creators," said Danilowicz. "Like our brands, I have put together a management team that has years of video industry experience, but also the pioneering spirit of entrepreneurs. This new structure will help us continue to equip and inspire videographers far into the future, with the same commitment we bring every day to the world's largest broadcasters, film studios and production companies." The Division's new structure will be split into three core business units, capitalizing on brand synergies: Graham Sharp, a former senior executive at Avid, Grass Valley, and MAC Consulting, will run the Production Equipment unit, representing the company's core product brands such as Anton/Bauer, Autocue, Autoscript, Litepanels, OConnor, Sachtler, Vinten, and Vinten Radamec. Halid Hatic, founder of Curious Software and former executive at Avid and VizRt, will lead Production Services, which includes Bexel, Camera Corps, SIS, The Camera Store, and Autoscript/Autocue Hire. Nicol Verheem, a former GE engineer and founder of Teradek, will head Creative Solutions, which consists of Teradek, SmallHD, and Paralinx. Martin Vann, who recently joined Vitec Videocom, will oversee global sales and marketing for the Division. He brings with him significant sales and marketing leadership experience from such companies as Autodesk and Avid, where he held multiple executive leadership positions. About Vitec Videocom Vitec Videocom, the Broadcast Division of The Vitec Group plc, has some of the most respected, innovative and sought-after brands in the industry: Anton/Bauer, Autocue, Autoscript, Bexel, Camera Corps, Litepanels, OConnor, Sachtler, SmallHD, Teradek, Paralinx, The Camera Store, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business. Vitec is a global provider of premium branded products and services to the Broadcast and Photographic markets. Vitec is based on strong, well-known, premium brands on which its customers worldwide rely. Vitec Videocom - advancing the quality and science of media production. # # # Media Contact: ignite strategic communications +1.818.980.3473 Chris Purse, chris@ignite.bz
  17. I'm from London, 16 years old and female. Ever since I first watched Alfred Hitchcock's 'Psycho', I knew I wanted to be a director. I became obsessed, I watch all of his films around four times each and went through each one, studying the use of his particularly dramatic and iconic instrumental music and the use of his camera angles. I want to be able to write my own screenplays and put a team together to collaborate and put it to life. I've already started writing a few, one of which was a adaption of the novel 'Of Mice and Men', which was used for a stage production. I'm also writing with a friend of mine, a crime avant-garde inspired story, with which we are going to film. However, I know I need direction. I understand that this business is extremely bitterly hard to get into and to make a living, but this is all I want to do with my life. I wanted to ask a few questions: 1.) Is it hard for a female to get noticed in the film industry? I don't mind working in a mostly male dominated industry, I just know that there aren't as many women who film, compared to men. 2.) Camera recommendations and lenses too. I need to find a camera suitable of shooting raw material. 3.) I noticed that a lot of film directors never went to university, they went straight in by doing apprenticeship type work. I would never be able to do that, so I know I need to go to university. What would be a good choice of one in London? 4.) Lighting equipment. I would like to know what types you use. Thank you for reading.
  18. Boa Solutions Inc. 222 Islington Ave, unit 13 Etobicoke , ON M8V3W7 Open by app't, to suit production schedules, 24/7/365, but generally there 10am-8pm M-F, unless a booking is happening earlier. Website and pricelist going through huge update, and will all be at http://www.boa.solutions . Before that, please contact me for gear availibility / suggestions, and go to http://www.boastudios.com for the studio spaces I rep. Hi, I am Mir Lada, a Lighting Designer / Gaffer / Grip / Production Still Photographer that is owner / operator of this boutique motion and still production equipment rental house in Etobicoke (west end of Toronto), in one of Toronto's film hubs. Clients come back to me because of my practical and creative problem-solving, advice, and being able to realistically accommodate any budget and any level of filmmaker. Often, after dealing with me for figuring out gear, they will create the opportunity for me to come on board as crew, which then makes things extra easy for them, since I am completely dealing with and taking responsibility for the packing, transport, setup, operation, strike, delivery back, and check-in of the gear to accomplish the look they want. The 4000 sf warehouse space I recently moved has 16' ceilings, 20' wide hallways, adn huge truck docks, is currently still being set up, between shoots and tests, and will be divided half for rental gear storage and half as a technical studio / test facility. That means it has very basic client amenities / creature comforts, but a lot of assets and capability to accomplish a wide range of small to medium shoots at a reasonable price. Perfect for when what is in front of the camera is more important than the style of the facility. Great for music videos, small films, commercials, etc. Standing sets include wall flats, and many installed cloth cycs, including 90' white, 78' chroma green, 60' black, 30; chroma blue, and 8x8 Chromatte system. Power is 200A x 3 phase cam-lok, plus 175A single phase house power. Facility is lit with 1k cyc lights and features a 17x10 overhead lightbox with 10k tungsten and 5k daylight output. I also have a 1 ton van for location work, as well as a good truck rental service nearby, where I can roll in all my mobile carts, shelves, etc to create an up to 5 ton lighting and grip truck solution for location work. I also rep a 1750 sf studio right above me, owned by a DP, with a 30'x 10' hard cyc. Spaces can be combined for same production. Lighting includes, with often multiples on-hand (over 500 lighting fixtures): Arri L7-C Arri Locaster 1x1 LED's Mole Biax KinoFlo 12k fresnel HMI 6k fresnel HMI 4k fresnel HMI 2.5k fresnel HMI 1.2k fresnel HMI 575w fresnel HMI 200w fresnel HMI 6/12k PAR 4k PAR 2.5k PAR 1.2k PAR 800w PAR 575w PAR 400w PAR 200w PAR 1.2k Profoto bare bulb 1.2k soft 575w flood 270w sungun 200w sungun Of course, hundreds of tungsten fixtures from 100w to 10k, including 6K Barger Baglite, 10' Jumbrella. I also carry a wide variety of practical bulbs, stringers, non-LED christmas lights, etc. Grip up to 20'x30' frames and rags, 28x78 digital green screen, 14'x30' black, 90' x 16' bleached seamless muslin, plus many smaller solutions. Besides a very broad and complete arsenal of motion lighting and grip, I have some more basic camera, sound, lens, and camera support gear available. 5DIII, 7DII, 5DII, 60D, D7000, FZ1000, and dozens of the most respected Canon, Nikon, Sigma, and Tamron lenses: 14mm f2.8, 14mm T3.1 cine, 16-35mm f2.8 L, 16-35mm f4 IS, 17mm TS-E, 24mm TS-E, 35mm f1.4 ART, 35mm T1.5 cine, 50mm macro, 50mm f1.4 ART, 70-200mm f2.8 IS, 85mm T1.5 cine, 85mm f1.2IIL, 100mm f2.8 macro, 135mm f2. 300mm f4 IS, 1.4xII, Tamron 150-600mm f5-6.3, Tamron 2x, full cine rig, 7" monitor, Sennheiser & Rode mics, Axis Dolly, Portable platform dolly and rubber track, doorway dolly, 8/12 crane, several good sticks and fluid heads, Manfrotto Fig Rig, etc. If you or anyone you know has time, but limited budget, but needs gear, while I am setting this place up, I am looking to barter with experienced people to help me, in exchange for equipment rental credit.
  19. Hello, I have a question that applies both to still photography as it does to cinematography, I hope I will not get banned for that! As a cinematographer, I find hard to differentiate the two, as I use my photographic work a lot, as an inspiration and experimental playground in my cinematography work. Currently, I am wondering what are the best ways to find a fisheye accessory or get a fisheye lens for a very low price. The goal is to fit in a lot of landscape, and get distortion effects on faces or other subjects. I realize that usually these lenses or add-ons are expensive because they are made with a lot of polished glass that costs money to manufacture. However, I am wondering if over the years some older lenses or accessories become cheaper in second-hand stores. I am trying to attach the lens: -either to "old-school" manual lenses (for still cameras such as Pentax MX, Minolta X-300, Olympus Pen F, Pentacon SIX TL, Canon) for photo work/research; -or to Super-8 cameras (Canon 310 XL, Bauer C105 or C107) for film work; -or to more recent digital bodies (Canon EOS rebel, Sony NEX 3) for digital film work. The lens has to be as fisheye as possible and full-frame if possible! The closest I've been (and cheapest) was a TV Zoom Lens someone sold me for 5 euros at a rummage sale that used to be from a Canon video camcorder from the 70s, with macro functions, zoom functions, and quite wide angle. I can easily adapt it on the Sony NEX because it has a C-mount, but it requires cropping and is very bulky.
  20. Hi Cinematography.com, I'm a second year film student and an aspiring cameraman/D.O.P. I am currently working as a junior editor at a production house for the summer, and am wondering what I should invest my money on once I've compiled enough when school starts! At the moment, I am wondering if I should invest in two decent lenses, lights, filters, and grip stands instead of a camera body such as GH4 + lens. The reason is because I will have another year of school, which means access to cameras such as F3 (Hell even Bolex h16) till April 2015 + 6 months graduation equipment rental blessing from my college, and by then I'm kind of worried that the next best deal will be released. Also I am not too crazy about 4K resolution or slow-mo... I'd much rather prefer that Wes Anderson X Robert Yeoman look or films by Hirokazu Koreeda. (I am a wide-lens fanatic) So my question is, would it be a wise choice to invest in equipments other than a camera body? Or should I be focusing my attention on something else? I'm hoping whatever I will squeeze out of my 5 grand will help me on the long run rather... If you can help me with my inexperienced and confused self, then it is very much appreciated. THANK YOU.
  21. “Electricity is really just organized lighting.” states RagLite Engineer Sin Cohen. RagLite Technology has kicked off their Kickstarter campaign and is introducing a pioneering fabric mounted LED lighting system – TheRagLite. The RagLite line is a flexible line of LED studio lights that can be rolled up, RagLite Technology states that the RagLite is the first-ever flexible LED Light Bank. The RagLite was developed by Chad Soderholm and engineered by Sin Cohen. Read more at: http://www.motionpicturelightingandgrip.com/news/pioneering-fabric-mounted-led-lighting-systems-raglite-technology/
  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. So I am just starting to purchase camera equipment and gear that I plan on using on different projects and wanted to buy insurance for it. Wanted to see what people recommended because I literally have no idea where to begin in terms of looking for insurance. Mostly I'll be either renting it to other operators/DP's I know for jobs, renting it out to jobs I work on, and for personal projects/short films. I would need something that covers gear up to $30,000 minimum but probably want at least $50,000 for equipment I plan on buying in the future. Also, I live and work mostly in the NY area but obviously I would prefer insurance that covers the equipment for international work. Thanks in advance for any help!
  24. 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/
  25. I'm currently studying film at NYU with a concentration in cinematography. I am very serious and passionate about it but I'm just not sure how I go down the path. My end goal would be to be a feature and commercial DP and I understand that it will take time and I am ready to work my way up but how do I get there? Right now I'm just shooting/gaffing/AC projects for others at Tisch and looking for freelance jobs and fashion films. Should I be working to join the Local 600 union? If so, as what? 1st AC? Does anyone have tips on getting more jobs? Finally, does anyone have any advice as to what equipment I should get. Currently, I have a DSLR with lenses, a shoulder rig, follow focus, and an 8" monitor. Thanks a lot for your answers
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