Hollywood Studio Rentals - Discount Motion Picture and Television Production Equipment Rentals

Why 3D Died

July 27th, 2011

When first mentioned, many people relate 3D as “just another gimmick” to stimulate sales of consumer and professional camcorders and displays, as well as another way to charge you more money such as an “up-charge” to theatrical viewing.

3D’s failure to impact the majority of the market comes back to basic story telling. “Does the use of 3D improve the story?” Most agree that it does not. In fact, it is generally considered a distraction that spins you away from the show.

Outside of Hollywood (yes, there is a world outside of Hollywood) other industries have found a good use for 3D imaging. Some 3D technologies and applications for medical imaging show great promise; several sports-related franchises use 3D for a ground-level view that may help the athletes perform better by providing a more complete view of the field or playing surface in movement. Not so for movies, however.

WAS IT A NATURAL DEATH – OR WAS IT A CASE OF MURDER?

Something interesting happened this past Memorial Day. The movie tickets sold for regular 2D outsold those of 3D movies. Did this financial fact begin to spell the end of 3D? Theater owners and studios which (too) quickly embraced 3D are now reconsidering the whole thing. And their investment in it.

Some films are custom-constructed for 3D, “Avitar” the animated cartoon was such a film. Unless you have a large number of (simulated) objects being flung into the movie-goers congregation, and that’s there just for the flinch factor, you’re better off viewing in regular old 2D.

Some proclaimed it a revolution – finally a technology that will bring the recreation of reality right into your home. But that’s what they said about Surround Sound. Still looks like I’m in my livingroom.

If you already wear prescription glasses is it practical to wear glasses-on-glasses?

The Last Days of the Rental House

January 25th, 2011

The winds of change are once again blowing, and much like the straw house built by one of the three little piggies, this house will be blown over. Most industry watchers, myself included, agree that this will be a very bad year for rental companies.

The new low IS the new high. Several won’t survive. The reasons are varies and many, but the bottom line is that there are simply too many companies providing largely the same or similar equipment to an ever decreasing consumer base. Add the free-fall of equipment pricing and the incredibly fast past of new equipment introductions, and you have a perfect storm for business failures.

Simply trying to stay current with equipment inventories is approaching impossible. Within the past year new equipment offerings by the various manufactures has proliferated into a dangerous sequence where the rental firm must make a new camera purchase every few months, along with the very long and expensive list of unique product-specific accessories like lenses and batteries.

TAKE OUT YOUR CHECKBOOK

Buy a Canon 5D2, then the 7D comes out, buy a 7D then the T2i comes out, buy a T2i and the D60 comes out.

Buy a HVX200, then a HVX200A, then a HPX170, then a HMC150, then the new AG-AF100.

Buy a Sony EX1, then an EX3, then replace the EX1 with an EX1R, then toss all three to get a PMW-F3L.

Then start buying lenses because the AF100 and F3L don’t ship with any.

Have a ARRI D20? Too bad, because now there’s the Alexa. And this short list is just cameras in the last year or so. Ouch to the extreme.

You dare not lease any of this equipment, as it will be once again replaced with updated models in a few months, far too short a time to pay off even the shortest lease. Besides, who’s ever heard of a 6-month lease.

CUTTING OFF YOUR NOSE DESPITE YOUR FACE

Any hope of survival grows dimmer every day. Why rent when you can buy? With prices as low as they are, even the occasional user might come out ahead if they were to purchase instead of renting. There are several sales companies that also rent. Thing is, if you sell a camcorder with $100 profit, you will never again be able to rent that person that camcorder for $150.00 per day again. Doesn’t make too much sense does it?

Several major rental players in the rental game closed last year. All over the nation, rental firms are boarding up, closing, never to be seen or heard from again. Among those large and substantial rental firms were FILMSTAR in South Boston and LEE UTTERBACH in San Francisco. LU had been around thirty-one years and was a major player in the bay area, often sending out five full-blown film packages per day.

Filmstar had a great inventory and was owned by Billy Mead, and had seen many good years of rental operations. They even had on-site editorial and stages. A great loss.

Even Samy’s Camera had to close the Venice location a while back.

Remember Plus8? They closed/integrated into Panavision about five years ago, ahead of the pack. Insightful wisdom?

Wexler Video and Coffey Sound were sold to the same company a while back and maintain ther respective trade names, albeight with new owners.

Keep in mind these companies had substantial inventories, expert employees and management, and a huge customer base, yet they are now gone.

As I have mentioned on prior BLOGS, when I opened there were but eight to ten rental companies total in the Los Angeles area. Now, if my count is correct, there are fifty-one (51). The airs getting a bit rarefied up here, and not all will make it.

Indeed, many newbies are small, not yielding to my exclaimation that the mere possession of a camcorder and a tripod does not constitute a rental firm. Despite these admonishments, new operations are popping up everywhere. Indeed, there are more rental companies in the Burbank/Glendale/North Hollywood area than there are 7-11′s.

The post 9-11 period, rampant unemployment and a soft economy was overlooked by a few brave sales/rental firms who actually tried to grow in size during 2010. Taking on larger locations that are many multiples in size and cost necessitating more employees and a greater payroll burden, all trying to fill up dead space. A recipe for disaster since the rental market is shrinking, and the ability to consume (sell to consumer capacity) product in a specific market IS finite. At some point, almost everyone who needs a piece of equipment will have it.

SHRINKAGE IS INEVITABLE

While it is generally true that a business has an “open-for-business day”, all will experience the eventuality and the normal and natural processes of time and age that will and must lead to the “last day open”. Darwin for business so to speak.

Not long ago, the concern was productions leaving LA for sunnier and cheaper shores. Up to Canada, east to somewhere else. Truth be told, that’s not a major problem anymore. The problem is that those productions may no loger exist. Not just out of Hollywood, just plain out.

Figure in reality show budgets that (I have been told) can be as low as $1800 per acquisition episode (2 cams, 1 sound, 1 producer and a few P2 cards) and considering the level of gear used, and you can see nobodies getting rich here. At least not on the production side.

We’ve been lucky, I saw the writing on the wall and about three years ago moved to a smaller less expensive (read: not as pretty, aesthetically speaking) location. Equally important is our ability to keep our inventory as state-of-the-art as possible, and is owned outright. No loans or leases on the equipment that corrode the profit structure. To a certain extent, it makes us a bit more bullet-proof.

This new economy of operations has allowed us to not only hold our prices to a pre-9-11 level, but as gear is paid off, we have been able to reduce the rental rate on key items. Not so elsewhere, for many rental companies they HAVE to charge you more for the same item because their costs of operation is greater. It has to come from somewhere – and that’s you.

The math is easy and undeniable; twenty employees in 7000 square feet costs more in every way than two employees in 2000 square feet, yet both operations carry the same gear. The smaller firm can charge less because they do not need to generate the same revenue and profit as the larger firm.

TIME TO GO ???

Firms that specialize in certain product categories better look out. Professional sound and 35mm film camera rentals comes immediately to mind. Lee Utterbach specifically stated on his web-site that film camera rentals were dead, and the leading factor in his companies demise. Other film-based companies are probably feeling the digital pinch as well.

Professional field and location sound companies are possible new victims to the technology bottoming. Many firms used to renting time code DAT’s, DVD-ROM’s and Cantar’s are finding users are more willing to use a $299.00 Zoom H4N. For many purposes this handy-corder will be sufficient. No time code, but in the light of new software such as Singular Software’s “Plural Eyes”. time code is on its way out, sadly becoming an unnecessary burden.

Mic’s are cheaper, wireless are cheaper, recorders are cheaper. And while to a certian extent ultimate sonic and post sound performance may be sacrificed, many users feel the new lower standard for mid-level productions will do just fine.

Sales of higher-end pro sound devices is still pretty good largely attributed to the fall in camera and camcorder prices. A bit more coin for the sound department. Pro sound units generally have a longer useful application life than their video cousins, and the recording of sound on DSLR cameras, while possible, has met with great resistance due to several technical limitations.

Indeed, pro sound manufacturers don’t release new models as quickly, and even slightly aged professional sound equipment can still function quite satisfactorally. While largely unused in normal broadcast and feature film production, a DAT or even an old Nagra can record sound well (if you can find tape).

Big time mixers still use big time gear, but their is a finite amount of consumption of new gear amongst the high-end mixers. Since many production sound mixers ran several shows at once, and that number is now fewer, many big-time mixers own and have an abundance of great gear that just sits.

Rental shop owner’s need to quickly assess their future survivability. Can they continue to pour extreme amounts of money into the newest gear only to never get out of the long tunnel? It’s a ticking time bomb, most barely able to stay afloat let alone experience any growth. Their reluctance to even consider compromises for survival such as merger is astonishing. Many mega-corporations have seen the writing on the wall and made appropriate business decisions to hopefully insure their prosperous futures. Hollywood runs on egos, even equipment vendors, and this is a fine example of that.

Due in part to the lower price/higher ability balance of equipment, rental orders are getting smaller. Many customers already own the camera, sound, recording media and other base items. Renting a single 4×4 polarizer for $7.50 won’t power the rental machine. It cost $14.00 to just create and process through a single invoice; an invoice of that size actually creates a loss for the rental firm. It would be better for the rental company to say they don’t have it, and hand you a $5.00 bill.

You know, there is a world outside Hollywood.

What of Hollywood Studio Rentals? I would be a fool not to keep my eyes and mind open to new things. If Lee and Billy made the decision to close – is anyone immune to that reality, even in is apparentness?

I’ve alway’s been happy to look at mergers and other corporate-level financial moves since it makes complete sense from a business and survival standpoint. Bigger can be better, up to a point.

Nobody wants to pull the cart until the wheels fall off. Like I stated previously, we own everything and can price equipment any way we wish. Some of our inventory (focus grips, ultracages) are built by us and unavailable anywhere else. Exclusivity helps. I consider anything above free to be a good starting point. Such articulation is not a luxury open to most others.

Rental company owners – mark my words – you won’t all be here next year unless you come to grips with reality; and just because the guy down the street goes under – that doesn’t mean you’ll pick up his customers and business. It will just go away.

I’m closing with a quote from Dylan Thomas. I hope it helps.

DO NOT GO GENTLE INTO THAT GOOD NIGHT

Do not go gentle into that good night,
Old age should burn and rage at close of day;
Rage, rage against the dying of the light. Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,
Curse, bless me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

I think I’m getting soft in my old age. On the flip side, HAPPY NEW YEAR.

Tags: Filmstar, Lee Utterbach, merger, out of business, technology
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Make way for UHDTV – 1080p is on its way out.

January 19th, 2011

So you just purchased a new flat panel TV with 1080p, 3D decoder, all the bells and whistles?

That’s a shame, since UHDTV is on its way. More than three times the resolution of that old 1080p model.

For gadget gurus everywhere, high definition television is all the rage right now. The United States is giving high definition TV a big push by switching broadcasting standards from the use of analog and digital signals to exclusively digital signals. Although high definition TV (HDTV) can be broadcast through both types of signals, the quality seems to be better with digital, which is generally how the images are broadcast.

But before we move on, let’s clarify: Digital TV (DTV) and HDTV don’t have the same meanings, even though they’re sometimes used interchangeably in casual conversation. DTV refers to the manner in which something is broadcast; HDTV refers to the format it’s broadcast in. DTV can also be broadcast through digital signals in other formats, such as standard definition (SDTV). The differences of these formats will be discussed later in this article.

Bringing HDTV to the level of an internationally recognized standard format, from its humble origins a couple of decades back, is still going on.

Because the process of developing and marketing new technologies is so lengthy, engineers have already started the task of developing the technology that will proceed HDTV. This is where ultra-high definition TV comes in.

Ultra-high definition TV is still largely in the prototype stages. It was pioneered by engineers at the NHK Science and Technical Research Laboratories (Nippon Hoso Kyokai, also known as the Japan Broadcasting Corporation). If you hear about super hi-vision (SHV), you’re probably hearing a reference to this same technology, as well as if someone says ultra-high definition video or UHDV. There are many different versions of these terms, either hyphenated, combined and/or capitalized in varying ways. To avoid confusion, in this article we’ll simply use the term ultra-high definition TV or UHDTV.

UHDTV’s goal is to create a vivid, television-watching experience, where the lines of realism and television are blurred. According to manufacturers, people will watch ultra-high definition TV and feel like they’re in the middle of a scene.

Now that we’ve cleared through the mess of monikers and acronyms surrounding TV technology, let’s jump into the differences between the various levels of definition, and find out what’s so advanced about the UHDTV format.

Developing Ultra-high Definition Technology

Silence on the Airwaves
Come June 12, 2009, all analog TV broadcasts will permanently go silent in the United States. Digital TV will make room for other uses of the broadcast spectrum, provide improved picture and sound quality and allow broadcasters to deliver a larger number of channels on their allotted bandwidth.

Just when you thought your TV was state-of-the-art, something bigger (and possibly better) is coming along. Engineers are working to develop technology that goes far beyond the capabilities of current broadcasting systems, hardware and household electronics such as TVs and video cameras.

NHK first got involved with HDTV technology back in 1964. Thirty-one years later and studies concerning ultra-high definition TV began to take form. In 2002, NHK engineers put on the first public demo of a prototype ultra-high definition video system, and from there, the research continued. Researchers are working to improve the quality of the UHDTV system, software and equipment, because all this technology must be developed and built from scratch. Let’s put it this way — think about the far-spanning innovations needed to make cell phones a reality out of their predecessor, the rotary phone.

Some of the experiments the technicians are doing include devising ways to perfect the image appearance, speed signal transfer rates and create the optimum viewing experience. NHK’s goal is to begin producing experimental satellite broadcasts in 2015, and have the technology ready to roll in Japan by 2025. So far they have had a number of demonstrations, installations and live relay experiments, like the one from Kamogawa Sea World to NHK lab headquarters.

To put it simply, the main way ultra-high definition differs from high definition is in the quality of the viewing experience. The focus of the UHDTV development efforts revolve around the idea of delivering more information to the viewer, in a way that increases the realism of the viewing experience.

But before we get into the technical details, let’s talk more about how NHK engineers went about developing this technology and the challenges they faced. For example, it’s all well and good to build a projector that can display UHDTV, but where do you get an ultra-high definition image from in the first place? You’ve certainly never seen an image like that on your home television screen, through your video camera or even at the movie theater. In other words, NHK also needed to develop a camera, a camera control unit and other equipment that would record and process ultra-high definition video images.

Then there’s the signal transmission. We’re talking about an extremely data-laden video signal here, so strategies for handling large volumes of information became a central concern of the technology’s development.

Transmission can also encompass a couple of different necessities. For example, transmission could take place from where the images and sounds are recorded to where they’re viewed, like in the case of live TV.

Or, the signals could be transmitted from where they’re filmed to where they’re stored, like in the case of movies or standard broadcast television. Researchers also needed to develop equipment and programs that could encode, compress and store these vast amounts of data.

Now that we’ve had a closer look at the plans for this TV technology and read about the work that’s going into developing UHDTV, are we ready to see the big picture? Click to the next page for the scoop.

HDTV vs. UHDTV
In order to better understand UHDTV, let’s examine the details and discover the differences between it and HDTV. Here’s a general breakdown of the standard television formats and their pixel power.

We’ll get into HDTV vs. UHDTV in a moment, but let’s first examine the basic terms regarding television:

Resolution is determined by the number of pixels that are arranged horizontally and vertically across the screen. A pixel is the smallest possible individual point of light that makes up an image on a screen.

Depending on the density of pixels (or dots per inch), the more pixels that comprise an image, the clearer it will become generally. The first number, 1920 for example, represents the number of pixels in each row running horizontally across the screen. The second number, 1080, refers to the amount of pixels in each vertical column. The second number also refers to the amount of scanning lines a screen has. UHDTV, for example, is reported to have 4,000 scanning lines.

The aspect ratio describes the proportions of the width and height of the screen. Think of the difference between today’s rectangular, slim TVs and the square-shaped screens of bulky TVs used 10 years ago — those older models featured a 4:3 aspect ratio. Nowadays, you’re likely looking at a TV with a 16:9 aspect ratio — the same as a movie theater screen.

The frame rate describes how many times per second the picture refreshes on the screen. The lowercase letter listed after the number indicates the manner in which this process is completed. The “i” means the image is interlaced: every other scanning line of pixels is refreshed, with the other half following suit. A “p” signifies the change is progressive, and the entire image is being refreshed constantly.

The plan is that ultra-high definition TVs will have 16 times the resolution of anything we currently have now in high definition. It’ll be more than twice the resolution of 70 millimeter film, a commonly used format for IMAX movies. The projected images will be crammed with 32 million pixels, compared to the current HD experience that displays about two million pixels. With these huge numbers, not only is the image resolution exceptionally rich, the screen ends up being quite large.

Developers expect the consumer versions will be between about 100 and 200 inches (254 and 508 centimeters) in size. Commercial versions — possibly used for educational, security and advertising purposes at sporting events, art shows and museums — would be more along the lines of about 350 to 600 inches (889 to 1,524 centimeters).

Pump Up the Volume
NHK engineers are also developing an advanced audio system that will accompany a UHD visual broadcast, and the technology puts the Dolby 5.1 speaker system to shame — try 22.2 on for size! A 3-D, surround sound experience is created by placing a bank of nine speakers on the upper level of the viewing room, with 10 running along the middle. The lowest level of speakers will be made up of three speakers. Two additional speakers (the .2 part of the 22.2 multichannel audio system) will be emitting audio for low-frequency special effects.

Despite the differences in resolution and frame rate, the current plan is to retain HDTV’s aspect ratio of 16:9, as opposed to choosing a new one like IMAX developers did. This will help keep the new equipment compatible with HDTV broadcasts. Researchers believe that a wide viewing angle increases the sensation of immersion, although they also recognize the drawbacks that can come with a too-wide, too-realistic depiction of images. Studies into these phenomenon are being conducted to help guide UHDTV’s development. For example, researchers examine the sensation of presence according to the width of the screen and the optimum angle and distance from which to view it.

Ultra-high definition images could also have a few drawbacks that researchers are trying to solve. For example, someone watching UHDTV might experience symptoms such as motion sickness depending on the stability of the image, the amount of visual stimuli and the visual angles he or she is viewing the TV at. On the production end of the process, Hollywood has already had to adjust to HDTV’s unforgiving detailed image (the technology can magnify any wrinkles, pimples and facial imperfections) — imagine the challenges make-up artists face if UHDTV becomes a mainstream format for movie viewing.

Though we’ve delved a little deeper into the world of ultra-high definition TV, there’s still super-advanced, high-tech goodness to learn about. Continue to the next page for an inside look at the cutting-edge mechanics of UHDTV technology.

Ultra-high Definition Equipment
Now that we know more about what the ultra-high definition format may be able to deliver, let’s take a closer look at how it could be produced. Remember that a massive number of pixels (4,000 horizontal scanning lines worth) are crammed onto a UHDTV screen, and those pixels are refreshed at a breakneck pace of 60 times per second.

That enormous volume of data requires precision handling, so a big part of the UHDTV research and development is focused on making the signals a practical size for broadcasting purposes. NHK researchers are developing ways to successfully compress the signals before transmission, creating equipment with abilities beyond what’s necessary to handle typical high definition signals.

As the UHDTV technology progresses, the manner in which developers accomplish aspects such as signal recording, manipulation, transmission, projection and storage is also likely to evolve. But, here’s a basic breakdown of how the current system works: An 8K video camera, with the ability to handle 8,000 x 4,000 pixels, records the scene using a 4-pickup system — four imagers, each equipped with a prism to separate the optical signal, gather either the red, blue or one of the two green segments.

Visual image data is converted into HD-SDI format and divided into 16 separate channels, each the size of a regular HD signal. HD-SDI stands for high definition serial digital interface, and it’s a standard format for transmitting data into short-distance electrical signals. HD-SDI is useful in this situation because it allows the quick transmission of large amounts of uncompressed video signals between different components of the ultra-high definition system. By using it, the engineers designing the system are also helping ensure UHDTV systems remain compatible with current HDTV systems.

Next, the 16 channels are encoded and compressed, combining them for optical transmission and broadcast. Again, developers are looking to maintain compatibility by utilizing the MPEG-2 coding format that’s popular for HDTV. Once the signals reach their destination, they are decoded, uncompressed and separated back into 16 channels as the process reverses itself.

The image, returned to HD-SDI format, travels along another 16 cables to where it’ll be combined further and projected onto a screen. Any fluctuation or instability caused by syncing problems between the reunited channels of information or the four color segments of the projection can be triggers for motion sickness. Great care is taken to match the data streams and projected images to a tee. A number of other techniques and actions are performed for sharpening, filtering, processing and correcting the image in order to improve its resolution.

Want to own one of these high-tech wonders? While you’re waiting for an ultra-high definition TV to arrive at an electronics store near you enjoy what you have. Like all new technologies, UHDTV will be driven by consumer desire and pricing.

Some technical content courtesy of “How Stuff Works”

Tags: UHDTV HDTV 1080p
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Why we Stock 100 Lenses

December 9th, 2010

One hundred SLR lenses would seem to be quite a large number. Even professional photographers don’t have 100 lenses, and usually they wouldn’t require that many anyway. Every photographer and videographer have their favorites. Everyone seems to likes the Tokina ATX116 11-16mm f2.8 and the Carl Zeiss 85mm f1.4. And with good reason – they are most excellent, indeed.
Other lenses are a bit more specialized. The Lomo Zenitar 8mm and Nikon and Lomo Peleng 16mm fish-eyes are for specific shots, X-Games stuff and music videos for the most part.
Mid-value focal lengths such as 35mm, 50mm/55mm and 85mm lenses are typically required for most “normal” shooting, and the current trend is towards wide asphericals with focal lengths of below 20mm.

One characteristic that ups the lens count is the sheer variety of mounts.

We carry Canon EF/EOS, Canon FD, Nikon, Minolta, Zeiss C-Y, M42 (thread), and now, were bringing in micro4/3 (MFT) lenses for the Panasonic GH2 and AG-AF100′s from Lumix and Olympus.

To be fair to everyone’s favorite mounts, you need to have a complete range of focal lengths and apertures. This can quickly add to the rental collection, as our 35mm Rental Rate Card will attest.

Even with 100 lenses, I’m forced to add new optics to the list several times a week. But that’s what we do here and I need abroad spectrum of glass to cover everyone’s needs.

It’s not uncommon for us to receive an order for three matching sets of lenses in six different focal lengths. That’s eighteen pieces right there.

NO CRYSTAL BALL

To be completely honest, the main reason I have so many lenses is how I approached a past product, Letus adapters. For a moment in time, HSR was by far the largest Letus rental house anywhere. Letus adapters need[ed] lenses, so I made it a point to gobble up as much glass as my budget would allow. Eleven adapters with five lenses each necessitated about fifty-five pieces of glass right up front.

That was then.

With the bottom falling out of Depth-of-Field adapters, I was just lucky that another equipment category stood up to be counted. I could have just as easily been squashed by holding sixty lenses in a market that didn’t need them. Boy, am I glad that I’m not Letus, P*S Techniks, Cinevate, Brevis, MovieTube JAG or other DOF builders.

Fortunately, that did not occur. In fact, the demand for lenses went through the roof with DSLR’s emergence in the industry, and new hybrid devices like the Panasonic AG-AF100. I hope, if 3D takes off and becomes more popularly available, that double matching lenses gets hot. I’m ready to go.

LIVING IN FEAR

While it seems that rental companies here in the Los Angeles area have little fear of buying PL-mount lenses (Zeiss, several varieties, Lomo, Angeneux, RED lenses, etc.) it’s clear they have a morbid sense of fear in buying SLR lenses. Perhaps there is a good reason for this.

Beyond spending a few years collecting, bidding and Cine-Modifying the lenses, you gotta’ know which lenses to buy. What focal length? What aperture? SC or SSC? Which mount? It’s more than just taking out $60,000 and buying everything in sight. Even with a fist-full of cash, many desirable lenses are simply not out there and available for purchase. I’ve waited more than a year for a particular lens to become available, along with many other lens buyers who are vastly wealthier.

Where it’s fairly simple to lay-down for a set of CP.2′s, a very popular high-quality lens, it doesn’t show great insight or imagination. Everybody has them. They don’t cost that much and are easily marketed.

My collection doesn’t have a single PL-mounted lens in it. Why bother? They’re everywhere and can even be had on Craig’s List (not recommended – I’m just saying) relatively cheap. Plus, they don’t specifically do a better job. That’s why RED has both a PL front end and a Nikon front end.

There must be a reason.

And to make things worse, some prefer primes and some prefer zooms. Many want both. So you should have them all.

One method I use to get more mileage out of the lenses is to use various lens mounting adapters. There are many on the market, most are crap and all are expensive. The up side is I can use a Zeiss C-Y or Canon FD on a 5D2 or 7D with excellent results. The only way to determine quality and positive function is to buy the adapter and try it. Forget the seller’s glorious recommendations, you must spend your money and do the diligence personally.

Most rental companies don’t have the stomach for that. It’s too hard. It’s not clean and quick. It’s too far outside the box and they don’t have the knowledgeable personnel to do it anyway.

Often times the lens selected will be based on features other than mount, focal length or aperture.

Nikon and Canon FD lenses are typically selected when the project is more cinematographic due to their glass coatings that enhance color and provide for more of a film look. These are called “wet” lenses.

Canon EF, EF2 and EOS have no enhancing coating though do have UV coatings; Zeiss, Olympus and Minolta have very little color enhancing coatings and are considered “dry” lenses, and are more suitable for photographic applications than movies or film-like color use.

I DON’T WANT TO BE A PHOTO SUPPLY

Naturally, there will be some overlap in what we do versus what a photography supply does. Los Angeles is lucky in that regard, there are many fine photo supplies like Samy’s Camera and Bel Aire Camera. They do photo very well.

Motion cinematography – not so much.

A simple though important difference in the MP&TV lens rental company (us) and a photographers supply (them) is as small as how the lens is supplementally equipped. Our lenses have already been equipped with custom aluminum film-pitch focus gears, they have been stepped out to 77mm (creating an 80mm outer diameter to fit matteboxes) and have very-high quality HOYA or TIFFEN protectors. In fact, we even use specially-ordered pinch lens caps to identify the manufacturer ( Canon, Nikon, Olympus, etc.).

Photographer’s don’t usually pull focus with a follow focus, and rarely use a mattebox.

I will continue to add more lenses as they become available, and as the need arises. The stream of new cameras and camcorders is unlikely to slow down at any time in the future and it’s best to be prepared. Or in our case, over prepared.

Exactly where the industry is going is anyone’s bet. One sure thing, however, is that it will be using a lens.

Tags: FEAR, LENS ADAPTERS, lENSES, PHOTOGRAPHER, PHOTOGRAPHIC
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Why HSR doesn’t advertise

October 19th, 2010

Many years ago, HOLLYWOOD STUDIO RENTALS maintained a limited but active advertising program. We allocated a certain amount of money, picked the publications we felt we would get the most mileage out of and created an advertisement. We would run that ad regularly in hopes it would bring in new customers.

But back then when HSR was new, Hollywood (LosAngeles area) had only ten or so rental companies. You needed a bit of direction, and to show what products and services we offered. Now there are over forty-five rental companies around LA. Some are “gray” operations that use Craig’s List and run their shop off their dining room table or out of their garage, others are better funded and are making a sincere effort to break into the market.. Realizing there are more rental companies in Burbank than 7-11′s, advertising is an important strategy in their operations.

NOT THE NEW GUY ON THE BLOCK

HSR has been around about 17 years. When we opened, some of our customers weren’t even dating, now they have teen-aged children that help the carry out their order. How time fly’s. It’s that type of long-term relationship that makes advertising less important.

A large portion of our customer base has been with us for over a decade, and have followed us through several different locations. It would be wasteful to advertise to customers that already know who we are and currently rent from us.

More specifically stated, either you know who we are, or you don’t. The lion’s share of new customers come to us by virtue of referral or word-of-mouth. We find that’s the best way. We don’t want to be the Costco of Rental, we just want to be a small family-owned pro-shop for upscale progressive clients. We believe we’ve accomplished that.

We have found referral is an excellent resource for new clients; they likely became aware of us during a shoot, which means they actually shoot, and have an appreciation for nicer products and clean, complete packages at lower-than-market rates.

Plus, we only have just so much gear to go around. Our buyer serves many masters: DSLR, VIDEO, DISPLAY, LIGHTING, GRIP, PRO SOUND, etc. Enlarging the inventory in a logical and even way consumes great cash resources, but is necessary if we are to remain competitive, and generally ahead of the game. We like being the leader, but it ain’t cheap.

While we invite and welcome new customers, many are in the early part of their Hollywood production experience. Advertising may draw in those in that are just starting out; recent film school graduates, those who are setting out to make their first TV show pilot, short or feature-length movie. We have no problem in providing specific product training for the new folks, in fact, we may be the only rental firm that will take the time to educate, but we can not provide extensive training on the film and television-making process itself. That would draw down certain strategic resources and would inevitably result in negative profit hence causing a necessary increase in costs and rental fees.

Rental is more of a science for us; like the difference between Monet painting a masterpiece and Earl Scheib painting a truck. It’s that difference that keeps our equipment clean and functional, and our packages very complete and convenient. Sadly, some rental firms seem to want to use a shovel to heap incomplete equipment packages on you. Commonly others try charging you for necessary items, some even charging sales tax on rentals. That’s not our way.

Something similar to advertising can be had in the various trade publications that write about our company. We are, if nothing else, innovative. That catches the eye of many trade writers, authors and contributing editors who reference us in their articles. For that, however, we pay nothing yet get national attention. We greatly appreciate their kind words and endeavor to live up to their confidences in us.

Inside the store we put up little banners and signs designed to increase interest in a particular item, or draw attention to a special deal, but that’s hardly advertising, and only costs pennies.

One might argue that our website itself is advertising. Maybe, but I maintain it myself for no cost (when you see it you can tell), and the server cost of about sixty dollars per year – hardly an overwhelming expense. You can’t rent a postage stamp sized ad in any real publication of sixty bucks a year.

Depending on your relationship with a specific manufacturer, there may be “co-op” funds available.

This is where a few percent of your wholesale purchases accrue in a fund, and can be used by the rental/retailer for manufacturer-specific promotions. It could be used for the purchase of print advertising, or to have an in-store promotion of some type. Most accruals are about 2%, a $50,000 wholesale purchase may get you $1000.00, which doesn’t get you much of an ad.

IT HAS TO COME FROM SOMEWHERE

With the plethora of new and existing rental companies, it would seem logical that the advertising should increase, to keep pace with the out-of-control growth of other rental companies. Right ??

Perhaps, but advertising is an unsure media, at best. You can spend many, many thousands of dollars and there is no guarantee that it will attract even a single paying customer. We feel that’s an unwarranted expense.

Publications sales persons tell you that for advertising to be effective, you need to run the ads over and over again. That sure makes sense if you’re the publication: Mo Money, Mo Money, Mo Money. But are you willing, as a customer looking to keep a budget in control, to have to pay more for the rental to compensate for the advertising expenses?

Banners on other websites, Google pop-ups, etc. cost money. That’s your money they’re spending.

While cleaning out some corners of the building, I came across some of our old rate cards. Those items that survived the test of time and are still in our inventory haven’t experienced a rate increase. That’s from 10 or more years ago!!! We couldn’t do that if we were saddled with large recurring advertising bills.

We have even refrained from creating paying ads in any of those multi-thousand page spiral-bound directories. You can’t find anything in them anyway and they are very expensive to place an ad in, and what’s worse there are so many of them floating around.

EUREKA

That’s what the miner’s up at Sutter’s Mill said in 1848 (quietly and to themselves) when they found gold flakes in the river. I hear a lot of that expressed in here, too. “Where have you been all my life?

Keep in mind that we don’t hide ourselves. That would be silly, we just don’t make a big deal out of it.

If you have ever rented gear somewhere else and see a sticker or a piece of tape over another sticker, peel it back. It may very well have our name on it. That type of discovery brings you to our door, since we are the actual rental company who owns the gear. Due our unique inventory, we sub out a lot to other rental firms who may have run out of something, or never had it to begin with. Thing is, you may be able to rent it directly. It could save you valuable time and resource. In fact, the item(s) may be at a lower price than the sub-rental dealer. After all, they need to mark-up the gear a bit to pay for their advertising, purchase order, driving here, driving back, accounting reconciliations and other labor-intensive affairs. All that costs money. Once again – your money.

We have even been found through our IMDB listing. Several works have been cited and the type of equipment rented or service provided. There’s only a few, but they are all fine works that have made it to television or theatrical distribution and we are happy they included our name in the credits.

We also receive direct referral from other rental companies. If they don’t have a particular item, and they know we do, often they send the customer over to us directly. That’s a kindness that we appreciate, it’s direct and honest. We reciprocate when the circumstance is similar, but in the reverse direction. Once the new customer becomes familiar with our rental policies, product mix and pricing it’s hard not to come back for more.

Well, that’s why we don’t do advertising in the traditional (and nontraditional) sense.

We would rather keep the tech high and the prices low. Hope to see you soon.

Tags: advertising, Discount, publications
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I can’t rent you common sense

September 22nd, 2010

Here at Hollywood Studio Rentals we carry a wide range of products and services. Our inventory reflects a vast collection of the most current and popular equipment, as well as older and legacy equipment which still has important applications in the film and television production environment.

Some of it I just want to keep because it’s cool.

One thing we can’t rent you however is common sense. This BLOG will discuss many of the hallmarks and procedures that professional TV and FILM crews have been using to ensure successful equipment rentals, and by implication, successful shoots. Some of these points have been discussed in prior BLOGS, but deserve repeating because of their importance.

In no particular order:

1. ORDER PICK-UP

The person picking up the rental order must be the person operating the equipment. Sending a PA or other person to pick-up gear that they are wholly unfamiliar with is a recipe for disaster. In many cases the inexperienced driver, courier or other person doesn’t know the difference between a mayfer clamp and a zoom lens. Nothing wrong with using these persons for picking up craft services items, certain expendable items and such, but to send them to pick mission-critical key electronic components is a real error.

Clearly, producers need to budget for camera operators, grips and other key personnel to inspect, check and review rental orders before the shoot to guarantee a smooth rental experience.

Indeed, this affords the renter the opportunity to review the order, add or delete a rental item as necessary and to ask any questions that may require answers or amplification.

Let me expand on these points just a bit.

Sometimes, upon return, a renter tells us that a piece wasn’t included as shown on the rental contract, or that something didn’t work as expected.

Every effort has been made in insure isn’t the case. Several levels of surety have been built into the rental process to avoid mistakes. Even though the contract specifically states that a renter MUST call us, leave a message, and advise us of any irregularities, they just don’t. By not contacting us we are deprived of any opportunity to implement a corrective procedure. The rental firms culpability is now zero.

Once again, it all falls back to professionalism and experience, and to a certain extent, budget (discussed later in this BLOG).

LEVEL 1

When an order is returned, it’s checked by us at the rental counter for damage and completeness. Any discrepancies or damage is noted on the companies copy of the rental invoice and the renter is advised and given time to take care of the problem or locate and return the missing item(s). This the FIRST time the rental technician has looked over the equipment.

LEVEL 2

When a rental item or package is reserved, it is prepped by a technician for perfect function and completeness. If a discrepancy if found, it’s taken care of and corrected prior to the renter arriving to pick up the order. This is the SECOND time the equipment has been inspected by a technician prior to rental.

LEVEL 3 – THE RENTAL HANDSHAKE

This is where the order is being checked by BOTH the rental customer and the technician, together right at the rental counter. Both the customer and tech go over the contents of the package TOGETHER to ensure accuracy and completeness. If somethings not there that’s listed, or needs to be included, this is the time to address it. Several sets of eyes on the same order, a sharing of responsibility between the renter and the rental firm, to the greatest extent possible to create a correct and complete order. Nearly impossible for a mistake to happen – right? This is the THIRD time the order has been checked an affirmed.

LEVEL 4

Level 4 is the return of the gear to the rental company. It’s much the same as Level 1, the customer and technician go through the package and make sure it’s complete and in good condition.

On occasion a customer might tell us that something was missing from the return or wasn’t provided, even though their signature and initials on the rental contract indicate it went out. How can this be one would ask? – four separate levels of security AND the check-out handshake, all to be sure of accuracy and still an error?

Perhaps one item was mistaken for another, but the odds of four mistakes being made by five or more persons is mighty low. Actually, it’s near impossible. With a one-in-a million exception, if the contract says it was there – it was, and the renter perhaps unwittingly, lost it. Go back and look because you’re liable for its replacement. And as mentioned prior, if you have a courier or PA return the order,
you’re left without recourse. This was the FORTH time errors would have been caught.

That’s why we take 4 unique and independant opportunities to make sure.

2. OBLIGATIONS of the RENTAL FIRM

We make it a point to ask many important questions when a renter is reserving equipment. Where is it to be used? For what type of shoot? Who will be using the gear? What equipment do you already have?

We need this information to ensure your rental request is logical. If it is not – we’ll tell you. Sure, it’s a bit of extra work on our part, but we feel it’s necessary. I’m pretty sure you wouldn’t want it any other way.

We’ve had people reserve SDHC cards for use on a Canon 5D2. We all know that a 5D2 uses CF cards, and we ask why they want SDHC. Maybe they are also shooting a T2i or using a ZOOM. We need to know. Imagine getting to the set with all your gear, crew, location set and you ordered the wrong memory cards.

I hear this story with frightening regularity after the renter has tried renting elsewhere. I guess that’s why their with us now. We try to intercept these errors and correct them before they wipe-out your shoot.

Largely, this type of rental insight comes after many, many years in the rental game. I’m in year 17 and came to pro rentals with a significant retail electronics background prior. So often the newer rental firm doesn’t have the background and historical perspective to see a catastrophic rental error coming. They’ll just rent you what you ask for even if it is illogical.

It’s not that they’re knowingly setting you up for a fall, it’s just that they don’t know. Many rental firm employees don’t even shoot themselves.

Would you buy a car from a salesperson that doesn’t drive? Who’s fitting a 1-ton grip order in a PT Cruiser or trying to plug a 5k fresnel into house current?

If the crew member using the equipment is checking & receiving the rental order the odds of failure is reduced to almost nothing. If, however, your shoot is of little importance, send a PA or some other person unfamuilliar with equipment. We’ll do the best we can.

If we made a mistake like sending out the wrong type of connector, or a batterry that didn’t fit a particular item, we’ll give you your money back on that unique line item (assuming you followed the terms of the contract as it relates to contacting us and you have done everything in your power to mitigate a shortfall).

3. THE RENTAL CONTRACT

A CONTRACT OF RENTAL is a legally-enforceable document between the renter and the rental customer that outlines the equipment being rented. This contract, along with the TERMS and CONDITIONS of RENTAL delineates the obligations of each party under that contract.

While the rental contract (it can be called a lease or an invoice with the same effect) vary from firm to firm, they should specify all of those terms.

Ours does, but some don’t.

Specifically, our rental document includes:
1. The invoice date;
2. The pick-up date, and sometimes the pick-up time;
3. The return date, and sometimes the time of return;
4. The number of billing days;
5. The list of equipment including a detailed list of supplied accessories in that package;
6. The name of the rental technician who created the invoice;
7. The exact amount of the charge for that rental;
8. Any special terms of that rental;
9. A line-item area for initials showing the items have been receive in working order;
10. An area showing acceptance of the contract bearing the renters signature;
11. Mandatory advisement to call our answering service 24/7 in the event of ANY suspected failure or in-completion of order, or if operations or applications questions arise. You will be prompted to LEAVE A MESSAGE.

People actually call on a Saturday or Sunday, listen to my belabored outgoing message that seems to drone on forever, and don’t leave us a message. What good is that? If you don’t leave a message our system will not record, or even indicate a message was received. How can I help you without a message being left?

Some times a renter will return after the weekend and tell me they called but didn’t leave a message thinking we were open on weekends – like a supermarket or a 7-11. Even if we were open on weekends – why not leave a message? It just doesn’t make sense.

HSR hasn’t been open on weekends for over 10 years. Our HOURS of OPERATION signs show our hours, they’re posted several places inside and outside the store, and we tell the renter we are closed on weekends while they are checking out. Weekends include Saturday’s and Sunday’s, and most Federal Holiday’s.

Having said that, who would sign a CONTRACT that they haven’t read? It could say that we sent you out with a bag of sand but need a Sony EX1 back. If you didn’t read it – how would you know?

In a legal sense, if push comes to shove, the TERMS and RENTAL CONTRACT are the superior documents of the agreement and are totally enforceable. In fact, even without a signature, acceptance of the rental equipment implies acceptance to all terms of the agreement. Ask for a copy and read before signing.

Sadly, it has been tested a few times and it is iron clad.

4. BASIC TOOL KIT

Would you hire a CHEF that doesn’t own a great set of knives? No, of course you wouldn’t. The same is true when you are getting ready to shoot, but instead of knives, you would carry a basic tool kit and a few other items.

This kit is essential to anyone who wants to be taken seriously in production, and can save the day in the event of unexpected events.

I’m not saying bring along a Monster Garage’s worth of tools (though that would be great), but some hand tools which I have listed below:

Hammer, nails;
Cordless drill with batteries, charger, drill bits, Phillips and flat tips;
Hex wrenches both metric and SAE;
Standard screwdrivers with a box of wood screws;
A good quality flashlight;
A pocket multi-tool like a Gerber or a Leatherman;
A cigarette lighter (cigarettes optional);
Spray paint: black, white, silver, spray adhesive;
A VOM meter to test voltage and continuity;
Plenty of AAA, AA, C, D and 9V batteries EVEN IF YOU HAVE NOTHING THAT TAKES THAT SIZE;
A simple soldering iron with rosin core solder;
Various colors of electrical tape and a box of trash bags;
Various lengths of plastic wire ties;

Plus A SMALL but relatively complete First Aid Kit.

This required tool kit won’t break the bank or kill your budget. The majority of these items are probably sitting in your garage. You can add more to the kit as you feel is needed, indeed many cheaper tools can be had at a 99-cent store. Once owned, you can take this group of items to every shoot you are on. An excellent investment.

5. READ THE INSTRUCTIONS

Even experienced crew members encounter new equipment that they may not have worked with previously. With the fast rate new gear comes out it’s almost a certainty.

We make it a point to include an owner’s/operations manual even on fairly basic items. Items with a similar or same function may operate differently. Even within a particular manufacturer a new version may have significant changes. This is especially true of items from different manufacturer’s. While every opportunity has been provided the renter to ask questions and request a demonstration of the item in a way most similar or same as their expected application, (which we would gladly do) not every question and variation can be addressed in a reasonable amount of time.

Like they say “IF ALL ELSE FAILS READ THE MANUAL”

We go one step further. Our web site (which you are on right now) has a section call MANUALS. There you will find download-able and printable .pdf’s of all of our equipment, even for gear we don’t carry. It always available, it’s free, and a valuable resource for reference no matter where in the world you may find yourself.

6. PRIOR TO USE

I can’t over-stress this point. Set-up your gear prior to the shoot. Test it. Test it again. Make adjustments and reserve plenty of time to ask us questions and to become more functionally familiar with the gear.

Occassionaly over the weekend, and mostly on Sunday’s, I will receive a call on the company answering service where a customer is having a problem with a rental item. It’s great they call and let me know. What I still don’t understand is why Sunday? Certianly, the renter set up the order Friday night, checked it again on Saturday to verify the equipment is working well and they understand it.

Am I to understand that the day of the shoot was the first time they looked at the order?

Check you gear, then check it again. If you don’t do this IT’S LARGELY YOUR FAULT. Be a professional, you can’t pre-test equipment enough.

7. DON’T USE A HAIRDRYER IN THE SHOWER

If Mark Kriski tells you it’s guaranteed to rain, and you’ve scheduled and outside shoot, either cancel or get prepared. The Farmer’s Almanac is a great reference as to periodic weather history on a specific date, sun-up and sun-down times but don’t bet your shoot on it.

We do have several solutions for unexpected rainy days; covers, cases, tents, bags and the like. If you need to shoot and can’t put it off, give us a call – we may be able to help keep you on schedule (and budget). Same is true when shooting at the beach or desert. Sand can kill gear in the same way water and ocean spray can. Cover it up and protect your investment.

8. RESERVE YOUR EQUIPMENT IN ADVANCE

The most prepared rental clients reserve their package a week or two in advance of pick-up. It’s a great idea. It guarantees the rental firm will have all the items you’ve requested and that your order will be ready to go when you get there.

Naturally, don’t reserve gear you don’t need – that makes it unavailable to other renters and you may be charged for those items even if you don’t take them with you. You have 24 hours prior to the shoot to cancel or amend a rental order. Less than 24 hours notice and you may be on the hook.

When setting up an order, ask us to send over an estimate. It has all the same information as an invoice, but isn’t binding until you approve it. I can email it or fax it over usually prettty quick. Note that they order is not confirmed until you approve it and, in general, get a reservation rental confirmation number.

Sure, there are emergencies that preclude advance notice. That’s OK, we welcome walk-in’s, and we generally carry a few of each item, or something that is functionally the equal. No promises, though.

9. BUDGET

As you can imagine, we receive a large number of orders that are “low/no budget”. I understand having come from many shoots with a modest budget.

Realistically, for any company to survive (and maybe grow a bit) it needs to generate revenue. The task of shooting a L/NB is daunting, indeed. It generally requires the calling in of favors from friends, crew, comped locations, etc.

But it must be realized that your vendors may not always be able to bear the brunt of excessive discounts. If you are shooting for a week, it’s unrealistic to request a 1 day week AND an addditional 50% off. This is especially true of brand new popular equipment that would go out undiscounted and bill under a 2 or 3 day week anyway. Even more true during busy times when the weather is perfect and everyone’s shooting.

We are very liberal about discounts. Mid-week rentals are easier to discount than weekend rentals (which are already a good deal at a 1 day billing), longer term rentals give us a little wiggle room.

You need to seriously look at your budget. It’s a bit like a tank of gasoline in your automobile. Setting out to go to Las Vegas with a quarter of a tank may be considered reckless and ill-advised. Is there enough gas to make the trip? If not, you may consider staying home or not going as far.

Same is true of budgeting and finance. If you know that you really, really don’t have enough financial backing (cash money), it would be a good idea to wait until your real-and-true spendable budget is up to par, equal to the shooting task at hand.

Most areas of production have real and true associated costs. Pizza isn’t free, asking the Domino’s driver if can take $20.00 instead of the $35.00 bill may not be met with great appreciation.

Combining periodic discounts (days per week) and precentile discounts (XX% off) can be difficult and may not even be possible. We guarantee the lowest price, but we don’t want to go out of business because of it.

Consider all of your options: less expensive location, closer location, catering changes, work rate negotiations or points with the crew.

I swear this is a true story:

I was contacted by a potential renter that said they have a real small budget and would need a complete package. Cameras, lights, sound, grip, display, the whole nine yards. They told me what their budget was, and it wasn’t far from reality. It was being shot for YouTube, so the technical demands were modest. Perhaps we can make a few concessions to get them there, until they elaborated.

“We need 2 complete RED packages, a 5-ton grip package with 10 HMI’s, and do you rent vehicles; also we don’t have any insurance – will that be a problem???”.

You gotta’ be kidding. I was thinking a couple of DVX100′s and a box of road flares.

I receive this type of call regularly, and I try to make the most of their financial resource, but I can’t always cut that deep.

Prehap’s Craig’s List. You might get a good deal if they don’t rob or kill you. It’s a crap shoot out there.

Whether that person got their double RED’s is unknown. I’m inclined to think not.

Going back to the rental house’s thought processes: A quick example of why exceptionally large discounts are sometimes impossible:

A Schneider 4×4 ND0.9 filter cost wholesale about $230.00. As a REAL rntal house that doesn’t chage renters tax, we have to pay that tax when we buy it. That 9.75% more. The new total for that piece of glass is $252.43.

It lists for $10.00 per day. You get a 15% student discount and are renting over the weekend.

Your weekend rate would be $8.50. If you divide the rental revenue by the cost you can see where the rental firm has to rent the item 29.7 times JUST TO BREAK EVEN. That’s half of a year without profit. What if it’s a bigger ticket item, say something that is several thousand dollars. The same mathematics is true, and the item may not even break even within a calender year, let alone making and profit.

We understand that some products we carry will never turn a profit. They are stocked as a customer accommodation. Filters are one of these items (as illustrated ablove). Generally, these type of items aren’t available anywhere else or are in very limited supply. We got them and feel they are a necessary item in our inventory.

Be kind – Don’t grind.

Clearly, the rental game isn’t for the weak of heart. The rental firm needs to have enough cash assests to survive what is in effect a year-long drought. Now do that with 20 or 30 items. You get the picture.

It’s simple math, really. If you have a small budget, be realistic about the equipment you can access. If you have no budget, you should wait until you do.

Be creative, have a fund-raiser or locate an angel with similar vibrations or passions and has interest in your project. Make them an actor or producer in the project, that often times works.

10. KEEP PANDORA’S BOX CLOSED

We don’t recommend trying to service or modify an item in the field. Often times the interior of a camcorder or optical device like a Letus adapter is frought with danger and mystery.

I even show exceptional care when I set out to service an HSR-owned device, and I have a background in electronic and opticals service. Some units I open here on our service bench are quite terrifying inside. PC boards, ribbons going everywhere, undetectable springs, optical and magnetic sensors. Without a service manual it’s a difficult and largely impossible task even in a calm, cool and stable environment to effect a positive service with all the reliability of a new item.

Most equipment isn’t designed for servicing out of warranty. If my ZOOM breaks, and I can replace it for $300 why would I pay a service shop $500 for a repair?

If a tape is stuck in a camcorder (not that they use tape anymore) please don’t pry the cassette lid door open. Even if you did, the tape loading mechanism is probably in the “loaded” mode and would do no good anyway.

Even if you have a strong background in service, we beg you inform us right away and let us get the unit to a Factory Authorized Service Center. Most service centers have a flat-rate repair program which costs about $700 for even the simplest repair. I’ve paid invoices where there is a time-stamp (time started, time ended). A simple repair with a $6.00 part and 20 minutes of labor may still runs $700.00. That’s over $2000.00 per hour – mighty good pay in any industry.

Even though that’s the case, we still must go through the motions and pay the service tab. A customer field service attempt may create additional damage and may result in a complete loss, or a “un-economical to service” tag.

Sometime stuff just stops. Nobody’s fault.

While such a inconvienient failure through no fault of the customer may receive a rental refund, if we have to bill you to replace the whole unit – how will you be ahead??

Please try to keep these suggestions in mind as you are setting up your order. They really help and can make everyones life easier.

Be prepared in all aspects of your production. Apply great forethought and have realistic expectations – that’s just common sense.

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The Problem with Thursday’s

May 18th, 2010

I kinda’ did it to myself, and hope I didn’t set a bad precedent for the the whole industry.

I’ve been releasing single-day billed weekend orders that would normally go out after 3pm on Friday quite early, sometimes as early as Thursday morning. Turns out, that’s not such a good idea.

Sometimes, it was for my convenience, but not always. Weekend rentals that go out over any given weekend and bill a single day are already quite a value; they go out Friday and the rental customer keeps it all the way through Monday. That’s three days for a one day billing.

I’ve surveyed the market, from Vancouver, BC to Miami, Florida, and most rental firms charge 1.5 days for the weekend; still a deal. The thing is, a rental firm only generates revenue when the rental item(s) are out and away from the company. Not use days, where a customer picks up Friday, uses it Saturday and returns it Monday, Sunday being a non-use day. That would constitute a one full use day over the weekend.

What’s happening is the customer is in many cases getting more than a one day use out the the gear, and the gear begins to show normal wear and tear at twice (or more) the billing day rate. That just burns up the gear which compromises the longevity and potential revenue return. This also increases maintenance costs, and equipment must be re-purchased at a greater rate. This impacts rental rates directly. Naturally, a weekend renter is entitled to use the equipment from the moment they pick-up the order right up until they return it. That’s a given in the Los Angeles market area, though many area rental firms still bill a longer period over the weekend.

THE CAVIAT

If a customer has a 6am Friday call time, then they must pick-up the gear Thursday to make the call. If they are continuing to film through, say, Saturday, or even late Friday, they have to hold onto the gear until Monday.

So the gear is out Thursday, Friday, Saturday, Sunday until Monday. That’s five linear days. The problem is how to bill it. If a regular Friday through Monday created more use than revenue, which it does, what about the Thursday release? It becomes, in effect, a one day week. Sadly, this billing practice will turn the finest, newest equipment into dust long before its normal lifespan, and way faster that the revenue vs. cost of the items break-even recovery. Not profit, mind you, just to break even. A firm can’t grow, or even sustain itself at a zero-profit level, indeed, being behind the 8-ball for the life of the rental item. You can’t hope to win.

Several rental firms have increased their rates to compensate for this effect. We haven’t yet, but are considering many options.

This next part is directed to the Line Producer, or other person setting up the schedules.

If you schedule a 6am call time for Friday, knowing darn well the rental firm opens at 8:30 or 9:00am, you really can’t complain about the extra day (Thursday through Friday, and into the weekend) billing.

Besides, nobody likes a 6am call time. Make it 10am so everyone is awake and arrives to set on time, at least on the first day of production. Then you have the gear ready to go and everyone’s found the shooting location, warmed up and ready to make movies.

This logic extends to the other side of the weekend, as well.

If you schedule an early call time for Monday, still knowing the rental firm doesn’t open that early, then you have to pick up your order Friday and hold it over the weekend. Expect to be billed the “extra” day.

THE RENTAL FIRM DOESN’T DETERMINE YOUR CALL TIME

There is potential advantage to the Friday-pick-up-for-early-Monday-use scenario. The crew member(s) in possession of the gear have every opportunity to inspect, set-up and verify they’re able to use the equipment, test it and increase their familiarity with the gear, or at least took a moment over the weekend to read the owner’s manual. If a real problem exists, there’s more than enough time to notify the rental firm so that they may implement a corrective proceedure, whether an equipment exchange or the additon of a necessary “thing” that was initially overlooked or was unforeseeable. If you deny the rental firm the opportunity to correct a problem and you choose to not take advantage of it, just like before, you’re fired.

If you pick-up gear on Friday and don’t test the gear until you take it out of the case to use it until Sunday – and then discover a problem – you’re fired. In the olden days, producers used to pay out a half or full day in advance of production start as a prep day. Some more established production companies do budget for a prep day, though that’s occurring less and less.

When I was doing sound, I would prep my Magliner a week in advance, including every conceivable cable, connector, soldering iron, extra connectors and anything else I could imagine I might even remotely or possibly need. Three boompoles, ten 100ft. XLR’s, ten 50ft. XLR’s, seven back-up mics, five extra wireless, etc. I never got caught under-geared . I’d even bring about 100 extra 9volt, AA, AAA and even C-s and D’s even if there wasn’t any equipment that used them. Recall the Boy Scout’s motto: BE PREPARED..

But that’s me, plus, I owned all that stuff, a desirable advantage. Plus while every one else was setting up, all I needed to do was get the cart of the truck, take the plastic wrap off the Magliner and I was pretty much ready to roll; plus I had the confidence that I’ve tested everything five times before I needed it.

But I regress; How does the early pick-up weekend billing problem be solved?

What about a weekend pick-up, either Saturday or Sunday? This sometimes can work out well. Be aware that no rental employee wants to schlep into work on a weekend to release an order. If you can convince someone to come in, they’ll most likely charge you a weekend opening fee. Typically it’s $100 cash. That too could be a good value if an extra days billing is greater. Don’t expect a greater discount on the package to off-set the weekend open fee. Did I mention it was cash?

The only thing I can think of, and have been trying for over a decade, is to bill 1.5 days Thursday-through-Monday, or Friday-through-Tuesday. Still quite a value. And even though it may still truly be a one-day-use, it must be remembered that the rental firm only generates revenue when the equipment is out and away from the store.

RENTAL COMPANIES RENT THE EQUIPMENT, NOT THE USE OF THE EQUIPMENT

Here’s a simple comparison. You rent a car from Enterprise on a Monday. You return the car that next Friday. You go in and tell the rental guy that you only used it on Wednesday, and can you be billed for only one day. When he or she stops laughing, they will bill your credit card for the five days. They too rent the gear (car) to provide the renter access to the gear, not its usage. Whether you drove it one day or all five is simply not relevant.

Naturally, there are considerations such as long-term rental and travel days; those topics are covered in earlier blog postings.

So next time your LP wants everyone to be there before sun-up, and they are screaming about the budget, send them over to this blog. I can’t say it will help, but at least they’ll get the rental firms perspective.

Tags: Call Times, Line Producer's, Thursday's
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The Future of the Depth of Field Adapter

April 28th, 2010

The winds of change are once again blowing; this time, we will be taking a look at the future of DOF adapters and some options.

HSR supports the Letus line of products, though there are several others such as RedRockMicro, Brevis Cinevate, MovieTube, P&S plus several indie-built and kits available.

The question remains if these adapters will be necessary for the future of Digital Electronic Cinematography. If you’re anticipating the move to a DSLR, you will inherently have all the bokeh and DOF necessary. SLR prime and zoom-type lenses give you the out-of-focus-pull-to-and-beyond ability in its very nature. No DOF adapter needed here.

I’ve actually put together a Letus Elite with a Canon 5D2 using Nikon lenses, then tried the Nikon lens directly on the 5D2 – sadly the DOF adapter didn’t produce superior results, but I was hoping.

What about the transition over to 3D cameras and camcorders? I can’t see a DOF adapter working with that product do to overwhelming optical and technical complexities. When everyone starts to ship 3D adapters and camcorders we’ll know better, but right now (based on available literature) a DOF – 3D relationship won’t happen.

What of all the DOF adapter manufacturer’s?

It is thought that the DOF manufacturing end of their companies will re-tool and move into other types of products, such as rod support shoes for full-sized ENG camcorder’s, etc.

You’ll always need rod supports and riser’s, grips and shoulder pad systems of some type, and whatever else you can apply to DSLR’s, and when shipped, whatever products that can make 3D rigs easier to use and more convenient.

Not in the Grave Yet

There are a million camcorders still out there, and even though the sales and trends are shrinking that end of the market, and this will most certainly effect the DOF adapter builders. There is little question that the adapters do, in fact, work very well with more traditional single fixed-lens camcorders.

With the introduction of relay lenses, camcorders with detachable lenses in 1/3in., 1/2in. and 2/3in. B4 mounts can now get in the game (actually, they always could have, it’s OK to use the supplied detachable lens without the absolute necessity of using a dedicated relay-type lens, though the relays are a cool item albeit a $2000.00 to $5000.00 price tag).

Not everyone is comfortable with DSLR’s as their HD Motion video capture device. Yes, they’re usually 1920×1080 and output 1080p, as good as the best camcorders and in some cases better. Those that have shot the DSLR products (and I’ve seen the end-product and largely agree) are overwhelmingly amazed at the results. They’re even a bit surprised that such a small package ca do such a fine job.

The images are quite good, full HD and using a ZOOM with Plural Eyes software solves the sound sync-ing and auto gain control problem creating a full 360-degree solution.

Out with 3CCD, a buzzword from the recent past, and in with Full Frame and APS-C single-chip image processors. I told everyone that single chip sensors must eventually win, that was back in 2003 when JVC introduced the JY-HD10U. Give it enough time and I predict all image capture devices will be 1-chip.

If you are getting the results you need using a DOF adapter and your favorite HD camcorder there is no reason to stop, the DSLR-acquired product isn’t specifically better, image wise. It always comes down to the camera operator and the post solutions.

Money, money, money

In as far as 2D is concerned, it is less expensive (read: cheaper) to shoot a DSLR. A Canon 5D2 with a good 24mm – 105mm lens runs about $3500. 32gB CF cards run a bit over a hundred.

A Canon EOS 7D runs about $1700.00 and a Rebel T2i 550D runs under $800.00 and quote the same 1920×1080 1080p and toss in 24p and 25p in addition to 30p.

A Panasonic AG-HVX200A runs about the same to buy as a 5D2, P2 cards have gone down in price and capacity is up, a 32gB E-series is under $600.00 (yes, you get a lot more RT on a CF card of the same capacity, but I have to draw some comparisons). But here’s the sting – you still haven’t got that DOF ability with a camcorder and will still need to purchase an adapter. A Letus Extreme will run about $1200 and lenses will still be necessary, just like in the DSLR scenario.

Which Way is Up?

HSR is a rental house, we need to keep all the bases covered and will continue to carry all the electronic and optical solutions whether DSLR, Camcorder/DOF or (eventually) 3D. One size rarely fits all.

Our goal is to allow you to pick the gear you want (and need) in an effort to help you produce the type and quality of content you deserve. Plus, we encourage trying different equipment rigs so you can get a feel for everything that’s available.

In that regard, our commitment is unwavering.

QUESTION OF THE DAY:

If it’s called a TRAILER, why does it appear at the BEGINNING of the movie?

Tags: 3D, DOF, DSLR, the future
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Sony Develops High Frame Rate Single Lens 3D Camera Technology

March 31st, 2010

Captures natural and smooth, high quality 3D images at 240fps.
Sony Corporation today announced the development of a single lens 3D camera technology capable of recording natural and smooth 3D images of even fast-moving subject matter such as sports, at 240fps (frames per second).

This technology combines a newly developed optical system for single lens 3D camera which captures the left and right images simultaneously, together with existing high frame rate (HFR) recording technology to realize 240fps

3D filming.
Newly Developed Single Lens Optical System
In existing half mirror 3D camera systems with separate lenses for the left and right eyes, the parallax range is adjustable, enabling the depth of the 3D images to be modified. However, when operating the zoom and focus functions of such systems, the sensitivity of the human eye, in particular to differences in the size and rotational movement of dual images, as well as any vertical misalignment or difference in image quality has meant that complex technology has been required to ensure that each camera lens is closely coordinated, and there are no discrepancies in the optical axis, image size, and focus.
The introduction of a single lens system resolves any issues that may occur as a result of having different optical characteristics for each eye. Furthermore, by using mirrors in place of shutters, incoming light can now be simultaneously separated into left and right images and recorded as it reaches the parallel light area (the area where diverging light from the point of focus on the subject matter becomes parallel) of the relay lens. The separated left and right images are then processed and recorded with the respective left and right image sensors.

As there is no difference in time between when the left and right eye images are captured, it is possible for natural and smooth 3D images to be captured, even of scenes involving rapid movement.

Optical system for single lens 3D camera
240fps 3D Filming
Optical tests have shown that a frame rate 240fps represents the limit of human visual perception, and beyond that it becomes difficult to detect differences in terms of blur and “jerkiness” of moving images (where images that were continuous are now seen as a series of distinct snapshots). By developing a 240fps frame rate CMOS image sensor with properties close to the human eye, which is capable of capture natural images of even fast moving subject matter, Sony has succeeded in further enhancing the quality of 3D video images.

The combination of Sony’s new single lens 3D system and its 240fps high frame rate technology has realized a single lens 3D camera system, based on universal properties of the human eye, which enables natural and smooth 3D images with no accommodation-vergence*1 conflict to be recorded.

*1 Accommodation: focusing the lens on the eye, vergence: aligning the direction of both eyes on the subject

Technological Features
1. New single lens optical system captures left and right images simultaneously to deliver natural and smooth 3D images with no accommodation-vergence conflict. Eliminates the need for lens synchronization, ensuring easily accurate control of 3D zoom and focus functions. When polarized glasses are not used, viewers with still be able to see natural 2D images, as the disparity of the images for left and right eyes are within the range that human eyes can recognize as a blur.
2. 240fps image capture to realize high quality motion images; Realizes high quality capture of 3D content including fast-moving subject matter such as sports.

Prototype to be demonstrated at EATEC JAPAN 2009
Within the growing 3D cinema industry, Sony has supported and driven the expansion of 3D by providing a wide variety of professional equipment for the shooting, production and screening of movies in 3D. The number of digital 3D screens is increasing rapidly, and is expected to reach 7,000 worldwide by the end of 2009*2 In addition to 3D movies, Sony’s range of professional 3D products and technology is also driving the growth of 3D production and distribution across a range of entertainment industries, from theater and music performances to sport and beyond. Furthermore, Sony is also aiming to continue to lead the way in delivering new 3D viewing experiences by bringing 3D to the home in 2010.
*2 Source: Screen Digest (Approx. as of July, 2009)

Key Prototype Specifications
3.5 inch viewfinder able to display 240fps

Imaging sensor
CMOS image sensor system, Single panel color filter (uses two) Spectrum Optical mirror system

External size (W x H x D): Main body is 9.5in. x 7.9in. x 18.9in.
Weight: Main body runs on the heavy side so don’t get rid of those big heads and sticks just yet: 39.68lbs.

Pricing not yet announced as this item is still in the prototype stage. Odds are it won’t be cheap.

And the Oscar goes to (nobody you’ve ever heard of)

March 8th, 2010

When you think of the Oscars, you think of Best Director, Best Movie, Best yadda, yadda, yadda. This Blog is a bit different.

This year, as in the year before and the year before that and the year before that the Academy of Motion Picture Arts and Sciences gave out the “sciences” part.

No, not during the actual broadcast, though they did take twenty secounds to show a group photo, but in late February. The winners are the brains behind the gear, and how it’s presented.

No surprise, a lot of Plaques (no statues, sadly) went out for 3D stuff, building a better digital projector and so forth.

I just though everyone should know and recognize these folks for their contributions.

Besides, this is a gear site, no thesbians here.

STRANGE FACT:
In 2004 I lost a Technical Emmy for my creation of the first lightweight low-cost studio-configured High Definition camera system for B and C markets to BLACK WRAP.

I can’t be around black spray paint or aluminum foil ever since.

Here are your winners and congradulations:

Technical Achievement Awards
•To Mark Wolforth and Tony Sedivy for their contributions to the development of the Truelight real-time 3D look-up table hardware system.
Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world.

•To Dr. Klaus Anderle, Christian Baeker and Frank Billasch for their contributions to the LUTher 3D look-up table hardware device and color management software.
The LUTher system was one of the first color look-up table processor to be widely adopted by the pioneering digital intermediate facilities in the industry. This innovation enabled accurate color presentation by facilities that had analyzed projected film output and built 3D look-up tables in order to emulate print film.

•To Steve Sullivan, Kevin Wooley, Brett Allen and Colin Davidson for the development of the Imocap on-set performance capture system.
Developed at Industrial Light & Magic and consisting of custom hardware and software, Imocap is an innovative system that successfully addresses the need for on-set, low-impact performance capture.

•To Hayden Landis, Ken McGaugh and Hilmar Koch for advancing the technique of ambient occlusion rendering.
Ambient occlusion has enabled a new level of realism in synthesized imagery and has become a standard tool for computer graphics lighting in motion pictures.

•To Björn Hedén for the design and mechanical engineering of the silent, two-stage planetary friction drive Hedén Lens Motors.
Solving a series of problems with one integrated mechanism, this device had an immediate and significant impact on the motion picture industry.

Scientific and Engineering Awards
•To Per Christensen, Michael Bunnell and Christophe Hery for the development of point-based rendering for indirect illumination and ambient occlusion.
Much faster than previous ray-traced methods, this computer graphics technique has enabled color bleeding effects and realistic shadows for complex scenes in motion pictures.

•To Dr. Richard Kirk for the overall design and development of the Truelight real-time 3D look-up table hardware device and color management software.
Through the use of color management software and hardware, this complete system enables accurate color presentation in the digital intermediate preview process. The Truelight system is widely utilized in digital intermediate production environments around the world.

•To Volker Massmann, Markus Hasenzahl, Dr. Klaus Anderle and Andreas Loew for the development of the Spirit 4K/2K film scanning system as used in the digital intermediate process for motion pictures.
The Spirit 4K/2K has distinguished itself by incorporating a continuous-motion transport mechanism enabling full-range, high-resolution scanning at much higher frame rates than non-continuous transport scanners.

•To Michael Cieslinski, Dr. Reimar Lenz and Bernd Brauner for the development of the ARRISCAN film scanner, enabling high-resolution, high-dynamic range, pin-registered film scanning for use in the digital intermediate process.
The ARRISCAN film scanner utilizes a specially designed CMOS array sensor mounted on a micro-positioning platform and a custom LED light source. Capture of the film’s full dynamic range at various scan resolutions is implemented through sub-pixel offsets of the sensor along with multiple exposures of each frame.

•To Wolfgang Lempp, Theo Brown, Tony Sedivy and Dr. John Quartel for the development of the Northlight film scanner, which enables high-resolution, pin-registered scanning in the motion picture digital intermediate process.
Developed for the digital intermediate and motion picture visual effects markets, the Northlight scanner was designed with a 6K CCD sensor, making it unique in its ability to produce high-resolution scans of 35mm, 8-perf film frames.

•To Steve Chapman, Martin Tlaskal, Darrin Smart and Dr. James Logie for their contributions to the development of the Baselight color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process.
Baselight was one of the first digital color correction systems to enter the digital intermediate market and has seen wide acceptance in the motion picture industry.

•To Mark Jaszberenyi, Gyula Priskin and Tamas Perlaki for their contributions to the development of the Lustre color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process.
Lustre is a software solution that enables non-linear, real-time digital color grading across an entire feature film, emulating the photochemical color-timing process.

•To Brad Walker, D. Scott Dewald, Bill Werner and Greg Pettitt for their contributions furthering the design and refinement of the Texas Instruments DLP Projector technology, achieving a level of performance that enabled color-accurate digital intermediate previews of motion pictures.
Working in conjunction with the film industry, Texas Instruments created a high-resolution, color-accurate, high-quality digital intermediate projection system that could closely emulate film-based projection in a theatrical environment.

•To FUJIFILM Corporation, Ryoji Nishimura, Masaaki Miki and Youichi Hosoya for the design and development of Fujicolor ETERNA-RDI digital intermediate film, which was designed exclusively to reproduce motion picture digital masters.
The Fujicolor ETERNA-RDI Type 8511/4511 digital intermediate film has thinner emulsion layers with extremely efficient couplers made possible by Super-Nano Cubic Grain Technology. This invention allows improved color sensitivity with the ability to absorb scattered light, providing extremely sharp images. The ETERNA-RDI emulsion technology also achieves less color cross-talk for exacting reproduction. Its expanded latitude and linearity provides superior highlights and shadows in a film stock with exceptional latent image stability.

•To Paul Debevec, Tim Hawkins, John Monos and Dr. Mark Sagar for the design and engineering of the Light Stage capture devices and the image-based facial rendering system developed for character relighting in motion pictures.
The combination of these systems, with their ability to capture high fidelity reflectance data of human subjects, allows for the creation of photorealistic digital faces as they would appear in any lighting condition.

Well, the TECH’s in the can for 2009/2010. Remember to get your applications in early. See you back in ’11…

Tags: Academy of Motion Picture Arts and Sciences, Oscar, Scientific and Technical Awards
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