Latest News
DP David Wells Lenses the Rapper/Actor Ludacriswith Zeiss Nano Primes
When Austin-based cinematographer David Wells was handed the treatment for the C4 Energy sweepstakes featuring rapper and actor Ludacris, he knew this commercial would require out of the box thinking. Designed as a one-take, point-of-view shot, the spot would require a lighting setup tailored to the wide plane of view and a camera package nimble enough to operate as POV rig. Wells selected ZEISS Nano Primes with the Venice 2 Rialto to realize the project.
A prolific Texas commercial and music video cinematographer, Wells was an obvious choice to lens this unusual stunt for C4 Energy. The beverage company wanted to shoot a promo for a sweepstakes giveaway that among other prizes, included the iconic Integra Type S, a car featured in the Fast & the Furious franchise. None other than music icon and Fast & the Furious cast member Ludacris was attached to star in the spot. “It was one of those full-circle moments where you get to work with someone you’ve admired for years,” describes Wells.
The promotion was designed as a unique, one-take first-person point-of-view shot, moving from inside a convenience store out to a gas station parking lot. “I knew right away it would require a POV mount,” explains Wells. The commercial delivery specs required large format, so Wells decided to use the Venice 2 Rialto as the camera. Finding the lenses to pair with the Rialto rig was not as easy. “We looked at some other lenses, but they proved too heavy during tests and the actor had a hard time holding his head up. I thought, ‘I need a small lens that’s going to look great, shave weight, and have a stop of T-1.5.’ Then it dawned on me: the ZEISS Nano Primes.”
Wells had encountered the ZEISS Nano Primes for the first time at the 2024 South by Southwest Film Festival. “The Nano Primes are small, clean, and fast–they checked all the boxes.” He acquired a pair to test with experienced Austin operator, James Navarra. “Our actor/operator was able to move his head easily. We mounted the Venice 2 to an Easy Rig with a little plate that fits on the back, using the tension to help hold up the operator’s head. We added a monitor in front of his eyes with a focus motor on rails, lenses, and a matte box for filtration.” (It’s Navarra’s own hand that reaches out to fist bump in the commercial.)
Camera rig locked; the next challenge was how to light for the extremely wide field of view. With a focal length of 25mm, along with extensive blocking from the store into the parking lot, rigging lights out of sight was essential. “We didn’t have the budget for a Condor to hang a big softbox with raking lights, so we ended up putting lights on the top of the store,” describes Wells. “We rigged all these ARRI S60 fixtures to the rooftop of the 7-Eleven. Then we hung hard fixtures to imitate existing streetlamps in the parking lot and replaced overhead lights under the gas pumps with cinema lights to ensure everything looked right.”
The Nanos proved their merit once more during the operator/actor’s movement from inside the bright gas station to the night parking lot. “We shot at T-4 inside, then did an iris pull outside all the way to T-1.5,” the cinematographer explains. “What really sets these lenses apart is how fast they are. I don’t think there’s anything like it below a T-2 anywhere else. The difference between a T-2 and a T-1.5 is huge, especially in large format.” The moment of transition is seamless. After days of prep and hours on location setting up, it only took five takes to capture the sequence.
“There are so many things I like about the Nano Primes,” reflects Wells. “The Nano Primes are like smaller versions of Supreme Primes. They’re a fantastic choice when you need a small, compact lens. They give us the opportunity to get closer in tight spaces and maintain a high-quality look.”
The sweepstakes deadline has passed, but the promotion can still be watched on C4 Energy’s Instagram and social media.
Check out the full interview with David Wells at: https://lenspire.zeiss.com/cine/en/article/dp-david-wells-chooses-zeiss-nano-primes-for-pov-rig-on-sweepstakes-starring-ludacris/
Check out the Campaign: https://www.instagram.com/c4energy/reel/C8uZyFLxPVC/
24TH ANNUAL SCREAMFEST® HORROR FILM FESTIVAL ANNOUNCES OPENING AND CLOSING NIGHTS AND ADDITIONAL FEATURES FOR THE 2024 LINEUP
The Los Angeles-based horror festival will open with ICK and close with a tribute to legendary cinematographer Dean Cundey, ASC
Screamfest® Horror Film Festival, the largest and longest-running horror film festival in the United States, is excited to announce its opening and closing night events as well as additional features. Taking place from October 8 to 17, 2024, at the TCL Chinese Theater, Screamfest® will kick off the festival with award-winning filmmaker Joseph Kahn’s (Bodied), sci-fi/horror satire ICK, which will have its West Coast premiere with a red-carpet gala screening on Tuesday, October 8.
ICK follows ex-jock turned science teacher Hank (Brandon Routh) who is stuck in his hometown, dreaming of a life as a professional athlete. While teaching chemistry, he reconnects with his high school crush’s daughter, Grace (Malina Weissman). When a mysterious substance called the “Ick” begins to spread through Eastbrook, Hank and his disillusioned students must band together to combat this gooey menace. Their comedic journey turns into a wild battle for survival, testing their courage and complicating their personal connections.
To conclude this year’s festival on October 17th, Screamfest will honor legendary
cinematographer Dean Cundey, ASC (Jurassic Park, Apollo 13) with a Lifetime Achievement
Award. This prestigious honor will be presented by a special guest and will be accompanied by a double-feature screening of Dean’s iconic works The Thing and Halloween.
Additional features include the world premiere of Body Language, a thriller directed by Cory Miller and starring Christina Milian (Step Up High Water) and Steven Strait (The Expanse). In Body Language Mariana (Milian) returns home to find Dylan (Strait), her fiancé Nick’s college friend, preparing an engagement dinner. As the evening unfolds and Nick fails to arrive, Mariana becomes increasingly uneasy about Dylan, turning what should have been a celebration into a night of terror.
Making its West Coast premiere after debuting at SXSW is Cold Wallet, directed by Cutter Hodierne. This gripping thriller follows a ragtag team of vigilante Redditors who, after losing everything in a cryptocurrency scam, attempt to kidnap the kingpin who deceived them. However, their home invasion spirals out of control, trapping them in a sadistic game.
Other exciting additions to the lineup include Drive Back, directed by Cody Ashford, In the Name of God from Sweden, directed by Ludvig Gür, and Witte Wieven (Heresy) from the Netherlands, directed by Didier Konings.
This year’s festival features a variety of exciting events, including a writing panel with Conjuring screenwriters Carey Hayes and Chad Hayes. Additionally, the Birns & Sawyer panel will showcase industry veterans such as Michael Goi, ASC (American Horror Story), Mark Irwin, ASC (The Fly, Scream), Roy Wagner, ASC (Nightmare on Elm Street), Daniel Pearl, ASC (The Texas Chainsaw Massacre), and Andrzej Bartkowiak, ASC (Species). A legal panel led by entertainment attorney Larry Zerner will provide valuable insights into the industry. Finally, Screamfest will introduce a Horror Nerd Standup Comedy event, offering audiences a chance to enjoy laughs with friends, family, and fellow horror enthusiasts!
Formed in August 2001 by film producer Rachel Belofsky, Screamfest® Horror Film Festival is a female-run 501(c)(3) non-profit organization that gives filmmakers and screenwriters in the horror and science fiction genres a venue to have their work showcased in the film industry.
Tickets are on sale and can be purchased via the festival website: https://screamfestla.com/
AJA Previews Virtual KONA in Collaboration with AWS at IBC 2024
New AJA SDK integration with AWS CDI to unlock virtualized video input/output (I/O) capabilities for cloud-based creative, streaming, and broadcast solutions built on AWS
AJA recently announced a preview of Virtual KONA, a new software-defined, virtualized video capture/playback solution that the company is developing in collaboration with Amazon Web Services (AWS). Virtual KONA integrates the AJA NTV2 Software Development Kit (SDK), which is deployed by developers worldwide to build high quality workflow solutions with AJA video I/O cards, together with AWS Cloud Digital Interface (CDI). AWS CDI is a network technology for transporting high-quality, uncompressed video inside the cloud with high reliability and latency as low as 8 milliseconds. Combined, the technologies break down the barriers between on-premises and cloud for media production, allowing third-party developers to build solutions across both environments for a range of applications spanning broadcast through live streaming, post, and beyond.
Virtual KONA and the AJA SDK provide a direct plugin to AWS CDI, making it possible for any software application that supports KONA to connect to the cloud for I/O. This eliminates the need for developers to code an integration from scratch, while offering all the same media and metadata capabilities that AJA’s line of audio and video I/O cards are known for, but in a virtual environment. Third-party applications and hardware solutions that leverage the integration will be able to seamlessly input/output uncompressed, high resolution, high dynamic range (HDR) video between the cloud and local workstations located nearly anywhere in the world to support visual effects, color correction, editorial, broadcast graphics and playout, streaming, and other needs.
“As creative and live production workflows grow more distributed, there’s increasing demand for hybrid cloud and on-premises workflows. Virtualizing workstations and the third-party applications that run on them while still being able to stream that work down to local workstations for production stakeholders is crucial for remote teams,” shared AJA President Nick Rashby. “AWS CDI provides the network technology to transport live content with extremely low latency in the cloud, while Virtual KONA and the AJA SDK provide the reliable, fast I/O required to move media and metadata in and out of that network to and from local workstations, making the technologies highly complementary. Collaborating with AWS on this integration has been an incredible experience and we’re excited to preview it at IBC.”
The Virtual KONA technology preview currently supports Linux. Learn more at the AWS Stand, 5.C90, and the AJA Stand, 7.B19 at the IBC Conference, 13-16 September in Amsterdam. Virtual KONA is anticipated to release in 2025, with pricing details to be available closer to launch.
OWC Launches Envoy Ultra Thunderbolt 5 SSD
New SSD Revolutionizing Business and Content Creation with Unprecedented Speed, Versatility, and Simplicity
OWC Also Announces GA of OWC ThunderboltTM 5 (USB-C) Cable – Offering up to 120Gb/s of Bandwidth and Seamless Compatibility with Thunderbolt and USB-C Devices for Top-Tier Data, Video, and Power Performance
Other World Computing (OWC®), a trusted leader in delivering high-performance, secure, and sustainable technology solutions that enhance and extend the life of Macs and PCs, today announced the launch of the Envoy Ultra Thunderbolt 5 SSD – ready for pre-order today (shipping in October). Designed to maximize the performance of Mac and PC devices with Thunderbolt 5, Thunderbolt 4 Thunderbolt 3*, and USB4, this groundbreaking SSD sets a new benchmark with revolutionary speeds exceeding 6000MB/s –making it up to twice as fast as Thunderbolt 4 and USB4.
Providing unparalleled speed and versatility for professionals and enthusiasts alike, the Envoy Ultra Thunderbolt 5 SSD is:
● Faster than Fast – Revolutionary speed over 6000MB/s…up to 2x faster than Thunderbolt 4 and USB4.
● Machine Maximizing – Gets the most speed possible from Thunderbolt 5, Thunderbolt 4, Thunderbolt 3*, and USB4 machines.
● Ready for Anything – Easily handle daily data needs to pro-level creative projects while matching internal storage performance.
● Versatile – Works with Macs, PCs, iPad Pros, Chromebooks, and Surface devices.
● Rugged – Water-resistant, dust-resistant, and crushproof.
● Convenient – Bus-powered with built-in Thunderbolt cable.
● Silent – Fanless, heat-dissipating aluminum design.
“Intel’s innovative Thunderbolt 5 technology sets a new standard for performance and simple connectivity, and OWC’s Envoy Ultra SSD is a perfect example of how this technology can be harnessed to meet the needs of today’s most demanding users,” said Larry O’Connor, Founder and CEO, Other World Computing (OWC). “OWC continues to push the boundaries of what’s possible, delivering a solution that not only leverages the full potential of Thunderbolt 5 but also opens up new possibilities for professionals and creatives alike.”
“Intel is excited to see OWC utilize Thunderbolt 5 technology with their new Envoy Ultra SSD, pushing the limits of data transfer speed and versatility. This product exemplifies how Thunderbolt 5 technology can empower users to tackle even the most demanding tasks with ease and efficiency,” said Jason Ziller, Vice President and General Manager, Client Connectivity Division at Intel.
Envoy Ultra Thunderbolt 5 SSD – Availability and Pricing
The new Envoy Ultra Thunderbolt 5 SSD will be available in 2.0TB and 4.0TB capacities for $399.99 and $599.99 respectively. It is available now for pre-order and will start shipping in late October.
OWC Thunderbolt 5 (USB-C) Cable
In related news, OWC also announced today the general availability (GA) release of the OWC Thunderbolt 5 (USB-C) Cable. This high-performance cable is designed to deliver the full potential of Thunderbolt 5, offering up to 80Gb/s of bi-directional data speed and up to 120Gb/s for higher display bandwidth needs. Compatible with Thunderbolt 3, Thunderbolt 4, USB4, and USB-C devices, the OWC Thunderbolt 5 Cable ensures seamless connectivity and unparalleled performance for all your data, video, and power needs.
OWC Thunderbolt 5 (USB-C) Cable – Availability and Pricing
The OWC Thunderbolt 5 (USB-C) cables are available now in lengths of .3M, .8M, and 1.0M for$22.99, $27.99, and $39.99, respectively.
OWC Atlas Memory Cards and Envoy Pro Elektron SSDs Approved For Use With Blackmagic Cinema Camera 6K
Other World Computing (OWC®), a trusted leader in delivering high-performance, secure, and sustainable technology solutions that enhance and extend the life of Macs and PCs, today announced that its OWC Atlas CFexpress 4.0 Type B Memory Cards and OWC Envoy Pro Elektron USB-C SSDs have been approved for use by Blackmagic with its Blackmagic Cinema Camera 6K, as follows:
OWC Atlas CFexpress 4.0 Type B Memory Cards – High-performance, highest-quality memory cards for the most demanding video recording uses of professional filmmakers and continuous burst mode shooting by advanced photographers.
- OWC Atlas Ultra | CFexpress 4.0 Type B – 1TB
- OWC Atlas Ultra | CFexpress 4.0 Type B – 2TB
- OWC Atlas Pro | CFexpress 4.0 Type B – 256GB
- OWC Atlas Pro | CFexpress 4.0 Type B – 512GB
OWC Envoy Pro Elektron USB-C SSDs – The fastest, toughest mini-sized SSD available. It’s crushproof, dust-proof, and waterproof for transferring gigabytes of data in seconds.
- OWC Envoy Pro Elektron – 480GB
- OWC Envoy Pro Elektron – 1TB
Previous OWC products approved for use with Blackmagic cameras include the OWC Atlas Pro UHS-II V60 and OWC Atlas Ultra UHS-II V90 cards, and the OWC Envoy Pro EX.
“Blackmagic Design stands out among the very best of the best in the industry, recognized for its incredible quality and performance. We are therefore understandably delighted to have our CFexpress cards and USB SSDs approved for use with the Blackmagic Cinema Camera 6K,” said Larry O’Connor, Founder and CEO, Other World Computing (OWC). “These new additions underscore why filmmakers and content creators around the world trust OWC to help them achieve their artistic vision, without compromise.”
Director/Cinematographer Bobby Hewitt Shoots Alien Ant Farm Music Video with Blackmagic Design
Blackmagic Design recently announced that director and cinematographer Bobby Hewitt shot the music video for Alien Ant Farm’s latest single “Storms Over” using the Blackmagic Pocket Cinema Camera 6K Pro digital film camera, as well as finished using DaVinci Resolve Studio editing, color grading, visual effects (VFX) and audio post production software.
Hewitt, a former member of the band Orgy, has known Alien Ant Farm since his days as a musician when the two bands toured together. “That sure was a long time ago,” Hewitt reflected. Having transitioned into directing and cinematography, Hewitt is now known for his filmmaking work on a wide range of commercial and music video projects, but he remains friends with Alien Ant Farm.
“They recently reached out to me and asked if I was interested in shooting a music video for them, and of course I said yes,” continued Hewitt. “The Ant Farm guys are so awesome, and I couldn’t wait to collaborate with them and create something cool.”
As with most music videos, budget is always a limitation, so Hewitt was challenged with creating a compelling and visually slick look with few tools. “I ended up producing, directing, shooting, and editing,” said Hewitt.
The rest of the crew was comprised of gaffer Mike Pedersen, an AC and projectionist for the proposed video screens in a portion of the video. “We also had an assistant director/production assistant who wrangled the fans in the alley and helped throughout the production. Luckily, we ended up getting all the locations for free but having such a small crew was a challenge,” Hewitt added.
Hewitt chose the Pocket Cinema Camera 6K Pro for the project both for its form factor as well as image quality. “I really don’t think we would’ve been able to pull it off with a bigger camera package,” said Hewitt. “Not only due to budget but also the flexibility of such a small camera that still gave me full cinematic image quality, the Pocket 6K was just the perfect solution.”
Hewitt also relied on Blackmagic RAW due to the varying conditions throughout the shoot. “It was definitely critical for the shoot. We had so much contrast in the lighting, from bright lightning strikes to dark silhouette shots. We needed the dynamic range as well as a way to protect highlights, which Blackmagic RAW does so well,” he noted.
The style of the video is a combination of location shoots and a large warehouse for a performance segment. “My vision for this video centered on capturing the raw energy of Alien Ant Farm’s live performance,” said Hewitt. “They’re an incredible live band, and that intensity needed to shine through. In the warehouse, to complement the emotional depth of the lyrics, I opted for thunderstorm projections in the background, adding a dramatic flair. Lighting was key to setting the mood, so I chose a low light setup to create a moody atmosphere. I used a peacock gel for the top light, combined with our key light and lightning strikes for a dynamic effect.”
Despite the budget, finding the right locations was critical. “Settling for ‘just okay’ wasn’t an option,” added Hewitt. “Each shot had to elevate the story. For the last desert scene, I left in the early morning hours from Los Angeles, heading out to the high desert, looking for a location. Once I found it, I told the rest of the guys, who came from Riverside right away. We just met at the location and finished out the video!”
Hewitt often edits his own content, utilizing his in depth understanding of what he shot to achieve the right pace and mood. “Here’s my strategy for editing music videos: I start by syncing all the performance takes, then I dive into each layer, chopping it up to find the best moments and highlights. After that, I add the next setup, which, in this case, was the porch scene. Knowing that the video’s climax would take place in the desert, I tackled that segment separately since we shot it a week later,” he explained.
Hewitt continued, “I did all the editing for this project in DaVinci Resolve Studio. One of the things I love about Resolve is its user friendliness. I’ve been using it for the past seven years, and it’s been nothing short of incredible.”
With the edit locked, Hewitt shared his project with Jorge Roman, colorista at Crayon Films in Colombia. “Jorge really brings everything to life in Resolve,” said Hewitt.
For Hewitt, creating a music video for Alien Ant Farm was more than a job. “I think just reconnecting with the guys was so great in itself,” concluded Hewitt. “Everyone really did their part to make the video happen. I remember as I was shooting singles of the performance, the other guys in the band would be watching the monitor, and they were so excited and happy to see what it looked like. And when I finally finished the edit, they were just blown away by how it all came together.”
Suicide Prevention In Entertainment: A Three Part Series
This series is designed to provide you with tools to enhance supportive skills so we can ensure that suicide is preventable.
This three-part series is intended to help you:
- explore your attitudes about suicide and how it can impact your ability to provide support
- learn the warning signs of suicide
- understand steps to appropriately support someone who is at risk of suicide
- process your own experiences
When: September 13th, September 27th and October 11th at 12:30 pm PST on Zoom
You can register for this training here: https://www.wellbeinginentertainment.org/suicide-prevention
Light Iron’s Keith Jenson Grades Babes in DaVinci Resolve Studio
Blackmagic Design today announced that Colorist Keith Jenson of Light Iron, the post production creative services division of the Panavision group, color graded NEON’s film “Babes” using DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio post production software.
From Co writers Ilana Glazer and Josh Rabinowitz, and directed by Pamela Adlon, “Babes” is a hilarious and heartfelt comedy about the bonds of friendship and the messy, unpredictable challenges of adulthood and becoming a parent. “Babes” follows inseparable childhood best friends Eden (Ilana Glazer) and Dawn (Michelle Buteau), having grown up together in NYC and now firmly in different phases of adulthood. When carefree and single Eden decides to have a baby on her own after a one night stand, their friendship faces its greatest challenge. “Babes” delves into the complexities of female friendship with a blend of laughter, tears, and labor pains.
Jenson’s role as colorist on “Babes” was a case of good first impressions and opportunity. “The cinematographer, Jeff Kim, came in one evening during pre production to make some adjustments to some LUTs so he could determine which LUT he was going to utilize on set,” said Jenson. “I sat with him and we got along well, so when it came time to do the DI I was a natural fit!”
With the comedy format of “Babes,” Jenson and Kim didn’t reference other films, but instead focused on meeting the tone of the project. “The film is a comedy with a lot of heart, so we spoke mostly in terms of genre,” said Jenson. “We talked about it being ‘warm and poppy like a comedy,’ and we’d ask ourselves, ‘Does this feel a bit too dramatic?’ Those were the important questions for us throughout the process.”
Once final color began, Jenson and Kim worked closely together. “Jeff was present for every single day of color and would often join me up at the color console as opposed to sitting down in our theater seats,” continued Jenson. “This allowed for very quick communication between the two of us.”
With his extensive experience in DaVinci Resolve Studio, Jenson has developed a process to his color work. “I utilize a pre configured node tree in all of my projects,” added Jenson. “This allows for my node structure to be consistent across all shots, which makes the ability to ripple changes downstream a piece of cake. It also allows me to approach things in an assembly line fashion so a lot of the technical color correction work can be done quickly, freeing up more time for creative color grading with the client.”
Jenson follows a specific approach to each shot. “The node structure I used for this project works from left to right. The first few parallel nodes relate to overall balance, highlights, and lowlights. The next section are parallel nodes for secondaries, windows, and mattes, and the last section is largely open for final adjustments and tweaks we might make during the final watch down. All of the nodes dedicated to the overall ‘look’ of the film are confined to the group level.”
Jenson finds certain tools in DaVinci Resolve Studio key to his art. “Halation is a tool I love to add when the client wants a little more of a ‘filmic’ quality to the project. I dial it in rather subtly, but I feel it adds a nice style to things. The window tracker in DaVinci Resolve is also a wonderful tool. I have experience in many different platforms, and I find the tracker in Resolve to be one of the best and most streamlined.”
“In ‘Babes,’ I used Magic Mask on a handful of shots to isolate foreground characters from backgrounds, and in one scene in particular, I used it in combination with windows and qualifiers to help match day for night outside of some practical windows. These tools made it rather simple to achieve a result that I normally would have taken into another piece of software.”
“The Resolve toolset is simple to navigate and feels very intuitive to me, which is very helpful in streamlining my ability to problem solve things that might come up in the grade, either via client request or technical things that were happening on set that we want to adjust in the color session.”
Video Village Miami Taps AJA Io 4K Plus for On-set Assist
Florida-based Video Village Miami provides on-set video assist for local commercials and music videos. Frank Collins established the outfit in 2019 after a 20-year career in sound mixing when he was inspired to add video management to his skillset and adapt to changes brought on by 2020. Today, it’s his job to know who needs to see the image that the camera is shooting and where they need to view it, which is often in the video village. To do this, he leverages a well-equipped cart sourced by Nebtek in Utah that includes the hardware and software needed to log, capture, playback, edit, and process video inputs and outputs, as well as a few monitors.
Each project follows a similar workflow, with the main variable being the number of cameras used. Collins typically receives the client video feed from transmitters on the camera using a wireless transmission system. The signal then goes from the camera to the wireless receivers. From there, he cables back to his system in the video village. The signal is then sent through an AJA KUMO 1616-12G router and AJA KUMO Control Panel to an AJA Io 4K Plus, and output to the computer running QTAKE. The feed is then spit back out to an output device.
“AJA Io 4K Plus just works; it’s recommended by QTAKE and does what it says it’s going to do,” Collins shared. “The reliability is there, and it also works well with the QOD output hardware.”
Across jobs, Collins ensures all parties on- and off-set are viewing the same image, helping to create a streamlined feedback loop to keep productions running smoothly. That insight is especially crucial to the video village, where creative stakeholders must be able to see and collaborate over the shots and actions taking place on set on their own monitor, separate from the director’s display.
In some cases, Collins will also stream out to remote collaborators, and if a project shoots using green screen, he may add overlays to help inform the creative process. When production calls for playback, he immediately starts from the point where they called action, so time isn’t wasted sorting through footage. For playback, Collins typically records a 1920×1080 proxy file and plays it back; however, he built his system with Io 4K Plus to be able to support two 4K systems if the need arises.
“When I bought my cart, mobility and reliability were top of mind, which is why I love that Io 4K Plus is compact; I have two of them and they fit nicely into my rack,” Collins noted about the setup. “Reliability was also a consideration because my gear needs to be stable in many different temperature environments, from outside on the beach to the Everglades, in a cold studio, etc. Florida is extremely humid and can affect electronics, plus the cart I use has to be durable because it gets banged around during transport. All of our equipment is subjected to many elements, but it needs to hold up; for one of the last projects I worked on, the special effects team made it rain. I only use quality products that can withstand those elements and demands, and my AJA Io 4K Plus, KUMO, and KUMO Control Panel continue to run uninterrupted, even with everything they’re put through.”
As technology continues to rapidly advance and gear becomes smaller, Collins is considering adding another cart to his arsenal. “If I’m able to invest in a second one, I’d like to build it out myself slowly and source the parts from Nebtek. Sometimes jobs overlap or a rental system might be needed locally, so it would be good to have a backup. I could also use it for training, and possibly create one that’s lighter, smaller and a little more mobile.”
Avid Community Association Presents – ACA Voices: Women in Audio Post
Join Avid for a special event hosted by producer and editor Emma Butt as she leads a roundtable discussion alongside Shayna Brown, the founder of Chez Boom Audio, and Academy Award®-winner Nina Hartstone (Bohemian Rhapsody, Gravity,) covering gender challenges in the industry.
Register now to hear inspiring stories from our guests and join the conversation about winning strategies for promoting gender diversity and inclusion in the field.
Tuesday, August 13, 2024
8 AM PDT / 11 AM EDT
4 PM BST / 5 PM CEST
Free Membership Sign Up
Announcements
LAPPG Members -EditFest Global Discount
Join The American Cinema Editors Online October 5 for ACE EditFest Global Watch
Welcome to Synology!
We are excited to welcome Synology to the LAPPG family as our newest
LAPPG SUPPORTS INFOCUS: BLACK CINEMA PROGRAM AT NEWFILMMAKERS LA
NewFilmmakers Los Angeles (NFMLA) is hosting its February Monthly Film Festival and annual
Job Opportunitites
Check out our jobs board and find your next opportunity!
Blog
Meet Mike Mezeul II
Meet Marcus LeVere
Meet Charles Little II, ACE
Become a Parnter!
Next Meeting: Wednesday, July 9th, 2014 @ 7pm
Link Post Format With Left Oriented Sidebar
Standard Post Format
Standard Post Format With Left Oriented Sidebar
Gallery Post Format Without Sidebar
Image Post Format With Left Oriented Sidebar
Quote Post Format
Gallery Post Format
