Intermission...
In accordance with Governor Steve Sisolak and the fine folks in Carson City, we have stood down as "a non essential business". To be honest, though, we can think of nothing more essential than production! We will stand down for 30 days and do our part to help our community, city, and state. James Moore, General Manager of F11 Rentals, will be available from home to help in any way possible. And we sincerely hope to be back to helping make cinema-magic soon!
On a personal note, we send out our best to all of our friends, clients, and the like. We know that most filmmakers are freelancers, and are feeling the horrible, and terrifying reality of little to no paychecks. We also know that our friends, clients, and/or their families may be affected by illness, anxiety, frustration, etc., and we truly hope the best for all. Believe that you are all in our thoughts, and we will be relentless in our determination to get everyone back on track when society picks back up. We will continue our 19% discount until the effects of this pandemic dissipate.
So, be well, be safe, and be calm. Please do your part so that we can get past this, and get back to awesome. We're here as best as we can be, and send our best. Peace be with you.
Stay Calm and Keep Filming!
We hope that everyone stays safe and healthy in the coming weeks. We also know that times are tough, especially for businesses. While we can't generate business for you, we can definitely help make it a little more viable. We're offering a guaranteed 19% off all rentals moving forward. (Laughter is medicine.) If you have a production that's on the fence because of budget, let us know and we'll be happy to try and help! Visit F11 Rentals for all your Las Vegas video production needs!
Best Microphones in the Wind.
Unless you're making a movie about tornadoes or the sea, wind is not good. Heck, even when you're making a movie about tornadoes or the sea, wind is not good. You don't actually want wind, especially the audio department. What audio wants, is to put the sound of the wind in during post production. However, sometimes, it just can't be helped; so, here are a couple of mics that are great in the wind:
Sennheiser MD 46. This hand-held microphone is phenomenal in loud situations. Whether you're talking wind, loud music, traffic, whatever, this microphone will sound clean and crisp. The microphone was specifically designed for interviews in loud environments, and maximizes it's cardioid audio receiving design.
Schoeps CMIT 5. This shotgun microphone is industry standard for a reason! Light weight, dependable, and squeaky clean audio capture make it a must have! Coupled with our zeppelin and faux-fur wind cover, you'll have no problem battling the elements.
If you have a production coming up that needs guaranteed, clean audio, reach out and we'll get you set up with a great microphone and audio mixer.
Best Gear for Small Spaces
Filming in hotel rooms and on the trade show floor have one thing in common: small spaces. Hotel rooms are not designed with filmmaking in mind - of course. Also, the Realestate at say, CES, is very expensive! When you're not in a studio or wide open spaces, the right gear is crucial for success. Here are some of our favorite "small spaces" items:
Cinevate Duzi 4 slider. This amazing item gives you a 24 fantastic inches of sliding glory. It's light weight, and unassuming.
Edelkrone Slider Plus. Another awesome solution for motion, this item is great with DSLR cameras. The addition of the Steady Module was a game changer; adding much needed tension for smooth slides.
DJI Ronin-S. One of our favorite items, the Ronin-S immediately increases production value. DSLRs are easy to balance, and the Ronin is so simple to operate.
Sound Devices 633. While great in the studio, the 633 is really compact for how much versatility it gives you, and how many channels of audio you can capture. (Make sure to have a harness so you don't wreck your back!)
Litepanels Gemini 1x1 LED. You can do Man-on-the-Street interviews and b-roll all day with just one of these lights. They output a tremendous amount of light for their size and weight. Four batteries should get you through the day.
Canon 5D Mark IV or Sony a7S II. Both of these cameras are easy to use, capture great images, and can be used with all the above listed gear. The only caveat is audio capturing; however, if you have the 633, you can just record audio to your mixer. Less cables, more smiles.
Anytime you're here in Fabulous Las Vegas, make sure to hit us up and get the video production rental gear you need to succeed.
Matching cameras on Multi-camera shoots.
How important is it to match cameras (make and model) on multi-camera shoots? Like everything in production, that depends on your end goal. Generally speaking, you always want to match not only brand (make), but also the model of camera. There are differences for instance, between the image produced by a Sony FS7 MkII and a Sony a7S II, but it's not a huge difference. You could dive into the specs of the processors, image sensors, color space, etc., but when push comes to shove, they're very similar. Let us hypothesize a few scenarios:
Two-subject, three-camera interview. Budget is always the driving factor in production. Using a DSLR as your lock-off wide shot for a two or three person interview is great. You can easily match shooting specs, and shoot without a color profile. Additionally, run audio to your nicer cameras capturing the singles, and you're great.
Event coverage with interviews. If you have the budget to have a Sony FS7, Canon C300 MkII, or similar, you want to take advantage. However, getting smooth gimbal or slider shots is much easier with a DSLR and Ronin-S or Cinevate Duzi (think small and light). The b-roll that you're using to compliment your interviews will look great as long as you're matching camera makes (Canon with Canon, etc.)
Different cameras, same assignments. If you have two crews capturing similar content, but using different brands of cameras. The common viewer may not notice, but an experienced client probably will.
All in all, while the world won't end if you mix camera brands or models... life will be easier if you don't.
Working with Natural and Artificial Light
Working on a closed stage or set can make lighting a stage/subject very straightforward. There are, of course challenges, but there's a lot of control. What about lighting in a location where there is natural light? Let's talk about getting along with the sunshine.
The sun is wonderful! It provides lovely, 110+ degree days, burns your skin, and smolders your retinas. The sun also melts evil snow and makes rainbows possible. Sun is our friend, not our enemy. Here are our favorite lights/gear to use when tangoing with the natural daylight.
Arri Skypanel. It's big, powerful, doesn't draw a whole lot of electricity, and spreads nicely like jam.
Litepanels Gemini 1x1. Think, Skypanel in a 1x1' LED panel. Also, the light spread is jelly like, "soft and spreadable".
Litepanels Astra 6X. They don't come with the 96-color crayon box of filters, colors and effects, but they'll give you a gentle smack in the face on a bright day.
Joker 800 Bug. A big ol' haymaker of light, right in your face. (Great to shoot off a bounce board, or use as an accent.)
Lastly, cutters, floppies, flags, frames and diffusions. Remember, the sun is pretty bright... you may just need to block and bounce a little. Sunshine is a gift from the Heavens, use it before you lose it.
If you have a sun-filled video production in your future, let us help you make it a little faker, but much more attractive.
Loading Production Gear into Las Vegas Hotels.
Las Vegas Video Production often happens in, on, and around The Strip. Whether you're on Las Vegas Boulevard or in one of the many properties, it's important to know how to get around. Logistics are of course, a huge part of any production. That being said, how do you get your gear into the hotels? Can you just push through the front doors? Do you have permission to use the Loading Dock? Maybe just bring a flashlight and record on your iPhone?
A lot of times, if you have a Grip Cart or less worth of gear, you can push through the lobby/hotel. If you have multiple or larger carts, you may need to use the loading dock. Gaining access to the loading dock always requires permission, and occasionally an appointment. By simply calling the property, you should be able to set up a time to use the loading dock for a short while. Remember that docks are busy places, so you have to be quick and usually can't leave your vehicle.
In rare instances, the loading dock will actually be more trouble than not, and so, it's best to use self parking. Remember, it's easier to ask for forgiveness than permission. All told, most properties are willing to accommodate, and they're grateful for the business your client brings. If you work with them, they're usually willing to help you out. If you have any questions, drop us a line!
Eye Direct Las Vegas
F11 Rentals is happy to announce that we now offer the Eye Direct! This amazing tool allows you to provide a comfortable solution for direct-to-camera production. We all know how difficult it can be to have messages delivered directly to the camera lens. The Eye Direct sits in front of the lens, and via a series of mirrors, reflects the producer's image for the subject to speak to. Similar to a teleprompter, the camera shoots straight through the glass. You can also project scripts and other material for reference. Additionally, the Eye Direct is easy to use, and can be used with a wide range of cameras. Reach out today to find out more about this amazing new item!
Video Production at CES 2020
CES 2020 is bigger than ever! Literally, and figuratively. Over 175,000 attendees and 4,500 exhibiting companies are expected. Millions and millions of square feet of convention and meeting space are used to put on one of the biggest shows in the world. You can expect to film anywhere from the L.V. Convention Center to Sands Expo, to City Center; or, all three! It's important to be prepared going in, because this show can eat you alive.
Travel logistics are imperative if you're at more than one venue, even one booth! It takes a solid 15 to 20 minutes to go from one side of the Convention Center to the other, longer with crowds and gear. If you need to go 2 miles from Westgate to meeting rooms at The Venetian, expect 45 minutes. 2 more miles to Aria or Park MGM, another 45 minutes. So, schedule accordingly!
Then, there's gear. It's crowded. Did I mention the 175,000 people packed essentially, into a really small town? Minimize and stay compact. Small cart if any. Tripod wheels are not recommended. Sliders are great, but prepare to fight for Realestate; you may be better with an Easyrig Vario 5 and some careful handheld. Wireless lavs and mics are also tricky. Give it a go, it's not impossible, but a hardline could be the difference between getting the shot or not. Keep your lighting minimal; it's worth the extra money to rent a solid Litepanels Gemini 1x1, it kicks out what a Skypanel S30 does.
Lastly, pack food like you're on a day hike, lots of water, nuts, granola, etc. Food is expensive and the lines are Disney-esque.
Good luck, and happy filming!
Green Screen Filming Basics
Green Screens are a popular way to create exciting, resourceful, and dynamic videos. Corporate and commercial work is a great example. A green screen enables you to add text, graphics, and logos. Also, green screens can really help when a location is not very attractive to film in.
Lighting a green screen correctly is not difficult, but it is very important for the post process. It is critical to have a very even spread of light across the entire screen. Similarly, it is very important to make sure the screen is not brighter than your subject. A great place to start on your waveform is an even line around 45 for the screen, and then your subject's face should be around 60. There are obviously exceptions with skin tones and wardrobe, but it's a good place to start.
For the budget conscience, I would recommend a set of Kino Divas for the screen, and an Arri Tungsten kit for the subject. 750 with a softbox for the key, 300 for the fill, and 150 for the backlight. About $250.00 will get you that gear with us. However, if you have a larger budget, you could go: S2 LiteMat 4s for the screen, a couple Astra Gemini 1x1s for the key and fill, and then a Dracast 1K for the backlight. That setup would set you back about $700.00, but it would be totally Cash Money of you.
Either way you go, we have the video production rental gear you need!