This firm has a wonderful reputation with the camera crews I've spoken to. It was suggested we visit and establish a business relationship with them because their reputation is built "on serving the professional industry for over 35 years, with sales, service, support, custom modifications and system design. Our knowledgeable sales staff is here to offer advice to help customize a package to suit your needs. Along with these services we also accept trade-ins, do training and installations and accept City, State, and Government BIDS."
I love my creative tweetpeeps because if you need advice they are only a direct message or quick text away. Yesterday's pre-production meeting took place in Manhattan at the Hard Rock cafe. Our AVCHD camera of choice for the street scenes is the Sony HXR-MC2000U.
This camera is suited for file based work-flow (the Avatar and Matrix projects were all digital). It records high-def, AVCHD or DVD quality MPEG-2 standard-def onto its built-in 64GB solid state drive (or to readily available, consumer memory cards) and the full-raster high-definition 1080i recording capability suits our production needs.
When renting or purchasing industrial, broadcast cameras it is very important that you speak with several professionals on the subject because every photographer is going to have a personal preference as to why they enjoy working with a particular type of camera set up.
Dennis D. Hopkins, the General Manager at Armato's, was very patient and helpful when I presented him with the opinions of the camera operators who recommended his firm and made stellar suggestions we're going to implement at the end of this month. I was told that this industry is based upon growing the right business relationships. I am really looking forward to working with the Zackschewski brothers and Armato's.
Camera supports, tripods and cranes fascinate me because you can do so much fun stuff with the right supports. Take a look at this VariZoom system. It has a balance and weight system that lets you run in the street and get a relatively stable shot from your pro camera.
The thing that makes this so neat is that you can capture a lot of fluid motion angles and circle the action and/or follow behind your actors with ease while eliminating the shake normally associated with running with a live camera.
Pro cameras are not light people, so having a crane, tripod and/or body harness will influence how the director sets up the shots.
The nice thing about being involved with a movie production is the fact that you get to make new, professional friends who will explain the pros and cons of a story's evolution from script to film every step of the process. Your available equipment will sometimes determine what you can and can not do at a particular location. I'm looking forward to seeing what set-ups get selected for which scenes. Will let you guys know what the next steps are as we come to them. Right now, the budget for equipment has been set and our vendor selected. I have to go thank my tweetpeeps for their help and text some more actors, then get back to scouting locations after I take my jog.
I love Flushing Meadows Park. It would be really neat if we could film here... ;-)
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