Budgets can either protect the creative or strangle it. In my experience, when the numbers are a mess, everything else feels harder: conversations get tense, producers are distracted, and everyone’s just trying to stop the bleeding instead of making the day.

Enter Saturation.io: a cloud-based tool for collaborative budgeting, actualization (“what did we spend vs what we planned”), payments, and expense tracking.

This has been built from the ground up by working filmmakers, for filmmakers. It’s also built to handle teams that need to move fast. You can give department heads, producers, and directors access to the budget and expenses for real-time visibility, so they know what’s going on before it becomes an issue.

Here are some of our personal recommendations…

Start Early in Pre-Production:

One thing I’ve noticed is how much smoother things go when you start building the budget early. In our line producing series, we talk about breaking a script down and calling vendors right away for real quotes.

Nicole Hirsch Whitaker said she spent months in prep just doing research and talking to camera and lighting houses before her crew was even hired, which probably saved her a ton of stress later.

This is where Saturation.io fits in. Bring it in as soon as you start bidding on a job, location scouting, getting quotes, or pricing rentals. If this is all new to you, they have budget templates like AICP, Amazon, Feature Film, Netflix Productions, Music Videos, or tax credit programs. You can add rates for crew, equipment, and vendors right into your workspace as you collect them — day rates, rental packages, even currency-specific pricing — so you’re not retyping everything from scratch for the next project. You can also attach PDFs of quotes right to a contact, so when you need to update numbers or request a new bid, you have the history right there.

Build the budget as you collect info — not two weeks before production. It’s way harder to reverse-engineer a budget once you’re in the middle of a shoot. Shane talks all the time about strong prep being the thing that protects the creative, and this is part of that. Let Saturation live in your workflow from day one so you’re not just reacting to numbers, you’re steering them.

Define Roles Clearly

Inside Saturation, you can assign who “owns” which part of the budget — who enters expenses, who approves payments, who updates rates. That keeps everyone from stepping on each other’s toes. Without that clarity, you’ll end up with duplicate expenses or missed invoices, which is how budgets spiral out of control.

Use It as a Decision Filter

One of the better parts of Saturation is how fast you can see the impact of changes. Thinking about adding a second camera or a Steadicam day? Duplicate the budget, plug in the cost from your saved rate card, and see what happens. It might turn out you can afford it — or that you need to cut something else to make it work. Either way, you’re making choices with numbers, not gut feelings.

Educate the Whole Team

Don’t leave departments out. If cinematography, art, lighting, etc., all understand how budgets work (or see what costs certain gear or crew time), creativity becomes more grounded and resourceful. Because rates and contacts live in one place, it’s easy to give department heads visibility into what things actually cost. If Grip knows the real rental rates for specialty gear, they might choose a smarter substitution before asking for something that blows the budget.

Maintain Transparency, but Protect Vision

The nice thing about having a shared platform is that you can give people the right level of access. Producers and accountants might see everything; department heads might just see their lines and available spend. You can keep sensitive conversations private while still giving the team enough info to plan responsibly.

Reflect During Wrap / Post-Mortem

Shane has often emphasized learning from each project. After production (or even mid-shoot), run reports: what budgeted items went over, what savings were found, what estimates were wildly off. Once the project wraps, you can run reports in Saturation showing where you went over or under and compare those numbers to your original rate cards. This makes the next project’s prep way faster because you’re working from real, updated data instead of just guessing again. Shane’s big on learning from every job; this is an easy way to carry those lessons forward.

Real-World Scenarios: How Saturation Can Save the Day

Sometimes it’s easier to see the value of a tool in action. Or at least, in a hypothetical situation that feels uncomfortably familiar. Here’s how using Saturation.io could have helped.

The Equipment Overrun on a Remote Shoot

Imagine you’re shooting in a remote location. Rentals, transport, crew per diems, meals. Suddenly, you discover that shipping lighting gear up the mountain costs way more than anticipated.

If you used Saturation.io from the start, those costs would have been sitting in your budget already. Because you’d have added the transport rates from your grip truck vendor to your workspace rate card during prep. Your line producer could’ve tagged those costs to the right contacts and flagged the added expense for everyone to see.

Instead of scrambling on set, you could run a quick “what-if” version (called a Phase) of the budget: scale down the gear package, add a pre-rig day to spread out crew hours, or compare the cost of shooting closer to basecamp. The director would have clear numbers in minutes, not days, and could make a call before the first truck leaves the yard.

Mid-Production Change Demands:

Say the director calls for extra coverage, or the weather shuts you down for half a day. With Saturation, you can log that change order in real time, link it to the affected line items, and see the ripple effect on overtime and rentals right there, real time in the budget.

Because your crew and equipment rates were already stored in Saturation, you don’t have to ask production accounting to “run the numbers” from scratch. You just make a new phase of the budget (duplicate), adjust the quantity of hours/days, and see how far you can push before hitting the red.

Then, when you need to trim elsewhere to stay on target, you’ve got a live picture of which departments can actually afford to give something back. That kind of agility keeps morale up, because everyone knows the decisions are based on real data, not gut panic. It helps avoid the dreaded “we tried our best, but we overspent by 30%” moment at wrap.

To be clear: Saturation.io is strong, but no tool is perfect. Based on what Shane’s audience expects, here are some features to check, or what to watch out for:

Customizable Reporting & Exporting

Does it let you export in formats your finance team uses (e.g., PDF, XLS, CSV, or integration with accounting software)?

Yes! You can export custom PDFs, CSVs, import budgets from other software, invite members of your team for access, and Saturation even integrates with QuickBooks.

Offline / On-Location Modes

Sometimes connectivity sucks on location; is there a way to input expenses or approve offline and sync later?

Unfortunately, not yet. The benefit of being cloud-based is that, like QuickBooks Online, nothing will crash, and it’s not locked to 1 computer. Everything is always stored and safe, and accessible whenever you have an internet connection.

Cost of License/Subscription

Ensure the pricing makes sense for your production size. With an annual subscription, Saturation is a lot less expensive than other software licenses.

Security and Permissions Control

Who sees what? Who can edit vs who can view vs who can approve?

The great thing about Saturation is that you can invite others from your team, or department heads, and you can have limited access to specific areas of a budget. You can also invite a producer or accountant to manage project allocation.

Support/Training

Like any tool, you only get out what you put in. Tools with good onboarding, tutorials, or even in-team training will scale much better. Saturation is very intuitive. It feels like Google Sheets, Air Table, or Notion. But it’s designed with filmmakers in mind. They have a library of guided tutorials on their YouTube Channel.

The Bottom Line: It’s A Lot More Than Spreadsheets

Shane consistently pushes filmmakers to do more than just “get the shot.” He emphasizes vision, leadership, technical mastery, and clear communication. A tool like Saturation.io feeds into that ethos: it’s not flashy, but when used well, it enables freedom to make bold creative choices without being blindsided by unexpected costs, time overruns, or miscommunication.

If you’re a producer, director, or someone who wants to spend less time apologizing for missing numbers and more time getting your frames, lighting your scenes, working with your art & camera departments, this is the kind of system that helps you reclaim your creativity.

If you want to take things even further, Saturation also has Saturation Pay, which is included with an annual subscription to Saturation (for US-based, with no extra or hidden fees). This is where it gets really practical. You can issue digital or physical payment cards (P-Cards) to department heads, crew leads, or vendors (within seconds), and they can add them to Apple Pay to start using them right away. When a purchase is made, you can also scan receipts right then and there from the mobile app, categorize transactions, and watch them roll straight into the correct budget line. All in real time.

Need to pay a vendor? You can upload an invoice, send a payment with one click, and even set project-specific spending caps so no one goes over without approval. It basically turns your production bank account into a tool that’s as collaborative as the rest of your workflow. Meaning, you’ll always know where the money’s going while you still have time to course-correct (not after wrap).

Sign up for a Saturation Account!

JENS JACOB, PGA

Jens Jacob, PGA, is a seasoned film producer, founder of Sypher Films/Sypher Studios, and creator of Saturation.io, a platform innovating how productions manage budgets, payments, and financial workflows. He’s produced a diverse slate of films and videos, from music videos and branded content to documentaries and theatricals. His notable works include The Heart of Man, After Death, Please Don’t Feed the Children. Beyond producing, Jens combines creative vision with business acumen: leading teams, securing financing, navigating distribution deals, and developing original content for both features and series (Spreaker Article, IMDPro Profile, Wrapbook Interview, Voyage LA Interview).

The post Finally, a Cloud-Based Production Tool Made for Filmmakers appeared first on Filmmakers Academy.

In this excerpt from our Generator Etiquette Masterclass, cinematographer Shane Hurlbut, ASC, and gaffer Thomas Sigurdsson demonstrate this essential skill. They walk through a real-world scenario, demonstrating step-by-step how to read a generator, balance large lights, and adapt to creative changes on the fly. This article provides a detailed written breakdown of their process, perfect for filmmakers who want to understand the art and science of on-set power management.

(This article is an excerpt from a lesson in our Generator Etiquette Masterclass. Included with the masterclass is a downloadable textbook lesson and checklists for diesel and battery generator safety and etiquette.)

HOW TO BALANCE YOUR GENERATOR:

THE SETUP: PREPARING FOR POWER

Before a single light is struck, Shane emphasizes a vital organizational tip: label everything. 

Generator Etiquette Masterclass

The “A” HMI head, the “A” head cable, and the “A” ballast should all be clearly labeled. This simple step is invaluable for troubleshooting. If a light fails to strike, the crew can quickly isolate and swap out components—the cable, the head, or the ballast—to identify the problem, saving precious time.

STRIKING THE LIGHTS: THE INITIAL IMBALANCE

With the gear prepped, the team begins to strike the lights: two 18K HMIs and one 20K tungsten fixture. Gaffer Tom Sigurdsson immediately directs attention to the generator’s amperage meter. A film set generator typically supplies three-phase power, distributed across three separate “legs” identified by color: red, black, and blue. The goal is to have each leg draw a roughly equal amount of amperage.

Generator Etiquette Masterclass

After striking the first two 18K HMIs, Tom points out the immediate imbalance. The lights are plugged into circuits that draw from different legs, so the meter shows that some legs are working much harder than others. He also explains a key characteristic of HMI lights: 

“As an HMI comes up to temp, it strikes hotter, burns more amperage, and then it idles down.” 

THE ART OF THE BALANCE: USING A DIMMER FOR PRECISION

With the HMIs warmed up and the 20K tungsten added, the load is still uneven. To fix this, Tom employs a crucial technique. The 20K tungsten light is wired to a dimmer, giving him precise control over its power consumption.

Generator Etiquette Masterclass

He instructs the team to “dim up our 20K that we have on a dimmer… slowly, please.” By gradually increasing the power to the 20K, he can carefully add amperage to the legs it’s connected to. Keep in mind, he watches the generator’s meter the entire time. 

The goal is to bring the numbers on the red, black, and blue legs as close to each other as possible. After a few precise adjustments, they achieve a perfectly balanced state, with all three legs drawing equal power. This is the ideal, efficient, and safe state for the generator to operate in.

THE INEVITABLE CHANGE: WHEN THE DP ADDS A LIGHT

A perfectly balanced setup rarely lasts long on a dynamic film set. Shane, acting as the cinematographer, makes a new request: 

“I want to add a backlight. So let’s fire up that 18K.”

Generator Etiquette Masterclass

This is a common scenario, and it immediately throws the system out of equilibrium. The new 18K HMI is plugged into the blue and red legs, causing their amperage draw to spike and leaving the black leg underutilized. The generator is now imbalanced once again.

Generator Etiquette Masterclass

THE “GHOST LOAD”: BALANCING WITH A STANDBY LIGHT

This is where a key professional technique comes into play: the “ghost load.” Tom explains that to fix the new imbalance, “you would need to add a ghost load, basically a light that would increase the amperage that we wouldn’t necessarily use on set.”

Generator Etiquette Masterclass

A ghost load is a standby light fixture kept near the generator for the sole purpose of balancing the load. Shane notes, “When I was a gaffer, I would always have like, 12-light Maxis, or nine-light Maxi Brutes on standby, just for this cause.”

The team identifies that the black leg is now the “low” leg. They plug their standby Maxi Brute into a circuit on the black leg and begin to dim it up. As they increase the power to the Maxi Brute, the amperage on the black leg rises until it matches the red and blue legs. 

“Look at that,” Shane exclaims as the numbers align perfectly. 

They have successfully used a ghost load to rebalance the generator in response to a creative change, ensuring the system remains stable and safe.

THE BOTTOM LINE: A GAFFER’S ESSENTIAL SKILL

This masterclass powerfully illustrates that managing power on set is a dynamic balancing act. It requires careful planning, clear communication between the cinematographer and the gaffer, and the foresight to have tools like a standby “ghost load” ready to deploy. 

Understanding how to read the generator’s legs and how to use dimmers and standby fixtures to maintain an even load is a fundamental and non-negotiable skill for any professional gaffer or lighting technician. It’s a craft that ensures the entire production can run smoothly, efficiently, and, most importantly, safely.

UNLOCK THE FULL MASTERCLASS!

This has been a detailed excerpt from our Generator Etiquette Masterclass. In the full masterclass, Shane Hurlbut, ASC and Tom Sigurdsson continue to explore the intricacies of on-set power, generator safety, and professional etiquette.

You can access this full lesson and the entire course in two ways:

• Become a Filmmakers Academy Premium Member for unlimited access to this and hundreds of other in-depth courses, masterclasses, and resources.
• Or, make a one-time purchase of the “Generator Etiquette Masterclass” masterclass or the complete “On Set Series: Cinematic Light Sources” course.

JOIN FILMMAKERS ACADEMY AND SAVE $50!

Ready to take your filmmaking skills to the next level? Join the Filmmakers Academy community and gain access to exclusive content, expert mentorship, and a network of passionate filmmakers. Use code FABLOG50 to save $50 on your annual membership! 

This video is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland. 

The post A Gaffer’s Guide: Balancing Generator Load Tester appeared first on Filmmakers Academy.

It’s easy to see why any gaffer and best boy electric must work together and have a tight-knit plan for how power is dispersed and shared on set. If you’re working on a stage, you will most likely get your power from a service panel. If you’re on location, whether it’s in the middle of the desert, a house on a hill in Laurel Canyon, or the arts district of DTLA, chances are you’ll be working with a tow plant generator, either diesel or a battery. Well, this is just the start. Keep reading to 

MY WORLD: FROM THE GENERATOR TO THE DISTRO BOX

As a gaffer, my domain is the electron. My team and I are responsible for bringing power to the set and shaping the light that hits the actors. On location, that starts at the source: the generator. Whether it’s a traditional diesel generator or a modern battery generator that powers everything from Nanlux lights to huge 18K HMIs, my first job is to ensure we have clean, stable, and safe electricity. This is where generator etiquette is a non-negotiable set of rules.

There are lots of factors to consider when shooting on location. The first thing I think about is the surrounding areas where I want to put the tow plant. If I’m using a diesel generator, for example, I’m looking to avoid potential fire risks. Next up, I’m going to try and place the generator as close to set as possible, without risking noise if we are rolling sound. The closer you are to set, the less cable you need to run. That means less equipment and also less line loss from your tow plant to set. It will also save a bit of time on set, which is always precious when you’re setting up for your first shot. 

My Best Boy Electric and I are constantly doing the math. We’re planning the entire power distribution, running cable from the generator to our main distro box. From there, we’re breaking out smaller cables to power everything from the 18K HMI to the video village monitors. It’s a massive web, and if one connection is faulty, the whole system is at risk.

The real game is load balancing…

On a three-phase generator, I have three “legs” of power, and I need to keep the amperage draw on each one as even as possible. If I have two HMIs on the red and blue legs, my black leg is sitting idle. That imbalance can cause the generator’s engine to strain, create voltage drops, and, in the worst-case scenario, shut down the entire set during a take. This is why understanding voltage control and how to manage the massive power draw of an HMI is one of the most critical skills I possess.

WHY MY KEY GRIP IS MY BEST FRIEND?

I can design the most brilliant lighting plan in the world, but without an exceptional key grip, it’s just a diagram on a piece of paper. The grip department, led by the key grip, builds the world that my lights live in. They are the masters of rigging, support, and shaping.

While my team runs the cables, the grips are the ones flying the truss that will hold my distro box. When I need to place a 20K Tungsten light on a rooftop, they are the ones building the rigging to do it safely. Their understanding of physics, knots, and hardware is what ensures that a 200-pound fixture rigged above the cast and crew is perfectly secure. This is where electrical safety becomes a shared responsibility.

Photo by: BETINA LA PLANTE

But their most artistic contribution is shaping the light after it leaves my fixture. They are the ones who masterfully fly in a silk for diffusion, cut the light with a flag to create a dramatic shadow, or add a bounce to fill in the shadows. Their work is what elevates a simple lit scene into a beautifully sculpted cinematic image.

HOW WE WORK TOGETHER

This entire process is a constant dialogue. I’m communicating with my team about which leg to plug into, and my key grip is communicating with their team about the safest way to rig the next light.

MASTERING THE SYSTEM TO MASTER YOUR CAREER:

Whether you are a gaffer or a grip, understanding this entire system is what separates the day players from the department heads. A grip who understands why a gaffer needs to balance a load is more valuable. A gaffer who understands the rigging challenges of a grip can design a more effective and safer lighting plan.

Photo by: BETINA LA PLANTE

This comprehensive knowledge is the foundation of a long and successful career in filmmaking. This goes far beyond your specific job. This is about understanding the flow of energy—both electrical and creative—that brings a film to life.

Become the Indispensable On-Set Pro 

This article is your foundation, but to truly become the on-set power expert, you need the complete playbook. The Power Distribution Bundle combines the Generator Etiquette Masterclass with nine additional premium lessons covering the entire electrical workflow. You’ll master everything from checking in your distro equipment and tying into set power to building a gack pack. This is the definitive knowledge that gets you hired and keeps you working.

Grip & Electric Premium Courses:

• How To Be a Film Grip
• On Set Power Distribution 
• Lighting Techniques 
• Replicating Light Sources: Beginner
• Lighting Basics 
• How To Recreate The Sun
• How to Be a Film Electrician
• DIY Lighting Tips and Tricks 
• Lighting Theory
• How To Light a Horror Movie
• Replicating Light Sources: Advanced
• Film Production Rigging: Fly Swatter Moonbounce
• Film Production Rigging: Condor Boom Lifts

THOMAS SIGURDSSON

Thomas “Siggy” Sigurdsson is a gaffer and Chief Lighting Technician with IATSE Local 728. His expertise in creating emotionally resonant atmospheres is evident in his work on productions like Música, The Perfect Couple, and Way of the Warrior Kid. As the owner of Northern Lighting, LLC., he provides both creative leadership and technical solutions for projects across all genres.

The post Grip vs Gaffer: Power Distribution Partnership appeared first on Filmmakers Academy.

WHAT IS A LAV MIC?

Photo by Looking for Feferences

Lavalier microphones are incredible tools. They get the mic close to the talent, offering intimacy and clarity that a boom can’t always achieve. But they are deceptively tricky. 

Over the years, I’ve made just about every mistake you can make with a lav mic. This article is about the hard-won lessons learned from those mistakes and how a new generation of tools is finally solving the problems that have plagued us for decades.

THE CARDINAL SIN: BAD LAV PLACEMENT

The first and most common mistake is improper placement. You can’t just clip it on and hope for the best. The goal is to get a clean, natural sound, free from interference. This means avoiding the “big three” placement problems.

This is where modern design really helps. For years, lav transmitters were bulky, and the mics themselves were cumbersome to hide. But new systems are changing that. Take the Hollyland Lark Max 2, for example.

Hollyland Lark Max 2

The transmitter itself is a tiny, 14g microphone with a novel hover-clip and magnet system. This makes it incredibly easy to place discreetly and securely without complex rigging, minimizing clothing contact and the associated rustle right from the start.

LAVALIERE CLIPPING, DISTORTION & BAD LEVELS

The second terror is discovering your audio is digitally distorted or “clipped” in post. This happens when the audio signal is too loud for the recorder to handle, resulting in a harsh, irreparable sound. Setting the gain (the input level) is a delicate balancing act, especially with dynamic performances that go from a whisper to a shout.

For decades, the solution was to record a “safety track” at a lower volume and hope for the best. But the real game-changer is 32-bit float recording. Think of it as the RAW video of the audio world. It captures such a massive dynamic range that it’s virtually impossible to clip. If the audio is too loud, you can simply lower the volume in post without any distortion.

This is a feature that used to be reserved for expensive, dedicated audio recorders. Now, systems like the Lark Max 2 have it built directly into the transmitter. It offers 32-bit float internal recording, serving as a bulletproof safety net. Even more revolutionary, it boasts the first 32-bit full-chain audio transmission, meaning you can capture that unclippable audio directly into your camera in real-time. For those who prefer a more straightforward approach, the system also has an intelligent Automatic Gain Control (AGC) that prevents clipping automatically, ensuring your audio remains balanced and stable.

LAV MIC INTERFERENCE & LOST FILES

What’s worse than bad audio? No audio. This can happen due to wireless dropouts from RF interference or the cardinal sin of a crew member forgetting to hit record on the main audio device.

Photo courtesy of Hollyland

The solution here is twofold. First, you need a reliable wireless system. The Lark Max 2 uses 2.4 GHz frequency hopping technology to automatically find and switch to clean channels, ensuring a stable signal up to an impressive 1,115 feet. 

Second, you need a backup. The Lark Max 2 transmitters have 8GB of internal storage, providing up to 14 hours of backup recording. This means that even if there’s interference or the main recorder fails, you have a pristine copy of the audio saved directly on the transmitter. It’s an absolute lifesaver.

THE MONITORING PROBLEM: “ARE WE GOOD ON SOUND?”

Traditionally, monitoring audio on set can be awkward. The sound mixer is tethered to their bag, and the camera operator is often deaf to the audio being recorded, trusting that everything is okay. Plugging headphones into the camera restricts movement and can be impractical.

Photo courtesy of Hollyland

This is where the Lark Max 2 introduces something truly revolutionary for camera operators: wireless audio monitoring. The receiver can transmit the camera’s audio feed directly to a set of comfortable, open-ear OWS (Open Wearable Stereo) earphones. This is an incredible feature. It empowers the camera operator to move freely around the set while hearing the exact audio being captured, ensuring there are no surprises in post. You stay immersed in your surroundings while being fully aware of the audio quality.

THE NOISE NIGHTMARE & THE SYNCING STRUGGLE

“We’ll fix it in post” is one of the most dangerous phrases in filmmaking, especially when it comes to background noise. While post-production tools are powerful, getting clean audio on set is always the priority.

Photo courtesy of Hollyland

This is another area where the Lark Max 2 tackles this obstacle with built-in AI Noise Cancellation. This is an intelligent algorithm that separates speech from background noise, delivering clearer audio directly from the source. With stepless adjustment, you can dial in the perfect amount of noise reduction for your environment.

Furthermore, the tedious process of syncing multiple audio and video sources is simplified with the Lark Max 2’s built-in frame-level timecode system. This ensures that the camera footage and the internal audio recordings are perfectly aligned, saving countless hours of frustration in post-production.

THE BOTTOM LINE: A MODERN WORKFLOW FOR A CLASSIC PROBLEM

Recording clean, reliable lavalier audio has always been a challenge, requiring a combination of technical skill, on-set experience, and a bit of luck. The core principles of good mic placement remain essential. However, modern systems like the Hollyland Lark Max 2 are elegantly solving the technical pain points that have plagued filmmakers for decades.

Hollyland Lark Max 2

With features like 32-bit float recording, internal backups, wireless monitoring, AI noise cancellation, and built-in timecode, the margin for error is drastically reduced. These tools don’t replace skill, but they provide an incredible safety net, freeing you up from technical anxiety so you can focus on what really matters: capturing the performance.

WHY HOLLYLAND?

In today’s film industry, a seamless wireless workflow is a necessity for clear communication, pristine audio, and reliable video monitoring. And we need it now more than ever before. Hollyland has emerged as a true game-changer by making professional wireless integration accessible to filmmakers of all levels. 

They’ve built a reputation by directly addressing common on-set frustrations: for crystal-clear crew communication, there’s the Solidcom C1 Pro intercom; for capturing clean dialogue, the Lark Max microphone system offers exceptional quality; and for stable, low-latency video feeds, the 4K Pyro transmission system provides a dependable solution.

What makes Hollyland’s approach so impactful is its focus on value and reliability. Their products are engineered to be user-friendly, durable, and, most importantly, affordable. By investing in quality wireless gear that just works, filmmakers can dramatically improve their on-set efficiency, reduce setup times, and ultimately elevate the quality of their productions. Hollyland has become an indispensable part of the modern filmmaker’s toolkit, proving that a professional wireless workflow is no longer out of reach.

Other Hollyland Gear Articles:

• Cosmo C2: Best Budget Wireless System
• Lark M2S: Ultra-Compact Wireless Microphone
• Hollyland Solidcom Releases
• Hollyland VenusLiv V2: Democratizing Live Streaming
• Pyro 7: Next Gen On-Set Collaboration

TAKE A LOOK AT OUR OTHER FAVORITE HOLLYLAND GEAR!

The post Struggling with Your Lav Mic Sound? (How to Fix It?) appeared first on Filmmakers Academy.

A good filmmaking clamp can be the difference between getting that perfect, unconventional shot and spending frustrating hours trying to rig something that won’t hold. They are the foundation of on-set problem-solving. This article will dive into what these essential tools are, their myriad uses, and how modern innovations are finally solving some of their oldest frustrations.

WHAT ARE GRIP CLAMPS?

At their core, filmmaking clamps are precision-engineered devices designed to securely fasten gear to various surfaces. Their purpose is simple but vital: to hold something, somewhere it isn’t meant to be held. They allow cinematographers, gaffers, and grips to place cameras, lights, and modifiers in virtually any position imaginable. Far beyond the limitations of a standard light stand or tripod.

The film industry has a roster of legendary clamps, each with its specific strengths — from the versatile Cardellini clamp with its articulating jaws to the robust Mafer clamp and the ubiquitous Super Clamp (also known as a Convi Clamp), which has been a staple in grip trucks for decades. These tools are the language of rigging, enabling crews to build, modify, and secure their setups with confidence.

HOW ARE CLAMPS USED? THE ON-SET SCENARIOS

The use cases for clamps are nearly infinite, limited only by a filmmaker’s ingenuity. They are the ultimate problem-solvers.

LIGHTING WITH PRECISION

Need to hide a small LED light behind a bookshelf for a perfect eye light? Want to rig a larger light to a ceiling rafter to create a top-down effect? Clamps are the answer. They allow gaffers to place lights in tight or unconventional spaces where a stand would never fit. Use them to create more naturalistic and dynamic lighting schemes.

CAMERA & MONITOR RIGGING

Clamps are essential for securing cameras in unique positions for dynamic shots — inside a car, on a piece of machinery, or a low-angle shot attached to a skateboard. They are also crucial for rigging monitors for the director, producer, or focus puller, ensuring everyone has a clear view of the action without cluttering the set with stands.

SHAPING AND CONTROL

The art of cinematography is the art of controlling light. Clamps are indispensable for holding flags to cut light, securing bounce cards for soft fill, or positioning diffusion frames to soften a harsh source. They give filmmakers precise control over where light goes and, more importantly, where it doesn’t.

GENERAL UTILITY

Beyond lights and cameras, clamps are used for everything. They secure cables to prevent tripping hazards, hold props in place, and support backdrops. A good grip always has a few extra clamps on hand because you never know what problem you’ll need to solve next.

THE EVOLUTION OF THE CLAMP: ADDRESSING OLD FRUSTRATIONS

For all its utility, the traditional “super clamp” design has come with its share of on-set frustrations, which many of us have experienced firsthand. They can be heavy and clunky. They often lack mounting points, leading to accessories twisting loose at the worst possible moment. And who hasn’t wasted precious minutes during a shoot digging through a kit for that one specific ¼”-20 or ⅜”-16 bolt that seems to have vanished?

These small but persistent issues can slow down a production and compromise safety. This is where modern design, born from real-world experience, comes into play, aiming to perfect this essential tool.

A MODERN SOLUTION: THE KONDOR BLUE CINEJAWS

This evolution is perfectly embodied in the CineJaws by Kondor Blue, a tool designed in direct collaboration with DP and cinematographer Brady Bessette. They took the classic super clamp concept and redesigned it from the ground up to address the very frustrations filmmakers have dealt with for years.

The CineJaws set a new standard by focusing on solutions. Where traditional clamps can slip on certain surfaces, the CineJaws feature a massive clamping range from a paper-thin card up to 2-inch speed rail, locking down with serious force.

The most significant innovation addresses the problem of unreliable mounting points. Most clamps offer a simple threaded hole, leaving heavy accessories prone to twisting loose. The CineJaws integrates industry-standard NATO and ARRI-style anti-twist mounting locations. This allows you to attach monitors, arms, and other accessories with absolute confidence that they won’t shift or rotate. The removable 3mm anti-twist pins are even cleverly stored directly on the jaw so they never get lost.

Solving another common headache, the CineJaws feature onboard storage for spare ¼”-20 and ⅜”-16 bolts, ending the frantic mid-shoot search. Finally, acknowledging that on-set safety is paramount, there’s a large, integrated loop on the jaw perfect for connecting a safety cable, providing peace of mind when rigging expensive gear.

THE BOTTOM LINE: RELIABLE GEAR

Filmmaking clamps are foundational. They are the invisible architecture that supports our creative vision. While they may not be the most glamorous pieces of equipment, their reliability and functionality are absolutely critical to a safe, efficient, and creative set. Then, there are innovations like the Kondor Blue CineJaws. Born from the practical needs of working DPs like Brady Bessette, CineJaws result from a deep understanding of on-set challenges. They prove that even the most basic tools can be refined and perfected. This frees filmmakers from technical frustrations so they can focus on what truly matters: telling the story.

The post A Guide to Filmmaking Grip Clamps appeared first on Filmmakers Academy.

This lesson delves into the practical methodologies and professional insights. All guided by the experience of AC Derek Edwards. While individual Assistant Cameras inevitably develop personal preferences and customizations, the foundational principles of meticulous organization, immediate accessibility, and operational readiness detailed here provide a universal template for success.

STEP 1: INITIAL LOADING OF CORE GEAR

The assembly begins with the initial loading of major cases, bags, and core gear. This foundational step involves strategically placing the largest items onto the cart structure to define the primary layout. 

The main lens case (or cases) is typically positioned prominently on the top or a designated main shelf.

Accompanying this are other significant containers:

• 1st AC’s AKS bag (often stored conveniently on a lower shelf or underneath)
• 2nd AC’s run bag
• Filter cases or pouches
• The matte box bag or case
• Potentially bags for FIZ (Focus/Iris/Zoom) units or other substantial accessories

This initial placement establishes the spatial framework around which smaller items will be organized.

Integral to this initial phase is a consideration highlighted by experienced ACs: proactively allocating space for the 2nd AC’s run bag. While the lens cart is primarily the 1st AC’s domain, recognizing the collaborative nature of the camera team is key. The 2nd AC’s run bag contains their essential tools and expendables (“AKS” — All Kinds of Stuff). 

As a crucial tip for team efficiency: Consciously designing the lens cart layout to include a consistent, easily accessible spot for the 2nd AC’s run bag significantly streamlines the entire team’s workflow by keeping vital items close at hand.

STEP 2: PREPARING THE LENS CASE

With the main containers situated, attention turns to preparing the lens case itself. This involves more than just placing it on the cart. The case is typically opened (“tipped off”), and the lenses within are organized for rapid identification and handling. This might involve ensuring each lens is correctly seated, removing excess transport padding, and arranging them logically, often by focal length, so that lens changes can be performed swiftly and accurately.

STEP 3: MOUNTING THE CAMERA BUILD

A major functional aspect of the lens cart is its ability to serve as a temporary dock for the camera. This involves mounting the camera build securely and accessibly. A docking bracket or quick-release base plate system (such as the Arri RBQ mentioned by Derek, or similar dovetail receivers) is typically affixed to the cart surface. 

The built camera package, often with the head attached, can then be quickly and securely clicked into this dock. Positioning this dock at a comfortable working height allows the AC to make adjustments, swap accessories, or simply have a safe place for the camera between setups, freeing up the dolly or tripod for repositioning.

STEP 4: STORING TRIPOD HEAD AND LEGS

With the main cases situated, the next step involves securing the primary camera support system. Place the main tripod head and the standard tripod legs into their designated storage areas on the cart. 

Many professional carts feature specific brackets or slots, often along the side, designed to hold these components securely and prevent them from shifting or interfering with other gear during moves. Properly stowing the head and legs ensures they are protected and readily available when needed for setup

STEP 5: INTEGRATING THE HI-HAT

Next, integrating the hi-hat requires careful consideration. This essential piece of low-angle camera support needs a secure and practical home on the cart. Common placement strategies vary based on AC preference and cart design. 

Some carts feature a dedicated lower tray perfectly suited for sliding the hi-hat in securely. Alternatively, some ACs prefer to mount it on the top shelf, occasionally even attaching the camera head to it for a combined travel configuration, though this can make the cart top-heavy. The key is finding a stable location where it is readily available when needed for those crucial low shots, but doesn’t obstruct access to other frequently used gear.

STEP 6: ADDING AN ON-CART BLOCK BATTERY

To further enhance on-set readiness, many ACs add an on-cart power source specifically for the camera. This usually involves placing a block battery on the lens cart, often secured on a lower shelf, and running a dedicated power cable from this battery to the camera’s power input. 

This allows the camera to remain powered on while docked on the cart — during initial setup, lens changes, brief relocations, or while waiting for the next shot. It eliminates delays caused by camera boot-up times. Thus, ensuring the camera is always ready for action.

STEP 7: FINAL ORGANIZATION & TOOL PLACEMENT

The final stage involves the meticulous organization of all remaining tools and accessories.

• Filters need designated slots or pouches
• Matte box components (flags, donuts)
• Focus pulling tools (FIZ hand units, motors, monitors, cables, marking disks)
• Cleaning supplies (air blowers, lens tissues, cleaning solution)
• Tape measures
• Markers
• Various other essential “trinkets,” “doodads,” and personal tools 

Everything should have its place. This minimizes time wasted searching and ensures that items do not shift, fall, or get damaged during cart movement.

The Bottom Line: Your Organized Command Center

Building an efficient lens cart is a fundamental skill that transforms it from simple storage into the Assistant Camera’s mobile command center. As we’ve seen, the process involves more than just placing items. It requires strategic planning — from the initial loading of core gear and careful preparation of optics to integrating essential support like tripods and hi-hats, establishing a secure camera workstation with on-cart power, and meticulously organizing every last tool and accessory.

The specific steps and layout detailed here provide a robust framework based on professional experience. Remember that the ultimate goal is to create a system that works seamlessly for you and the demands of the specific production. A well-prepped lens cart directly contributes to a smoother workflow, faster response times on set, better protection for valuable equipment, and overall professionalism within the camera department.

See It In Action: Full Lesson & Course

This breakdown gives you the essential steps for building your lens cart. However, seeing the process demonstrated by an experienced professional like 1st AC Derek Edwards brings invaluable context and nuance.

Ready to master this and other crucial Assistant Camera skills?

• Watch the complete “Battery & Lens Cart” video lesson to see Derek Edwards build these carts step-by-step.
• Access the full “Assistant Camera Prep” course on Filmmakers Academy. Get comprehensive training covering everything you need to know to succeed as an AC.

Get started now: Assistant Camera Prep Course

The post Assistant Camera Lens Cart Setup: A Step-by-Step Guide appeared first on Filmmakers Academy.

Movie Lighting: The Fly Swatter Moonbounce

Recreating the soft, ethereal glow of moonlight in film production is a challenge that has tested cinematographers for decades. You can’t simply point a powerful light at your scene and call it a night. Natural moonlight is diffused, bounces off surfaces, and fills shadows in a way that a single, harsh light source can never replicate. That’s where a powerful tool — often overlooked by aspiring filmmakers — comes into play: the fly swatter. 

Fly Swatter | Photo Credit: Betina La Plante

This article will give you a taste of the techniques used by Hollywood professionals to craft believable and beautiful night exteriors, focusing on how a properly rigged fly swatter can transform your set.

MOONLIGHT AMBIENCE TECHNIQUES: IT’S ALL ABOUT THE BOUNCE

Cinematographer Shane Hurlbut, ASC, understands that emulating moonlight isn’t about raw power; it’s about the quality of light. Think about how real moonlight works. It’s not a direct beam; it’s reflected and scattered light. It bounces off buildings, the ground, and even the atmosphere itself. This creates a soft, ambient glow that fills in shadows and wraps around objects.

Shane Hurlbut, ASC | Photo Credit: Betina La Plante

To achieve this on set, we use a technique called “fly swatting.” A fly swatter, in film terms, is a large frame (often 20×20 feet!) covered with a reflective or diffusive material. This frame is then rigged to a Condor boom lift, placing it high above the set, mimicking the position of the moon.

There are two primary approaches…

1. MOON BOUNCE

We can bounce powerful lights off the fly swatter’s surface. This creates a large, soft source, spreading the light over a wide area. 

The choice of bounce material is crucial. A bleached muslin fabric provides a gentle, diffused reflection, perfect for that classic moonlight look. An “ultra bounce” material, on the other hand, creates a harder, more specular reflection. This is useful for creating highlights or a slightly more stylized feel.

2. MOON BOX

Alternatively, we can place lighting units within the frame, creating a large, diffused light source directly. Grips accomplish this technique with specialized lighting panels.

In this article (and the full course), we’ll focus on the bounce technique, specifically using a 20×20 fly swatter with bleached muslin.

BUILDING THE FLY SWATTER SETUP: RIGGING FOR SUCCESS

The fly swatter isn’t just about the fabric; it’s about the rigging. Local 80 Key Grip Brendan Riel emphasizes that a safe and effective fly swatter setup requires careful construction and a thorough understanding of weight distribution and stability.

The core of the setup is a 20×20 foot frame, typically made of speed rail. This frame is then attached to a Condor boom lift — a powerful piece of equipment that allows us to position the fly swatter high above the set. But we can’t just hang the frame directly from the Condor basket. We need a support structure.

Inside the Condor basket, we build a “goal post” using speed rail and cheeseboros (heavy-duty clamps). This goal post provides the primary attachment points for the frame. Then, a tri-truss — a triangular structure built from speed rail and specialized connectors — extends from the goal post to support the 20×20 frame itself. Finally, kickers (additional lengths of speed rail) are added to provide extra stability and prevent the frame from swaying or twisting in the wind.

CALCULATING WEIGHT CAPACITY & SAFETY: IT’S MORE THAN JUST ADDING NUMBERS

Safety is the paramount concern when working with aerial lifts and large, heavy rigs. It’s not enough to simply add up the weight of the frame, fabric, and rigging hardware. We need to understand the combined center of gravity and how it affects the Condor’s weight capacity.

Direct weight is considered anything positioned behind the Condor’s control panel (towards the arm). Likewise, adjusted weight is anything in front of the panel (towards the outer edge of the basket). The adjusted weight has a much greater impact on the lift’s stability.

To calculate the adjusted weight, we consult the manufacturer’s manual (in this case, JLG’s supplemental manual). This manual provides charts that help us determine the safe operating limits based on the adjusted weight and the new center of gravity. Failing to perform these calculations accurately could lead to catastrophic equipment failure and serious injury.

FINAL PREPARATIONS & SAFETY MEASURES: READY TO FLY 

Once the frame is built, the tri-truss attached, and the kickers in place, it’s time for final adjustments. The frame must be perfectly level to ensure even light reflection. Achieve this by using a combination of tag lines (ropes) and making careful adjustments to the speed rail kickers.

Then, attach the bleached muslin bounce material to the frame. Cleanliness is critical here — any smudges or dirt on the white fabric will be visible in the reflected light. After that, secure the fabric at the corners first, then the center points, ensuring even tension and a smooth, wrinkle-free surface.

Before raising the fly swatter, double-check all connections and make sure to carefully monitor the wind speed. For a 20×20 fly swatter, the recommended maximum wind speed is typically between 5 and 11 mph, according to JLG guidelines.

THE BOTTOM LINE: MASTERING THE ART OF ARTIFICIAL MOONLIGHT

The fly swatter, when properly rigged and deployed, is an incredibly powerful tool for creating beautiful, realistic moonlight on film. It allows cinematographers to control the quality, direction, and intensity of the light, shaping the scene and creating a specific mood. But it’s not a simple setup. It requires a deep understanding of rigging principles, weight calculations, and safety procedures.

Want to see the Fly Swatter in action and learn the complete process from start to finish?

GET THE NIGHT CINEMATOGRAPHY MASTERCLASS

This article only scratches the surface of what you’ll learn in the full Night Cinematography Masterclass. You’ll see Shane Hurlbut, ASC, and Brendan Riel build and deploy the 20×20 fly swatter, step-by-step, with detailed explanations and close-up shots of every connection. 

You’ll learn:

• Detailed weight calculations and safety procedures.
• How to build the goal post and tri-truss.
• The art of triangulation for maximum stability.
• How to level the frame and attach the bounce material perfectly.
• And much, much more!

Don’t just read about it — see it! Unlock the secrets of professional night cinematography and elevate your filmmaking to the next level. Click here to get the Night Cinematography Masterclass today! 

The post Movie Lighting: The Fly Swatter Moonbounce appeared first on Filmmakers Academy.

Understanding this “grip talk” isn’t just about sounding knowledgeable; it’s about understanding the why behind the rigging choices, which ultimately impacts the safety and effectiveness of your lighting.

THE SCENARIO: A 120-FOOT CONDOR FOR NIGHT EXTERIORS

Imagine you’re preparing to light a massive night exterior scene, with a car traveling down a long stretch of road. To achieve even illumination, you’re using a 120-foot Condor boom lift, positioning powerful lights high above the set. This isn’t a simple matter of putting a light on a stand; it requires careful rigging and a precise understanding of the equipment.

KEY TERMS AND THEIR PRACTICAL APPLICATION: 

Rigging a Condor boom lift is a precise and demanding task, where safety is paramount. Every component, every connection, has a specific purpose. In this section, we’ll decode the essential grip terminology used in this process, explaining not just what these terms mean, but why they matter in ensuring a secure and effective lighting rig.

THE IMPORTANCE OF REDUNDANCY:

Notice that the moving lights are attached to the truss using both ratchet straps and hard mounts. This is a crucial safety principle in rigging: redundancy. If one attachment method were to fail (a strap breaks, a clamp slips), the other would still hold the lights securely in place. This is especially important when dealing with heavy equipment suspended high above the ground.

WHY THIS MATTERS TO YOU (EVEN IF YOU’RE NOT A GRIP):

As a filmmaker — whether you’re a director, DP, or producer — you might not be the one climbing the Condor. However, understanding the language of rigging is far from irrelevant. In fact, it’s essential for effective collaboration and informed decision-making. Knowing these terms empowers you to communicate your vision clearly to your key grip and gaffer. You’ll understand the constraints they’re working under and be able to discuss potential solutions collaboratively. 

This knowledge also enhances your safety awareness on set, allowing you to recognize potential hazards and contribute to a safer working environment. Beyond the practicalities, understanding how lights are rigged opens up a world of creative possibilities. You’ll be able to envision more complex and ambitious lighting setups, knowing what’s feasible and how to achieve it. It will also ensure that the necessary equipment makes it into the film’s budget.

THE BOTTOM LINE: BEYOND THE GRIP JARGON

The language of filmmaking, like any specialized field, can seem daunting at first. But by breaking down these terms and understanding their practical application, you’ll gain a deeper appreciation for the craft of film rigging and the crucial role it plays in bringing cinematic visions to life.

Want to learn more about Condor rigging, safety protocols, and advanced lighting techniques? 

This excerpt is from our comprehensive Film Production Rigging: Condor Boom Lifts course, available exclusively to Filmmakers Academy All Access members or as a one-time purchase. 

Elevate your filmmaking knowledge and unlock new creative possibilities!

NIGHT CINEMATOGRAPHY MASTERCLASS

This Condor rigging lesson gave you the how. Now, are you ready to see the why? In our Night Cinematography Masterclass, you’ll witness the stunning results of this very setup in action. We’ll break down how the principles of Condor rigging, combined with expert lighting techniques, create truly breathtaking night exteriors. You’ll see how the theory translates into practice, and learn how to apply these techniques to your own films. Don’t just learn about rigging — see the cinematic magic it unlocks! 

Get the Night Cinematography Masterclass now and transform your night shoots.

The post GRIP TALK: THE LANGUAGE OF CONDOR RIGGING appeared first on Filmmakers Academy.

Rigging a Condor Boom Lift: Weight, Safety & Strategy

Imagine lighting a scene that stretches for hundreds of yards, under the cloak of night. How do you achieve even, controlled illumination at that scale? The answer, often, is a Condor boom lift. I’m Shane Hurlbut, ASC, and in this exclusive excerpt from our Film Production Rigging course, we’re going up — way up — with a 120-foot Condor, revealing the real-world planning, rigging, and safety considerations that go into creating cinematic magic. Joining me are my trusted gaffer, Tom Sigurdsson, and key grip, Brendan Riel, to break it all down.

WHY A CONDOR? CHOOSING THE RIGHT TOOL FOR THE JOB:

For this particular night exterior, we have a challenging scenario. Our scene involves a car traveling down a road, covering approximately 150 yards. We need to light that entire stretch of road evenly and consistently. 

While there are many ways to approach night exteriors, a Condor boom lift offers several key advantages in this situation.

HEIGHT AND REACH

A 120-foot Condor allows us to get our light sources high above the surrounding trees and obstacles, creating a broad, even wash of light.

STABILITY

We’re opting for a straight-arm Condor, rather than one with a jib or knuckle. Straight arms offer superior stability, especially at significant heights and with heavier lighting payloads. Jibs, while offering more articulation, can be prone to swaying or failing under load.

CONTROL

A Condor provides precise control over the positioning of our lights, allowing us to fine-tune the angle and direction of the beam.

THE LIGHTING PLAN: EMULATING A MAXI BRUTE WITH LEDS

My go-to approach for lighting large night exteriors has often involved Maxi Brutes — powerful banks of incandescent PAR lights. They create a beautiful, directional beam that can be “wasted” off the set, creating an even wash over a long distance. However, technology has advanced, and we now have LED options that offer similar (or even superior) performance with greater flexibility and efficiency.

For this setup, we’re using four Nanlux 2400B LED fixtures. These powerful lights, combined with 30-degree reflectors, will effectively mimic the output of multiple Maxi Brutes. The narrow beam angle allows us to create a focused, long throw of light, minimizing spill and maximizing control. The idea is to “full spot” the lights and then position them so the beam just grazes the top of the set, creating an even wash of light from the base of the Condor all the way to the end of our 150-yard stretch of road.

ADDING DIMENSION: MOVING LIGHTS FOR BACKGROUND HIGHLIGHTS

To add depth, dimension, and visual interest, particularly for wide crane shots, we’ll also incorporate moving lights (often referred to as “rock and roll” lights) into our Condor rig. These remotely controllable fixtures allow us to highlight specific elements in the background, such as trees or buildings, creating a sense of scale and visual separation. We can also adjust their color temperature slightly differently from our main moonlight source, adding subtle color contrast to the scene.

THE SETUP: A DETAILED BREAKDOWN 

It’s time to break down the technical details of our Condor setup. Gaffer Tom Sigurdsson explains the mounting, power, and control systems that will bring our lighting plan to reality.

The four Nanlux 2400B fixtures will be mounted in a custom cage. This cage allows us to remove the yokes from the individual lights, reducing weight and creating a more compact unit. This cluster of lights will be positioned at the top of the Condor basket. Power will be supplied by a Santa Fe fleet battery tow plant, providing clean and reliable power for the duration of the shoot.

Crucially, we’ll use a lunchbox with data connections to allow for remote control of the lights. This means our lighting programmer, positioned hundreds of feet away, can adjust color temperature, intensity, and the movement of the moving lights without needing to be in the Condor basket itself. This is a huge advantage in terms of efficiency and safety. The use of the LED lights also bring a benefit over the older, traditional Maxi Brutes.

RIGGING AND SAFETY: THE PARAMOUNT CONCERN 

Now, let’s get into the nuts and bolts of rigging the Condor. This isn’t just about attaching lights; it’s about understanding weight distribution, capacity limits, and the engineering principles that keep everything safe and stable. Key Grip Brendan Riel breaks down the essential considerations, from weight restrictions to the rigging plan.

WEIGHT RESTRICTIONS 

Every Condor boom lift has specific weight capacity limits, both “restricted” and “unrestricted.” The “unrestricted” capacity (in this case, 500 pounds) applies to the full range of the boom’s movement. The “restricted” capacity (1000 pounds) applies to a limited range, typically at higher elevations and with less extension. Exceeding these limits is extremely dangerous and can lead to equipment failure.

THE RIGGING PLAN 

Traditionally, lights would be mounted on “candlesticks” (vertical speed rail) attached to the Condor basket. However, due to the weight of the Nanlux cluster and the cage, additional support may be necessary. Brendan outlines a plan that involves using 6-inch Module X truss, strapped to the bottom of the basket, to provide a secure mounting point for the moving lights.

CALCULATING THE LOAD

Brendan meticulously calculates the weight of every component: speed rail, cage, lights, movers, truss, cheeseboros, cables, etc. This detailed accounting is essential to ensure we remain within the Condor’s safe operating limits. In this particular case, the total weight with the moving lights comes to 929.2 pounds. Without the movers, it’s 682.2 pounds.

THE TRADE-OFFS 

Because our total weight exceeds the 500-pound unrestricted capacity, we’ll likely need to operate within the “restricted” range. This may limit the maximum height we can achieve, potentially to around 100 feet instead of the full 120 feet.

FINALIZING THE PLAN: SAFETY, FLEXIBILITY, AND COMMUNICATION

The final stage brought together myself (Shane), Brendan, our key grip, and Tom, our gaffer, for a crucial discussion. We needed to weigh our creative goals – lighting that 150-yard stretch of road – against the very real practical limitations of the Condor, namely weight restrictions and potential height limitations. This is where the rubber meets the road, where the ideal plan confronts the realities of physics and safety.

And safety is always paramount. That’s non-negotiable. We would never compromise safety for the sake of a shot, no matter how ambitious. If the weight calculations or the lift’s inherent limitations prevented us from achieving our initial vision, we would absolutely adapt. That might mean scaling back our lighting package, perhaps using fewer moving lights or opting for lighter-weight fixtures. It could even mean modifying the entire rigging approach. Flexibility is essential in this business; you have to be prepared to adjust your plan based on real-world conditions.

This adaptability hinges on open and honest communication. The DP, gaffer, key grip, and, crucially, the Condor operator, must be on the same page. Everyone needs to understand the plan, the limitations, and the safety protocols. There’s no room for ambiguity or assumptions when you’re dealing with heavy equipment at significant heights.

In this particular instance, after reviewing Brendan’s meticulous weight calculations and the Condor’s specifications, we determined that operating within the restricted range was the only safe option. While this might limit our maximum height to around 100 feet instead of the full 120, we collectively agreed that this was acceptable for the specific location and the desired look. We proceeded with the rigging plan, confident that we had a solution that was both creatively effective and, most importantly, safe.

THE BOTTOM LINE: PLANNING, PRECISION & ADAPTABILITY

This pre-rig exercise demonstrates the complexities and considerations involved in using a Condor boom lift for night exterior lighting. It’s not simply a matter of sticking a light on a lift and sending it up. It requires careful planning, precise weight calculations, a thorough understanding of the equipment’s capabilities and limitations, and, above all, a commitment to safety. It also requires teamwork and clear communication.

This lesson is just a small glimpse into the world of production rigging. To gain a comprehensive understanding of rigging techniques, safety protocols, and the art of shaping light on a large scale, we invite you to explore the full Film Production Rigging course, available exclusively with a Filmmakers Academy All Access membership or as a one-time purchase.

You’ll learn from industry experts, gain practical skills, and elevate your filmmaking to new heights. Don’t just light your scenes — control your light, shape your world, and tell your story with power and precision.

NIGHT CINEMATOGRAPHY MASTERCLASS

This Condor rigging lesson gave you the how. Now, are you ready to see the why? In our Night Cinematography Masterclass, you’ll witness the stunning results of this very setup in action. We’ll break down how the principles of Condor rigging, combined with expert lighting techniques, create truly breathtaking night exteriors. You’ll see how the theory translates into practice, and learn how to apply these techniques to your own films. Don’t just learn about rigging — see the cinematic magic it unlocks! 

Get the Night Cinematography Masterclass now and transform your night shoots.

The post Rigging a Condor Boom Lift: Weight, Safety & Strategy appeared first on Filmmakers Academy.

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Inside the AC’s Tool Bag: What Every Assistant Camera Needs

In the fast-paced world of filmmaking, being an Assistant Camera (AC) requires not only skill and precision but also the right tools for the job. 1st AC Derek Edwards and renowned cinematographer Shane Hurlbut, ASC give us an inside look into his essential AC kit.

Whether you’re a seasoned professional or just starting your journey in the camera department, this breakdown of Derek’s toolkit will offer valuable insights and inspiration for building your own.

Key AC Tools and Gear

Derek emphasizes the importance of having a well-organized and personalized kit that caters to your specific needs. Here’s a breakdown of his essential gear:

• Tool Bag: A compact and easily accessible bag to store your most frequently used tools.
• Screwdrivers: A variety of sizes and types, including flathead, Phillips, and Torx.
• Robo Grips: Versatile pliers for tightening and loosening bolts and other camera components.
• Wrenches: Including Allen wrenches (both metric and standard) and a torque wrench.
• Focus Tools: A laser measure (Hilti PD-E recommended), a tape measure (FatMax recommended), and a marking tool.
• Expendables: Velcro, Dual Lock (a heavy-duty alternative to Velcro), butyl tape (for securing filters), canned air, chem wipes, microfiber cloth, eye cushions, and Sharpies.
• Camera Coffin: A custom-fitted case to protect your camera during transport and storage.

PRO TIP: Scroll to the end of this article to see the full comprehensive list of tools that Derek Edwards’ keeps in his AC kit!

Assistant Camera Tool Highlights

Derek offers specific recommendations for several tools, emphasizing their unique benefits:

• Hilti PD-E Laser Measure: Its built-in scope enables accurate focus marks even at long distances.
• FatMax Tape Measure: Its wider design provides greater stability for solo measurements.
• Dual Lock: A strong and reliable alternative to Velcro, ideal for securing batteries and other accessories.
• Butyl Tape: A clean and residue-free adhesive for attaching filters to lenses.
• Canned Air: Essential for removing dust and debris from delicate camera equipment.

Building Your AC Kit

Derek’s advice for building your AC kit includes:

• Prioritize Functionality: Choose tools that will make your job easier and more efficient.
• Personalize Your Kit: Select tools that cater to your specific preferences and workflow.
• Maintain Your Gear: Keep your tools clean and organized to ensure their longevity.
• Have Fun: Embrace the creative and collaborative nature of filmmaking and enjoy the process.

Filmmaking Tools: The Bottom Line

Derek’s AC kit showcases a combination of essential tools, smart investments, and personalized touches. By understanding the core components of a well-equipped AC kit and adapting it to your unique workflow, you can ensure that you’re always prepared to tackle any challenge on set.

Remember, the key is to build a kit that not only meets the technical demands of the job but also reflects your personality and passion for filmmaking.

MASTER THE HOLLYWOOD STANDARD OF CAMERA CREWS

Ready to become the go-to person in any camera department? Sharpen your skills and master the art of on-set camera work with the all-new Camera Crew Playbook Masterclass.

Led by 1st AC Derek Edwards and acclaimed cinematographer Shane Hurlbut, ASC, this in-depth course covers it all: focus pulling, equipment troubleshooting, on-set communication, and more.

Learn more about the Camera Crew Prep Masterclass!

ABOUT DEREK EDWARDS

Derek Edwards is the trusted 1st AC of renowned cinematographer Shane Hurlbut, ASC, with over 20 years of experience on major Hollywood productions. He’s a master of his craft, constantly pushing the boundaries of camera technology and methodology.

Book a Coaching Session with Derek Edwards today!

ABOUT SHANE HURLBUT, ASC

Shane Hurlbut, ASC, is a visionary cinematographer and innovator. He’s a pioneer in the digital filmmaking revolution and a passionate educator dedicated to sharing his knowledge with the next generation of filmmakers.

Don’t miss this opportunity to learn from the best in the business. Whether you’re a seasoned pro or just starting out, these tips will help you sharpen your focus and elevate your craft.

Book a Coaching Session with Shane Hurlbut, ASC today!

CAMERA CREW PLAYBOOK MASTERCLASS PRODUCTS

The post Inside the AC’s Tool Bag: What Every Assistant Camera Needs appeared first on Filmmakers Academy.

BALANCING ACT: DAY INTERIORS IN THE DINER

One of the early challenges in Música was balancing the interior of a diner with the bright exterior sunlight. I needed to boost the light levels inside while maintaining a natural look. The Nanlux Dyno 1200s proved to be the perfect solution. 

By strategically placing them outside the diner windows and bouncing their light into 12×20 bleached muslin frames, I achieved a beautiful, soft light that seamlessly integrated with the daylight streaming through the windows.

What’s remarkable about the Dyno 1200s is their boost mode. This feature gives you a 30% increase in output compared to similar-sized lights, making them incredibly powerful for their compact size. 

This allowed me to maintain consistent lighting over two days of shooting, ensuring a cohesive look throughout the diner scenes.

NIGHT AMBIANCE: CAPTURING THE URBAN GLOW

Música also featured scenes with a lot of urban lighting. To capture the unique ambiance of city nights, I turned to my trusty “Depron Dome.” 

This simple yet effective tool involves layering foam to create a textured diffusion that gives the light a distinct quality.

For close-ups, I love using the Depron Dome in combination with Nanlux Dyno 1200s. By dialing down the light’s intensity and positioning it close to the subject, I can achieve a soft, enveloping light that beautifully wraps around the actors’ faces.

In one particular scene, I matched the Nanlux Dyno 1200s to the high-pressure sodium vapor lights commonly found in urban settings. The ability to precisely match any light source using the XY coordinates on the Nanlux lights is a game-changer. 

It allowed me to seamlessly integrate the actors into the existing lighting environment, creating a truly immersive experience.

SOFT LIGHT FOR EXPRESSIVE EYES

The eyes are the windows to the soul, and lighting them effectively is crucial for conveying emotions on screen. 

I often use LED tubes to create soft, flattering light for close-ups. However, I like to break up the light source to avoid a flat look.

Nanlite’s PavoTubes II are a favorite of mine because of their unique octagonal shape. This design allows me to easily adjust the angle of the light without the need for additional rigging. 

I often combine the PavoTubes with foam noodles to further diffuse and soften the light, creating a beautiful, cinematic look in the actors’ eyes.

SMALL FOOTPRINT, BIG IMPACT: THE PERFECT COUPLE IN LONDON

During the production of The Perfect Couple for Netflix, we faced a unique challenge. Due to restrictions at our London location, we could only use lights that plugged directly into the wall. This meant no generators or bulky lighting setups.

Thankfully, my gaffer, David Smith, had six Nanlux Evoke 2400Bs on hand. These powerful lights were the perfect solution. 

We were able to achieve the desired lighting effect by simply plugging them into the wall and bouncing their light through magic cloth. This not only saved us time and money but also allowed us to maintain a small footprint on location.

The Nanlux 2400Bs also proved invaluable for balancing the interior lighting with the bright exterior. 

By adjusting the green and magenta shift on the lights, we were able to perfectly color balance the scene, even with ND 1.2 on the windows.

THE FUTURE OF CINEMATIC LIGHTING

My experiences on Música and The Perfect Couple have solidified my belief that Nanlux lights are at the forefront of cinematic lighting technology. Their combination of power, versatility, and color accuracy is unmatched.

Whether I’m shooting a sun-drenched diner scene, a moody urban night, or a complex interior on location, Nanlux lights consistently deliver exceptional results. They have become an essential part of my filmmaking toolkit, and I’m excited to see how they continue to evolve and push the boundaries of what’s possible in cinematic lighting.

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The post Shane Hurlbut, ASC on Nanlux Lighting: A DP’s Perspective appeared first on Filmmakers Academy.

How To Build a DIY Car Camera Rig

DIY Camera Car rigging makes all the difference between average and memorable camera movement with your mobile cinematography. In the video above, we demonstrate DIY camera rigging solutions with a Flowcine Black Arm.

I’m Brendan Riel, owner of Legacy Grip and an IATSE Local 80 Key Grip in Los Angeles. While I enjoy all aspects of gripping, I have become known for my vehicle/object rigging capabilities. 

Over the years I’ve rigged cameras, people, and lights to hundreds of vehicles, and I’m here today to demystify the vehicle rigging process. 

• Master the trade of an Elite Grip!

A suction cup-style hood-mount | Courtesy of Brendan Riel

DOWNLOAD THE FREE GRIP CHEAT SHEET

Just real quick. Before we go further, I want to first share my Grip Cheat Sheet with you. I know how much it has helped me over the years, so I figured it might be something that would come in handy for any grips reading this article. And it’s absolutely free. 

Just download the ultimate Grip Cheat Sheet to quickly view when determining things like stand heights, wind speeds, load limits, and everything in between! 

And make sure to save it to your favorites to easily reference. 

FREE GRIP CHEAT SHEET

HOW TO BUILD A DIY CAR CAMERA RIG

As grips, we perform a wide multitude of tasks. We set flags, diffuse light, help facilitate camera movement, and set up any overhead rigging. 

On top of all that, we’re also always supportive of different departments and enjoy helping come up with practical solutions. 

At the end of the day, grips are really just problem solvers. Almost all grips, however, will agree that there is one problem that is the most fun for us to solve.

Setting flags is fun and all but car rigging really draws a crowd — and for good reason. Car/vehicle rigging always presents a new challenge mainly because we’re working with a different vehicle almost every time. 

Whether that be various car manufacturers or rigging to vehicles that aren’t cars, it keeps the process fun and exciting. 

Even though attachment points and rig placement can change from rig to rig we can apply the same principles of rig building to each setup. 

Below I’m going to run through the steps of planning out a successful vehicle rig for a DIY camera rigging solution. 

As a professional grip, I’ve done a variety of vehicle rigs and have put together a system that works no matter what vehicle you’re rigging to. 

Here’s what we’ll cover:

• Scoping out your vehicle
• Setting your camera position
• Finding your rigging points
• Thinking about adjustability needs
• Building the rig
• Safety and final checks

Let’s dive into it…

SCOPING OUT YOUR VEHICLE

As I said, every vehicle is different. As grips, we will very rarely rig the same vehicle again and again. There are exceptions, such as on a TV show or movie when you have a recurring picture vehicle. For commercials and music videos, it’s usually always something new. 

Memorable vehicles Brendan Riel has rigged over the years | Courtesy of Brendan Riel

It’s ok though! A new vehicle presents a challenge, and that’s what we love about the job. Our arsenal of tools and skill sets allow us to easily adapt to any situation. 

Here are a few of the things I’m looking for when I take a look at a vehicle for the first time.

INITIAL RIGGING CHECKLIST

Suction cups work on either flat glass or flat body panels. When even a slight curvature is introduced in either you won’t get the suction power for a sturdy point. Are those body panels sturdy enough?

Do we have room to rig under the vehicle if we need to? Some streetcars ride inches off the ground which makes it impossible. I’ve also worked with vehicles that had enough clearance for us to rig a 6” Modulus-X truss underneath. 

Sometimes the best attachment points are under the vehicle. Certain scenarios, such as when you see the vehicle in your shot or reflections of your rig, require you to build the structure of your rig from underneath. 

A trailer hitch provides the option to use a trailer hitch adaptor, which is an easy way to add mounting points to the back of a truck/SUV. Most trailer hitches are 2×2” so make sure it’s that standard size.

Every vehicle must be protected from scratches and dings, but vintage vehicles may require additional protection when using suction cups on the paint.

Safety is always on my mind especially when doing any overhead rigging or vehicle rigging. Will the finished rig inhibit driver visibility or present any unique challenges for driving? Is the driving route on a closed road or will you have a police escort? You may have to adapt your vehicle rig to meet any safety needs as those are always paramount.

Everything I’m thinking about above will help inform my rig build and decision-making process for setting the camera in position. 

SETTING YOUR CAMERA POSITION

Perhaps the most important part of any rig is making sure you get the camera exactly where your DP wants it. After you’ve checked out your vehicle to see what camera positions are possible, you’ll then do a walkthrough with the DP. 

DP Luc Delamare lining up a shot | Courtesy of Brendan Riel

The camera position process works best when I can physically be there with the DP and walk through the shot(s) we’re trying to achieve. Framing on the Artemis Pro app on a smartphone is a quick and lightweight process of finding the frame without holding your full camera build. 

What may initially look like a great camera placement to your eye or phone camera may look completely different with your specific camera and lens choice dialed into Artemis. 

A hood shot the DP thought would look good right up next to the windshield might actually look better lensed up further down the hood. This is the type of information you want to get before you even start the rig build. 

Here’s a pre-rig camera positioning photo I took of the DP holding up an Artemis frame he liked vs. the post-rig photo of the completed build.

(Left) Framing up the tire shot on Artemis | (Right) The end result tire shot

In addition to photos of the DP’s camera positions, we will also pull measurements. 

I want to know things like:

• How far out from the side of the car do they want the lens? 
• How high off the ground? 
• How far down the hood?  

I’ll open my Notes app on my phone and write down those measurements. Always write them down, you don’t want to forget. 

This method of planning out the camera position has always set me up for success. 

FINDING YOUR RIGGING POINTS

Some vehicle rigs can be straightforward and others require a bit of ingenuity. There are a few different methods of attachment for vehicle rigs and they all depend on your vehicle. 

RIGGING POINT OPTIONS

SUCTION CUPS

Suction cups work great on body panels, hoods & glass but you have to make sure the suction surface is flat. A suction cup on a curved surface will not work. 

Suction cups come in all different sizes. Some of the most common sizes we use are 3”, 4.5”, 6” & 10”. The 10s give you the most suction power and mounting options. 

PRO TIP: When using suction cups for your vehicle rigs, always use a ratchet strap or two for redundancy in case the suction fails.

HARD MOUNTS

Underbody hard mounts are a topic that demands a separate article. We utilize a variety of tools to create points for speed rail starters to then rig speed rail for hard mounts. 

The trailer hitch adaptor is a great hard mount option for vehicles with a trailer hitch.

Trailer hitch adaptor creates the perfect method of attachment for Steadicam here | Courtesy of Brendan Riel

RATCHET STRAPS

Oftentimes we will use a pre-built hood mount or hostess tray and ratchet that equipment right to the car. 

Hooked ratchet straps and endless ratchet straps work wonders in conjunction with gutter hooks. 

Modulus-X truss ratchet strapped to the go-kart | Courtesy of Brendan Riel

CONSIDERING ADJUSTABILITY NEEDS

So, you’ve pre-planned the camera position with the DP and everything looked good for framing on Artemis. 

Maybe you’ve spent an hour rigging the vehicle while they’re shooting something else. You’re ready for the camera, it gets mounted, and suddenly the frame is off. 

Or, it’s not exactly what everyone was expecting. 

Maybe you notice some reflections you hadn’t noticed before.

Or, the director wants to position the lead actor from the back seat to the front seat. 

I’ve seen it all. 

You can’t plan for absolutely every possible scenario but you can set yourself up for success if you need any micro adjustments. 

I get it, things change. Sometimes moving the camera 1” lower and to the right can make a big difference. 

EASY ADJUSTABILITY

Hood mount and hostess tray shots are two timeless classics for car rigs. They’re so ubiquitous that Modern Studio Equipment has built standalone components for both of those rigs. 

The Modern Studio hood mount and hostess trays are two great tools that exist as a system with built-in adjustability.

Modern Studio hood mount & hostess tray | Courtesy of Brendan Riel

MORE ADVANCED ADJUSTABILITY

Advanced rig building moves beyond just rigging the camera locked into a specific spot. It’s all about building a rigging system that allows for planned adjustability. 

One thing I’ll commonly do is build my camera rig off a vertical support pipe. This allows me to both adjust height vertically and swing left or right. 

If you want to get even fancier — build your base support structure off components that also give you even more adjustability. In my eyes, the ultimate rig is one that takes 2 minutes or less to move the camera within a 4’x4’ area.

I worked on a Hummer commercial where we did 16 rigs in 2 days — a grip’s dream job. There was one specific shot the DP wanted to do where we saw the front tire and didn’t quite have time to do the back tire. 

I rigged up a system that allowed us to get the front tire shot and within 2 minutes flip the rig around, move it back, and reset it for the back tire. That sort of adjustability is what earns you some major points as a grip. 

Front tire shot rigged with back tire adjustability in mind | Courtesy of Brendan Riel

BUILDING THE RIG

A few components that have been pulled out for a rig | Courtesy of Brendan Riel

Alright, all of our prep is done and it’s time for the fun part — building the rig. Let’s make some gear choices based on our needs. 

Your attachment method:

• Hard mount
• Suction cup
• Ratchet strap

Or a combination of the above!

Start collecting gear. Here are the components I use most often for rigs:

• Speedrail in lengths ranging from 1’-5’
• Hollaender short barrel crosses & swivel tees
• Baby grid clamps
• Mini ball leveling head
• Dish leveling head
• Ratchet straps
• Gutter hooks
• Padding for ratchet or pipe protection
• Modulus-X truss
• Speed rail starters
• ⅝” kit with hardware 

You know the old saying, “There’s more than one way to cook an egg?” The same thing rings true for vehicle rigging. 

I needed to rig a black arm on the back of a vehicle for a follow shot where we didn’t have a trailer hitch. Traditionally, a trailer hitch provides the best option because you can use a trailer hitch adaptor and easily adapt speed rail for that vertical speed rail point. 

But we’re grips; if one option isn’t available we have another option. Or two. 

These types of options come with experience. It’s something you learn so that you can know how to adapt. 

When you’re first starting out, stick to what you know will work. If you are doing a black arm rig, make sure you have a vehicle with a trailer hitch so you can use an adaptor with some suction cup triangulation. 

SAFETY AND FINAL CHECKS

Safety is always a top priority. We’ve built the rig and before we send it off we need to do a few final checks. But first, story time. 

I’ve rigged quite a few roller coasters. I’ve done ones at Six Flags, Magic Mountain, a coaster in San Diego, the Santa Monica Pier, and Cedar Point, Ohio. Just like vehicle rigging, coaster rigging is always different. That’s why you come in with your arsenal of tools so that you have options. 

There are some major safety protocols for coaster rigging. The rig doesn’t get sent out just based on your approval. You need the approval of both the operations and safety departments. 

After we rig the coaster, the heads of both departments will check your work to make sure nothing is loose and everything is securely fastened. These are corporate entities and we have to remember that liability is also in their hands even if I was hired to do the job. 

After final approval, we will send the coaster around with the rig on it and no riders. It comes back, we check it for any deficiencies or weak points and make any adjustments. We’ll then add riders and start our cycles for filming. 

Each time that coaster comes back into the station we’ll check the rig to make sure every knob is tight, the ratchet strap is cinched, and the bolt is secured. We check every single component each time it comes back — sometimes for hours. 

Additional vehicle rigging precautions

This is what we also need to do for vehicle rigging. We take on that same sort of liability. When a vehicle rig comes back from filming, I check every suction cup, every ⅝ gag, nut & bolt for any loosening. If something has become overly loose then it’s time to improve the rig and come up with a better solution.

Sometimes safety checks and pivoting to alternative solutions due to the discovery of any loose gears lead to delays — that’s okay. The priority is safety. If something comes loose on a vehicle it could compromise the integrity of the rig or come flying off and harm an individual not even involved with the shoot. Or both! 

Diligence is absolutely key. Check the rig before you initially send it out and each time it comes back.

RECAP

I started off doing vehicle rigging under other key grips. I decided to purchase my own rigging cart and got that all kitted out. It was a Set Carts 7 crate with a pipe organ on the back. I still have that cart on my truck today!

I used to go out solo as a one-man grip team for vehicle rigging jobs. Production would come to pick up my cart at storage and transport it to set. I’d show up to set and just do vehicle rigs. It was honestly a lot of fun and a cheaper solution for production than having a whole truck and grip team. 

If you are looking to do something similar, I’d recommend you start investing in some quality grip gear and start small. We don’t like that cheap knock-off stuff. Invest in gear that will last. 

The steps we covered may be flip-flopped on any given job. A lot of the time I don’t even get to scope out the vehicle we’re rigging to. I just have to roll with the punches. 

Oftentimes the DP will jet off before I can grab accurate measurements. Sometimes I’ll talk about camera position before really looking at the vehicle for points. It all depends on what workflow works best and how much knowledge you have about vehicle rigging. 

However, if you’re just starting out, I would suggest following the steps above in order. 

FILMOTECHNIC CAMERA CAR MASTERCLASS

Just like algebra, one must understand the fundamentals to answer the complex equations. The Filmotechnic Camera Car masterclass takes you inside the arm car like never before, unpacking workflows from the perspective of the DP, 1st AC, Camera Operator, and U-CRANE Arm Operator. Then, they demonstrate two common stunts with the Porsche Cayenne Turbo — but they can also be applied to any high or low-budget project. 

The Filmotechnic Camera Car masterclass is for filmmakers of all levels as it demystifies all the key insights and nuances of mobile cinematography. At the end, Shane Hurlbut, ASC showcases a DIY camera car rig that they put together using a Filmmakers Academy member’s vehicle! 

Go inside the arm car today and master high-speed cinematography!

DOWNLOAD THE FREE GRIP CHEAT SHEET

Download the ultimate Grip Cheat Sheet developed by Brendan Riel to quickly view when determining things like stand heights, wind speeds, load limits, and everything in between! 

Just be sure to save it to your favorites to easily reference. 

FREE GRIP CHEAT SHEET

Brendan Riel

Brendan is an I.A.T.S.E. Local 80 key grip living in Los Angeles. He is the owner of Legacy Grip. Specializing in vehicle rigging and camera support, Brendan also continues to keep the art of shaping light alive.

The post How To Build a DIY Car Camera Rig appeared first on Filmmakers Academy.

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A Filmmaker’s Guide to Inspecting Power Distro Box and Electrical Rentals

In this lesson, Director of Photography Shane Hurlbut, ASC demonstrates how to check in distro equipment.

You’re going to learn how to: Inspect Distro Boxes Inspect Snake Bites  Inspect Gang Boxes Inspect Bates Cables Inspect Soft Threefers Inspect Cables

DISTRO BOX INSPECTION:  

There are many features to check on the distro equipment so you can enter production with confidence and assure optimal performance. 

First, you want to inspect the lunch boxes and ensure the switches are not loose and the outlets look good in the circuit breaker. 

Also, does the box itself look good or does it appear to have suffered some damage? 

Shane begins with a 1200 amp distro box that delivers 220 out and 110 from the back. 

He inspects the breakers and cam locks on the side. In the example below, notice the dent. However, Shane affirms that it is just cosmetic damage. 

SNAKE BITE INSPECTION:

Taking up a 100 Amp Snake Bite, Shane makes sure the Camlock connectors look clean. 

GANG BOX INSPECTION:

Shane takes up the 100 Amp Gang Box next. While a lot of filmmakers choose the lunchboxes over the gang box, the latter works well with generators and provides plenty of extra outlets. 

BATES CABLE INSPECTION:

Next up is the 60 Amp to 60 Amp Bates Cable. Check to make sure there are no wires hanging out of your 60-to-60 and 100-to-100 amps Bates Cables. 

SOFT THREEFER INSPECTION:

Look at the ends of the Soft Threefers and make sure there are not any cuts or exposed wires. 

CABLE INSPECTION:

Shane likes to begin by organizing all of the cables into lines by type so they are easy to count. 

It requires minimal inspection that primarily consists of looking at both ends of the Camlocks. 

You are really trusting the rental house to provide cable that doesn’t have slices in it. Depending on the quality of your rental house, you may have to go through and check. If there is a slice and water gets in, that will obviously create issues. 

Shane maintains the same process as stated above for the 5-Wire Banded Cable, 100 Amp Cable, and 60 Amp Cable.  

IN CONCLUSION:

The distro equipment check-in is primarily a visual process. Organize everything in a clear fashion by laying it out on the ground, and perform a visual inspection of the distro gear. 

Lighting Equipment Check-In 

Check your lights like Shane Hurlbut, ASC’s elite team!

• 4 Lessons
• 45 minutes of instructional videos 

Lighting Equipment Check-In is a comprehensive guide through the process of checking in lights from the rental house. 

Shane Hurlbut, ASC demonstrates how to inspect lighting equipment while considering industry etiquette and protocols. In this course, Shane checks in Tungsten, HMI, and Kino Flo lighting units along with power distro equipment. 

• Detailed Written Breakdown
• English Subtitles

Module 1 — Lighting Unit Check-In 

• 01-HMI Lights 
• 02-Tungsten Lights
• 03-Kino Flo Lights
• 04-Distro Equipment

The post A Filmmaker’s Guide to Power Distro Box & Electrical Rentals appeared first on Filmmakers Academy.

DJI Ronin 4D Series: FLEX Mode with Jib Arm

Operating in Flex Mode on a jib arm allows for an additional range of mobility and supports complicated camera movement. Gimbal Operator Jason Robbins demonstrates how to best prepare the jib arm with a dual operator and execute the shot with precision. 

PRO TIP: If you haven’t already, bookmark this page to quickly return and reference it.

This lesson is part of the DJI Ronin 4D Series. This series demonstrates how to get the most out of your Ronin 4D. 

Lessons in the DJI Ronin 4D Series:

• Single Shooter Setup Guide
• Flex Mode Setup

You’re going to learn: DJI Ronin 4D Flex Dual Operation Setup Flex Dual Operation Demonstration Flex with Jib Arm Analysis

DJI RONIN 4D FLEX DUAL OPERATION SETUP:

So far, Jason Robbins attached the Flex setup to a telescoping pole to do a poor man’s jib. While Jason handles the camera, cinematographer David Weldon will operate the wheels.  

With this Dual Operation situation, they will take the DJI Master Wheels normally used with the Ronin and connect them to the Ronin 4D. 

David notes that there is a cable that you can get that they plugged into the DJI transmission which will then supply control to the gimbal. 

In this demonstration, they are using a heavy-duty telescoping pole but you can also use a lightweight carbon fiber alternative. 

They removed the handgrips from the Flex and Jason added only one of them to the main module in case David wants to grab focus. 

They will use the LiDAR control with Autofocus Tracking unless they need to throw focus on another detail at the moment. It depends on what the shot warrants. 

FLEX DUAL OPERATION DEMONSTRATION WITH JIB ARM:

Now, it’s time to prepare for the shot! Both Jason and David get into position and Kyra, our talent, is ready at the desk. 

Upon calling action, Jason moves in toward Kyra at a high angle. 

Jason then cues Kyra and she stands up from the desk and he tracks with her as she walks down the hallway. 

And then when he reaches the larger commons area, Jason booms up with the help of the poor man’s jib arm. 

After that, Jason pushes in. 

Jason then moves in for additional coverage. 

Handling the jib arm, Jason gets low… 

Then, he maneuvers by the plant on the coffee table. 

Jason next toggles the camera’s placement by push panning it around on the jib arm to underslung mode to get even lower.

Once ready, Jason positions the camera super low under the coffee table. 

Now, you can pull out from under the table and come up to eye level. Or, if the story is about an object on the ground, you can track along with it and then angle back up to Kyra.

 DJI RONIN FLEX WITH JIB ARM ANALYSIS:

Utilizing the poor man’s jib arm with the Ronin 4D Flex opens up your creative possibilities! You can move the camera very high or very low, get into super tight spaces, and move as quickly as you need. Not only does it allow you to move the camera faster, but it’s also quick to set up. 

While it’s not for every kind of creative situation, the Flex on a jib arm provides a lot of flexibility. But the DJI Ronin 4D doesn’t only deliver by way of versatility. It also delivers an impressive image quality. 

As camera operators and cinematography experts, we’re always trying to find limitations with cameras. Then, it’s a matter of how you implement the camera knowing what those limitations are. With the Ronin 4D, it’s all about mobility and Flex Mode with a jib arm enhances the results. 

So, check back as we continue to delve into the DJI Ronin 4D and reveal our discoveries. 

STAY TUNED!

If you haven’t already, watch the first lesson in the DJI Ronin 4D series: 

• The Single Shooter Setup Guide
• Flex Mode Setup Guide

Stay tuned for the next lesson in the series that explores other features and techniques of the Ronin 4D. 

• DJI Ronin 4D Series: Handheld Mode & Sport Mode

GEAR LIST:

1. DJI Ronin 4D 4-Axis Cinema Camera 6K Combo Kit

2. DJI Ronin 4D Flex Unit

3. PGYTECH Back for Ronin 4D

4. DJI TB50 Battery

5. DJI PROSSD 1TB

6. Sandisk CFExpress Type B

7. DJI PROSSD Mount

8. DJI 17-27mm T3.0 ASPH

9. Ronin 4D TX2 Video Transmitter

10. Zenmuse X9 Counterweight

11. DJI Zenmuse Focus Motor

12. DJI Battery Charging Hub

13. Zenmuse X9 E-Mount Adapter

14. DJI Zenmuse X9 L-Mount Adapter

15. DJI Zenmuse X9 M-Mount Adapter

16. DZOFilm Octopus PL Mount Adapter

17. Tilta Extend Monitor Cable

The post DJI Ronin 4D Series: FLEX Mode with Jib Arm appeared first on Filmmakers Academy.

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You might not believe how AI video tools are changing the film industry in 2023 and beyond. Perhaps you could ask ChatGPT — but we recommend you keep reading to find an objective nexus point between AI tools and filmmakers. 

AI tools have conjured the voices of Andy Warhol and Anthony Bourdain for their respective documentaries. It’s also making waves in de-aging software that shaves decades off of actors — just look at Harrison Ford in the upcoming Indiana Jones movie. And now, everything from mind-blowing VFX to the way we tell stories is becoming available to the filmmaking masses thanks to Artificial Intelligence (AI) and Machine Learning (ML) tools. 

Harrison Ford de-aged in Indiana Jones and the Dial of Destiny | Lucasfilm Ltd.

TYPES OF AI TOOLS FOR VIDEO AND FILMMAKING

AI filmmaking tools empower small-market and independent filmmakers to punch far above their weight class. The new technology brings big-budget capabilities to filmmakers who would normally never dream of the possibility in their storytelling. Not because they didn’t want to but because it wasn’t possible. This opens up higher-concept storytelling to Indie filmmakers. 

Now, let’s explore the different types of AI tools for video and filmmaking and afterward discuss the implications of AI technology for the future of the film industry. 

1. VIDEO EDITING AND POST-PRODUCTION

AI-powered video editing tools are reshaping the post-production landscape. These tools can analyze video footage, detect patterns, and automatically edit and enhance clips, making the editing process faster and more efficient. AI algorithms can identify the best shots, eliminate unwanted elements, and even generate automatic video summaries. Additionally, AI tools can assist with color grading, noise reduction, and visual effects, providing filmmakers with greater control over the final product.

Topaz Labs developed a video upscaling AI tool that sharpens fuzzy footage, promising “tack-sharp 4K at buttery-smooth 60 fps.” Additional Topaz Video AI (TVAI) enhancement capabilities include deinterlacing and motion interpolation. 

What’s not to like about AI-powered upscaling tools that can rescue fuzzy footage from the trash heap? Especially when you can save an amazing performance if the focus was soft.  

Audio mixing has never been easier than with tools like Izotope’s Neutron software which has both Track Assistant and Mix Assistant. The Track Assistant, in particular, automatically generates custom presets that make your track sound as good as possible. It may not be perfect, but audio mixers use it as a starting point and then perfect it from there.

2. SCRIPTWRITING AND STORYTELLING

AI has also found its place in the early blueprint stages of the filmmaking process. AI-based software can analyze vast amounts of data, including scripts, books, and movies, to generate plotlines, characters, and dialogue. 

While AI-generated scripts might not match the depth of human creativity, they can serve as valuable starting points, helping filmmakers explore new ideas and brainstorm fresh concepts.

​​Filmmaker Jon Finger created his short film D.A.N. using A.I.-generated images and video. One day, Finger was playing with GPT-4 and asked it to make him a viral tweet. It responded with “Woke up in a lab and I’m an AI. What does this mean?” The premise immediately struck him. 

At the moment, Finger is not excited about language models writing his scripts. He rather enjoys playing with the ideas they can generate. So, he still ultimately wrote the script but used the A.I., Gen2 from Runway, and generated the individual shots to build up the scenes that he had written.

Every shot is generated from A.I., from text to video. Although, Finger notes the process isn’t streamlined. He compares it to a blind millionaire photographer asking his assistant for help — but the caveat is that the assistant doesn’t speak English very well. So, basically, you type the shot you want and often get back images that don’t reflect your imagination. Then, you change the language a bit and re-generate the image.

3. VFX AND ANIMATION

Creating stunning visual effects (VFX) and realistic animations often require significant time and resources. AI tools can streamline this process by automating tasks such as rotoscoping, motion tracking, and compositing. 

By harnessing machine learning algorithms, filmmakers can reduce the production time and costs associated with VFX, making it more accessible for independent filmmakers and smaller production companies.

Runway developed an especially useful AI tool that allows filmmakers to mask and rotoscope at record speeds without the tedium of scrubbing frame-by-frame. It still may not be perfect in terms of giving filmmakers control options but all footage is exportable as chroma colors, alpha channels, and video.

4. AUDIENCE ANALYSIS AND MARKETING

AI technology can analyze vast amounts of data from social media, online platforms, and viewer demographics to provide insights into audience preferences. This information allows filmmakers to tailor their content to specific target audiences, improve marketing strategies, and increase engagement. 

AI-powered recommendation systems also play a crucial role in suggesting films and shows to viewers, helping them discover content that aligns with their interests.

IMPLICATIONS OF AI TECHNOLOGY FOR THE FUTURE OF FILMMAKING AND HOLLYWOOD 2.0

All of the advancements in AI tools will transform the film industry into what Runway CEO Cris Valenzuela dubs Hollywood. 2.0. Runway is the company behind the cutting-edge AI tools that helped create the many worlds of the Oscar-winning film, Everything Everywhere All At Once. 

The impact of AI technology is already being felt all the way down to The Late Show where it streamlines creative workflows to meet the high demand for content. Now, let’s take a look at the implications of AI tools in the future of filmmaking.  

INCREASED EFFICIENCY AND COST REDUCTION

AI tools can automate repetitive and time-consuming tasks, allowing filmmakers to focus on creativity and storytelling. By accelerating the editing, VFX, and animation processes, AI technology saves time and reduces production costs. This makes filmmaking more accessible to emerging talents and independent filmmakers, fostering a more diverse and inclusive film industry. 

There’s now an AI tool that makes color grading a breeze. Colourlab.Ai provides incredible color intelligence and with its ML capabilities, it learns the key frames from the human colorist, saving plenty of time while color grading. With this powerful tool, filmmakers can balance all the cameras with just one click, create AI references with pre-loaded smart LUTs, auto-group shots together, and color-match shots from different cameras.  

Descript is another AI tool that helps streamline the post-production process. It’s essentially like a new way to edit. A text-based video editing tool, Descript digests footage and generates text transcripts. Then if you make an edit in the text, it’s automatically made in the video footage as well. This is great for breaking footage into chunks and removing unwanted sound checks along with “ums” during interviews. 

ENHANCED CREATIVITY AND COLLABORATION

AI tools provide filmmakers with new creative possibilities and collaborative opportunities. By automating certain processes, AI frees up time for filmmakers to explore innovative ideas and experiment with storytelling techniques. Additionally, AI-powered collaboration platforms facilitate remote teamwork, allowing filmmakers to collaborate across geographical boundaries and bring together diverse talents. 

The Insta360 is one such innovative device that streamlines pre-production while keeping all department heads on the same page. Cinematographer Shane Hurlbut, ASC pioneered the use of the Insta360 for tech and location scouts during the pandemic. It requires fewer people to attend the scouts and then in the Insta360 Studio app, filmmakers can navigate virtually, get measurements, and communicate with one another. 

ETHICAL CONSIDERATIONS AND CHALLENGES

Ultimately, AI technology serves as a great tool for filmmakers, whether it’s as a solid starting point or to quickly take care of tedious tasks. As AI technology continues to advance, ethical considerations become paramount. 

Filmmakers must navigate questions related to data privacy, biases, and the potential displacement of jobs in the industry. Striking a balance between human creativity and AI assistance is crucial to ensure that AI technology remains a tool rather than a replacement for artistic expression and human talent.

Finger affirms that AI is not free of human intervention — at least at the moment:

“Right now is a scary moment,” says Finger, “because the stuff it can do are jobs a creative person is doing and if replaced, they have nowhere else to go…. That’s assuming nothing changes. But as things move forward, to me, it looks like this is going to turn into a situation — sort of like what YouTube did with distribution — anyone can go out and be seen by the world. But the benefit to production is that some animator can have a vision they’re excited about and they don’t have to listen to a bunch of other people talk about what they can and cannot do. They can go make the film they want to make, or even make a whole series or game or whatever on the level of what would be a multi-million dollar level otherwise.”

According to technologist and industry pundit Philip Hodgetts, AI and machine learning tools will “amplify your creativity.” And not only that but make it available to people who never had the opportunity to express themselves through the art form.

Hodgetts puts it succinctly, “Let’s be very clear: Tools are not competition.” 

THE BOTTOM LINE

As filmmakers, we must understand the latest technology and open ourselves up to learn how it can improve our storytelling. This is certainly the case with AI tools. Of course, there are pros and cons to new technologies, and that’s also the case for AI tools. It’s far from the end-all, be-all. So, don’t expect ChatGPT to spit out a perfect script or Colourlab.Ai to grade your film to the extent of David Cole. But for a starting point or skipping past hours of tedium, AI tools are impressively useful. 

The best thing you can do as a filmmaker and stay ahead of your competition is to cross-train and understand the departments around you. That way, you will be irreplaceable when new technology comes along to replace menial tasks. And there’s no better way to do that than become a Filmmakers Academy member! 

Learn more about Filmmakers Academy membership!

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WHY ROSCO SOFTDROP BACKDROPS

Rosco SoftDrop is a type of backdrop designed to meet the challenges of film, television, and photography productions. Originally launched in 2015, it is made of 100% high-quality, non-reflective cotton and absorbs light, creating a smooth, seamless surface for filming. 

Take a look behind-the-scenes of the Academy Award-winning film The Father, starring Anthony Hopkins, and how Rosco SoftDrop benefited the production. 

Uncover some of the key benefits of using Rosco SoftDrop in your production below and how it brings the location into the soundstage!

VERSATILITY 

Rosco SoftDrop backdrops are available in a wide range of colors, textures, and sizes, making them a versatile option for both filmmakers and photographers. (The seamless can be produced as large as 39’h x 170’w! Whether you need a solid color backdrop, a textured backdrop, or a custom backdrop, SoftDrop is available in Frontlight, Backlight, and Day/Night Backdrop formats.

WOVEN COTTON FABRIC  

SoftDrop has an ultra-matte finish that’s semi-translucent and designed to absorb light and prevent reflections. This means that you can achieve a smooth, seamless look in your shots without worrying about undesirable glare or translight you get on the vinyl of other backdrops. 

DURABLE 

The SoftDrop is made of a high-quality, flame-retardant material that is environmentally friendly with water-based, non-solvent inks. It is tear-resistant and can be easily cleaned, making it a functional and cost-effective choice for long-term use. 

On the set of Man Vs Bee, Production Designer Carly Reddin felt assured to have the SoftDrop close to lights in their modest studio space. 

Garden SoftDrop inside a sound stage at Bovingdon Airfield Studios

EASY TO INSTALL 

Rosco’s SoftDrop is designed for easy installation and removal. It comes folded and packaged in a shipping box without the need for heavy, protective tubes and extra-long freight trucks. The SoftDrop fabric easily unfolds from its packaging and is quick to smooth, especially compared to vinyl. 

As a rough example, the build took two students of Filmakademie Baden-Württemberg about three hours, freeing personnel to help in other areas of the production. On a professional set, filmmaker Barry Andersson found the whole process surprisingly “turnkey” and easier than they assumed it would be. And he couldn’t believe how easy it was to take the drops down and pack them up when done. 

COST-EFFECTIVE

Rosco SoftDrop makes for an affordable alternative to traditionally painted backdrops because it takes less light to properly illuminate. This also means less time and energy to rig and power the lighting setup. 

Rosco provides you with a professional-looking backdrop at a fraction of the cost, making it an ideal choice for productions with limited budgets. That’s one of the primary factors for why Andersson chose Rosco SoftDrop for his promo spot with the Minnesota Timberwolves 2022-2023 season. Andersson and his team selected three nighttime cityscape drops from John Wick 3 to boost the scale of their promo to epic proportions. 

More Rosco related articles: 

• Rosco Diffusion Series: Brushed Silk
• Rosco View: New Frontier Tools
• Portable Lighting with the Rosco Litepad Kit

5 ROSCO SOFTDROP LIGHTING TECHNIQUES

By using the right technique, you can create the perfect backdrop for your scene, whether you want to create a daytime and nighttime look, or a textured, color, or backlit effect. We recommend experimenting with different techniques to learn what SoftDrop backdrops can bring to your projects.

A general rule of thumb is to create an even wash of light across the image. It’s best to light the SoftDrop’s highly matte cotton surface from above the drop. 

Here are five filmmaking techniques to use with Rosco SoftDrop backdrops.

1. CREATING A DAYTIME LOOK

Create a daytime look with Rosco SoftDrop backdrops by lighting them from the front. Be sure to light the backdrop evenly to create a soft and natural-looking daylight effect. Don’t forget that you can also bounce light instead of direct lighting. 

For the science fiction thriller, The Colony, cinematographer Markus Förderer, ASC, BVK, found that “the best result is achieved if the source that is lighting the backing comes in at a steep angle from below or above.” He goes on to say, “Since I wanted to create a hot horizon to give the illusion of depth, it made sense to place our lights in a long row on the floor behind and in front of the backing.” 

Side-by-side on the floor, they placed 200 Arri SkyPanel S60s to backlight the backdrop, and hid a row of ETC wash lights just below the horizon line on the sand floor for the front light.

2. CREATING A NIGHTTIME LOOK

If you want to create a night time look, turn off the front lights and light the SoftDrop from behind. 

Seattle city skyline used to produce Day/Night SoftDrop for Second Chance

For backlight night drops, light from the bottom of the backside. This allows the light to fall off toward the top, making the upper part of the frame darker. Not to mention, the camera won’t see hotspots shining through the fabric. 

Rental Rosco SoftDrop of a cityscape from John Wick 3

If you’re working with a taller drop, consider using additional lighting from the top at an oblique angle. For example, highlight specific areas of the night with individual lamps behind a desired area.

3. CREATING A BACKLIGHT EFFECT

When creating a backlight effect, Rosco has a few suggestions. For one, they recommend using an oblique wash of light from below for the best results. Due to the slightly open weave of the fabric, Rosco actually advises not to light directly from behind. 

On the production of the HBO hit show Station Eleven, the cinematographers shined a fresnel light through the SoftDrop backdrop to serve as an artificial sun. The filmmakers on The Colony also created an artificial sun with an 18K ARRIMAX behind the SoftDrop. 

Fresnel sun source effect shining through the back of the front-lit Day/Night SoftDrop

On Fear the Walking Dead, they needed to enhance the feeling of a post-nuclear apocalypse. So, the filmmakers backlit the backdrop with a yellow LED and placed lights underneath (about 10 feet from the backdrop), and pointed upward. 

Post-apocalyptic yellow sky in Fear the Walking Dead

4. CREATING A TEXTURED LOOK

Rosco SoftDrop backdrops are available in a variety of formats, and, luckily, Rosco’s Digital Imaging team is there to perfect the image down to the finest details and textures. These textures can create a natural and organic look. Just choose a textured SoftDrop backdrop that matches the mood and tone of your project.

FINISHING OPTIONS:

• Hem, grommets and ties
• Hem, with hidden grommets & ties
• Hem only 
• Pipe/chain pocket with pull rope
• Pipe/chain pocket with grommets
• Velcro
• Other finishes available upon request

The RDI team added snow and ice to the Chicago backdrop in Station Eleven, turned autumn into summer in Man Vs Bee, and shifted the Manhattan skyline back to the 1980s in Netflix’s limited series Halston, even subtly adding blur to buildings in the distance. 

Soft, hand-painted style of one of the backlot SoftDrops | The Gilded Age

Similarly, Art Director Laura Ballinger Gardner softened the backdrops of buildings on The Gilded Age on HBO Max. The production design team was inspired by the soft, stylized look of hand-painted backings and wanted their imagery to have the same look and feel. Together with the matte quality of the material, it was an easy choice for Laura.

5. CREATING A COLOR EFFECT

Shifting the color of the SoftDrop backdrop can help produce a specific mood or atmosphere. 

Film student Paul Nungeßer notes how one of the advantages of the SoftDrop is that “you can light with it rather than against it” and “it’s like having a massive 60’x20’ butterfly that you can bounce light off of.” 

8’20” film, Paul Nungeßer

In Nungeßer’s student film, 8’20”, a “cinematic poem” about the time it would take for the exploding sun to reach Earth. As the sun grows close, the SoftDrop grows brighter red. 

Returning to Fear the Walking Dead, they created a post-apocalyptic red sky and yellow sky with clouds. The concept was for the red sky to be a result of the initial nuclear impact and for the yellow sky to show the passage of time. 

THE RDX LAB SYSTEM

“A unique user experience that brings cutting-edge technology to time-honored filmmaking techniques.” 

Rosco has been around since the early days of filmmaking and today launches the technology that will power the productions of tomorrow. In partnership with FuseFX, Rosco Laboratories developed their prototype for the Rosco Digital Experience, RDX LAB System. 

This new technology is like the LED volume but brings Rosco’s extensive library of cinematic backdrop assets with FuseFX’s virtual production technology. 

The RDX LAB System Includes:

• A patent-pending ecosystem of interactive background imagery for virtual production inside an LED volume.
• The world’s most extensive library of background images, created specifically for use in filmmaking. 
• Technology developed by renowned VFX experts FuseFX, allowing the images to be directly manipulated on set, becoming “Live Action Backdrops.” 
• Adjustments for image depth, color, contrast, time of day, horizon line, blur, motion, focus, zoom, temperature, parallax, and more.
• A user-friendly app to control the image being used in the LED volume. 

ABOUT ROSCO

For over 100 years, filmmakers relied on Rosco as a leading provider of lighting solutions and backdrop technologies for the film, television, and entertainment industry. Rosco’s innovative products are designed to enhance the visual appeal of productions and have even become industry standards. 

Rosco plays a significant role in the development of LED lighting technology, revolutionizing modern lighting techniques. The company’s LED fixtures provide high-quality, energy-efficient lighting solutions that are ideal for film, television, and stage productions.

Through its innovative products and commitment to quality, Rosco has had a significant impact on the film and entertainment industry. Professionals and amateurs alike depend on Rosco and its undeniable influence in capturing the imagination of audiences around the world.

Learn more by contacting backdrops@rosco.com to request more information. 

Discover additional available Rosco services. 

Visit the online Rental Backdrop Catalog on RoscoDigital.com. 

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