Sennheiser EW112p Wireless Lav microphones

General Description

Fast, flexible and professional: these characteristics make the ew 112-p G3 the perfect fit for every ambitious reporting team seeking both portability and great sound quality. The nearly invisible clip-on omni-directional microphone transmits its signal via a bodypack transmitter with mute function and a portable, battery-powered adaptive-diversity receiver. The receiver and transmitter are lightweight and easy to operate, yet rugged and packed with features.

Features

• Sturdy metal housing (transmitter and receiver)
• 42 MHz bandwidth: 1680 tunable UHF frequencies for interference-free reception
• Enhanced frequency bank system with up to 12 compatible frequencies
• Adaptive-diversity reception for high reception quality
• Pilot tone squelch for eliminating RF interference when transmitter is turned off
• Automatic frequency scan feature searches for available frequencies
• Enhanced AF frequency range
• Increased range for audio sensitivity
• Wireless synchronization of transmitters via infrared interface
• User-friendly menu operation with more control options
• Illuminated graphic display (transmitter and receiver)
• Auto-Lock function avoids accidental changing of settings
• HDX compander for crystal-clear sound
• Transmitter and receiver feature battery indicatation in 4 steps
• Programmable Mute function
• Contacts for recharging BA 2015 accupack directly in the transmitter or receiver
• Wide range of accessories adapts the system to any requirement

iKan 1444 LED Onboard lights

For those in need of a small, on-camera LED solution, the ikan iLED 144 is the light for you. Featuring a bright, wide angle beam pattern, this 144 bulb LED light has you covered. With switchable daylight to tungsten, intensity dimmer and on-board battery indicator, and multiple light stacking options, the iLED 144 gives you unparalleled accuracy and control.

Wide Angle Beam Pattern

Tungsten to Daylight Switching

Intensity Dimming

On-Board Battery Indicator

Stackable Mounting Option

IndieDolly lightweight dolly system

Every videographer knows the value of a steady truck or dolly shot. But not every videographer has the budget to obtain the expensive moving equipment. And if you're anything like me, effectively achieving these professional shots without the aide of professional equipment, a.k.a. handholding, is next to impossible. The new Universal Dolly, Curved Track Kit from Indie-Dolly Systems was designed to be a high quality, cost effective solution..

Opening up the durable custom carrying case reveals the dolly platform, three heavy duty dolly arms and three wheel clusters containing six polyurethane skateboard wheels, (95a durometer rating,) in each cluster. Also included is a steel seat, a stainless steel seat post which attaches to one of four different locations on the dolly, and a stainless steel push bar.

Kino-Flo Mini Gaffer’s kit

Kino Flo True Match® lamps are the only High Output (HO) fluorescent lamps designed to correspond to the spectral sensitivity of film and digital imaging. In 1995 Kino Flo was awarded an Academy Award for Technical Achievement for its unique lamp engineering and fixture designs.

Kit includes:

• 2 x Kino Flo 2ft 2 banks
• 2 x ballasts, head cables
  

Arri Combo Lighting kit

A selection of popular Arri lighting fixtures together in one case!

• 1 x Arri 1K
• 1 x Arri 150w
• 2 x Arri 300w

plus stands and scrims

ProAim DSLR Handheld kit w/ Marshall 7” LCD monitor

Contains everything you need to shoot professionally with  your DSLR:

 

• Handheld brace
• Follow focus with whip and speed crank
• Mattebox with sunshade
• Takes 4" x 4" filters
• Go from handheld to studio mode without changing configuration
• PLUS Marshall 7" LCD monitor

ProAim DSLR Handheld kit

Contains everything you need to shoot professionally with  your DSLR:

 

• Handheld brace
• Follow focus with whip and speed crank
• Mattebox with sunshade
• Takes 4" x 4" filters
• Go from handheld to studio mode without changing configuration

Film Loading Kit

Day

10.00

Weekend

15.00

Week

40.00

Includes:

• Changing bag
• cans, cores, bags
• "Exposed" tape, Mag ID tape
• dummy loads

Canon 60D DSLR camera w/ Dragon stop motion animation kit

With the new EOS 60D DSLR, Canon gives the photo enthusiast a powerful tool fostering creativity, with better image quality, more advanced features and automatic and in-camera technologies for ease-of-use. It features an improved APS-C sized 18.0 Megapixel CMOS sensor for tremendous images, a new DIGIC 4 Image Processor for finer detail and excellent colour reproduction, and improved ISO capabilities from 100 - 6400 (expandable to 12800) for uncompromised shooting even in the dimmest situations. The new Multi-control Dial enables users to conveniently operate menus and enter settings with a simple touch. The EOS 60D also features an EOS first: A Vari-angle 3.0-inch Clear View LCD (1,040,000 dots) monitor for easy low- or high-angle viewing. An improved viewfinder, a number of new in-camera creative options and filters, plus HDMI output for viewing images on an HDTV all make the EOS 60D invaluable for the evolving photographer.

• 17-85mm 4/5.6 Canon USM OIS lens
• 3 x Li-Ion batteries
• 2 x 16gb SDHC cards, card reader

Dragon Stop Motion as the name indicates, is software for shooting stop motion animations. The program allows you to hook up a video / photo / webcam input source and take stills which can then be reorganized into scenes. There are a couple of powerful features in this highly specialized tool which make this process a lot easier. One useful thing is the ability to control camera settings (aperture, focus, shutter speed, etc) from the software itself without having to adjust it on the physical device. Another great thing is the ability to toggle between past shots and the live preview which helps to align past shots to the next one and thus establishing a greater continuity. Related to this is the “short play” ability which plays back the last 12 frames. Users can also setup time lapsed shots and export to multiple formats (JPG, Quicktime, etc.) Once enough shots or frames are taken, the X-sheet view allows you to edit and manage them.

Camera Assistant’s ditty bag

Day

5.00

Weekend

7.50

Week

20.00

Includes:

• Dumb slate
• range finder
• lens cleanng supplies
• Depth of field calculator
• markers, pens etc

Panasonic AG-AF100 Micro 4/3 HD camera w/ 35mm PL primes kit & ProAim DSLR kit

The AG-AF100 series is the first professional HD camera recorder to adopt the Micro Four Thirds standards. These standards were announced in 2008 as an extension of the Four Thirds standards for DSLR (Digital Single Lens Reflex) cameras. Panasonic and some other manufactures have already released a number of digital cameras and interchangeable lenses based on the Micro Fourth Thirds standards.
The "Four Thirds" name is derived from the 4/3-type (approx. 17.3 mm x 13 mm/ approx. 0.68 inches x 0.51 inches) image sensor. The size of the image sensor, the standardized lens mount developed for it, and interchangeable lenses designed exclusively for digital cameras form the core of the Four Thirds standards. These standards were established to offer an optimal solution for digital cameras, breaking loose the confines of film camera standards. In establishing the Micro Four Thirds standards, the flange back distance (the distance from the lens mount surface to the image sensor) was reduced by about half and the mount diameter was made about 6 mm (0.24 inches) smaller than that of the Four Thirds mount. The image sensor size is the same as that of the 4/3 type used in the Four Thirds standard. The Micro Four Thirds standards have made it possible to reduce the size and weight of cameras and lenses, and to achieve greater interchangeability of lenses together with video recording capability.

Basic Package

• Lumix 14-140mm zoom lens
• 3 x Li-Ion batteries
• 3 x 16gb SDHC cards
• Follow focus, matte box w/ 4"x4" trays
• PLUS ProAim DSLR handheld kit, PL primes adapter, 18, 25, 35, 50 85mm high speed Zeiss primes
  

Canon 60D DSLR camera

With the new EOS 60D DSLR, Canon gives the photo enthusiast a powerful tool fostering creativity, with better image quality, more advanced features and automatic and in-camera technologies for ease-of-use. It features an improved APS-C sized 18.0 Megapixel CMOS sensor for tremendous images, a new DIGIC 4 Image Processor for finer detail and excellent colour reproduction, and improved ISO capabilities from 100 - 6400 (expandable to 12800) for uncompromised shooting even in the dimmest situations. The new Multi-control Dial enables users to conveniently operate menus and enter settings with a simple touch. The EOS 60D also features an EOS first: A Vari-angle 3.0-inch Clear View LCD (1,040,000 dots) monitor for easy low- or high-angle viewing. An improved viewfinder, a number of new in-camera creative options and filters, plus HDMI output for viewing images on an HDTV all make the EOS 60D invaluable for the evolving photographer.

 

• 17-85mm 4/5.6 Canon USM OIS lens
• 3 x Li-Ion batteries
• 2 x 16gb SDHC cards, card reader
  

Panasonic AG-AF100 Micro 4/3 HD camera w/ 35mm PL primes kit

Day

225.00

Weekend

337.50

Week

900.00

The AG-AF100 series is the first professional HD camera recorder to adopt the Micro Four Thirds standards. These standards were announced in 2008 as an extension of the Four Thirds standards for DSLR (Digital Single Lens Reflex) cameras. Panasonic and some other manufactures have already released a number of digital cameras and interchangeable lenses based on the Micro Fourth Thirds standards.
The "Four Thirds" name is derived from the 4/3-type (approx. 17.3 mm x 13 mm/ approx. 0.68 inches x 0.51 inches) image sensor. The size of the image sensor, the standardized lens mount developed for it, and interchangeable lenses designed exclusively for digital cameras form the core of the Four Thirds standards. These standards were established to offer an optimal solution for digital cameras, breaking loose the confines of film camera standards. In establishing the Micro Four Thirds standards, the flange back distance (the distance from the lens mount surface to the image sensor) was reduced by about half and the mount diameter was made about 6 mm (0.24 inches) smaller than that of the Four Thirds mount. The image sensor size is the same as that of the 4/3 type used in the Four Thirds standard. The Micro Four Thirds standards have made it possible to reduce the size and weight of cameras and lenses, and to achieve greater interchangeability of lenses together with video recording capability.

Basic Package

• Lumix 14-140mm zoom lens
• 3 x Li-Ion batteries
• 3 x 16gb SDHC cards
• Follow focus, matte box w/ 4"x4" trays
• PLUS PL lens adapter and 18, 25, 35, 50 and 85mm high speed lenses
  

 

Panasonic AG-AF100 Micro 4/3 HD camera

The AG-AF100 series is the first professional HD camera recorder to adopt the Micro Four Thirds standards. These standards were announced in 2008 as an extension of the Four Thirds standards for DSLR (Digital Single Lens Reflex) cameras. Panasonic and some other manufactures have already released a number of digital cameras and interchangeable lenses based on the Micro Fourth Thirds standards.
The "Four Thirds" name is derived from the 4/3-type (approx. 17.3 mm x 13 mm/ approx. 0.68 inches x 0.51 inches) image sensor. The size of the image sensor, the standardized lens mount developed for it, and interchangeable lenses designed exclusively for digital cameras form the core of the Four Thirds standards. These standards were established to offer an optimal solution for digital cameras, breaking loose the confines of film camera standards. In establishing the Micro Four Thirds standards, the flange back distance (the distance from the lens mount surface to the image sensor) was reduced by about half and the mount diameter was made about 6 mm (0.24 inches) smaller than that of the Four Thirds mount. The image sensor size is the same as that of the 4/3 type used in the Four Thirds standard. The Micro Four Thirds standards have made it possible to reduce the size and weight of cameras and lenses, and to achieve greater interchangeability of lenses together with video recording capability.

Basic Package

• Lumix 14-140mm zoom lens
• 3 x Li-Ion batteries
• 3 x 16gb SDHC cards
• Follow focus, matte box w/ 4"x4" trays
  

Canon 60D DSLR camera w/ ProAim DSLR kit

With the new EOS 60D DSLR, Canon gives the photo enthusiast a powerful tool fostering creativity, with better image quality, more advanced features and automatic and in-camera technologies for ease-of-use. It features an improved APS-C sized 18.0 Megapixel CMOS sensor for tremendous images, a new DIGIC 4 Image Processor for finer detail and excellent colour reproduction, and improved ISO capabilities from 100 - 6400 (expandable to 12800) for uncompromised shooting even in the dimmest situations. The new Multi-control Dial enables users to conveniently operate menus and enter settings with a simple touch. The EOS 60D also features an EOS first: A Vari-angle 3.0-inch Clear View LCD (1,040,000 dots) monitor for easy low- or high-angle viewing. An improved viewfinder, a number of new in-camera creative options and filters, plus HDMI output for viewing images on an HDTV all make the EOS 60D invaluable for the evolving photographer.

 

• 17-85mm 4/5.6 Canon USM OIS lens
• 3 x Li-Ion batteries
• 2 x 16gb SDHC cards, card reader
• PLUS ProAim DSLR kit w/ follow focus. mattebox, handheld rig
  

Annex Screening Facility

Day

50.00

Weekend

Week

• At Main and Alexander
• 16mm projector
• JVC D-ILA 1920x1080 HD projector
• full sound system
• seats approx. 40 people

Canon 60D DSLR camera w/ ProAim DSLR kit and Marshall 7” onboard monitor

With the new EOS 60D DSLR, Canon gives the photo enthusiast a powerful tool fostering creativity, with better image quality, more advanced features and automatic and in-camera technologies for ease-of-use. It features an improved APS-C sized 18.0 Megapixel CMOS sensor for tremendous images, a new DIGIC 4 Image Processor for finer detail and excellent colour reproduction, and improved ISO capabilities from 100 - 6400 (expandable to 12800) for uncompromised shooting even in the dimmest situations. The new Multi-control Dial enables users to conveniently operate menus and enter settings with a simple touch. The EOS 60D also features an EOS first: A Vari-angle 3.0-inch Clear View LCD (1,040,000 dots) monitor for easy low- or high-angle viewing. An improved viewfinder, a number of new in-camera creative options and filters, plus HDMI output for viewing images on an HDTV all make the EOS 60D invaluable for the evolving photographer.

 

• 17-85mm 4/5.6 Canon USM OIS lens
• 3 x Li-Ion batteries
• 2 x 16gb SDHC cards, card reader
• PLUS ProAim DSLR kit w/ follow focus. mattebox, handheld rig and 7" Marshall onboard monitor
  

Panasonic AG-AF100 Micro 4/3 HD camera w/ ProAim DSLR kit

The AG-AF100 series is the first professional HD camera recorder to adopt the Micro Four Thirds standards. These standards were announced in 2008 as an extension of the Four Thirds standards for DSLR (Digital Single Lens Reflex) cameras. Panasonic and some other manufactures have already released a number of digital cameras and interchangeable lenses based on the Micro Fourth Thirds standards.
The "Four Thirds" name is derived from the 4/3-type (approx. 17.3 mm x 13 mm/ approx. 0.68 inches x 0.51 inches) image sensor. The size of the image sensor, the standardized lens mount developed for it, and interchangeable lenses designed exclusively for digital cameras form the core of the Four Thirds standards. These standards were established to offer an optimal solution for digital cameras, breaking loose the confines of film camera standards. In establishing the Micro Four Thirds standards, the flange back distance (the distance from the lens mount surface to the image sensor) was reduced by about half and the mount diameter was made about 6 mm (0.24 inches) smaller than that of the Four Thirds mount. The image sensor size is the same as that of the 4/3 type used in the Four Thirds standard. The Micro Four Thirds standards have made it possible to reduce the size and weight of cameras and lenses, and to achieve greater interchangeability of lenses together with video recording capability.

• Lumix 14-140mm zoom lens
• 3 x Li-Ion batteries
• 3 x 16gb SDHC cards
• Follow focus, matte box w/ 4"x4" trays
• PLUS ProAim DSLR Handheld kit
  

 

Screening/Meeting Room

Day

50.00

Weekend

Week

Boardroom table and projection screen, seats 10-15 people

8 mm/ Super8 to HD Telecine Transfer Service

 

Using a dedicated Workprinter HD suite, we transfer 8mm and Super8 film to 1920x1080 HD for the best prices in town.  This sprocketless, frame-by-frame process is not only gentle on your original reels, but provides one of the cleanest and highest quality images available without going to an expensive pro lab.  Only want a Standard Def version?  No problem!  We can deliver SD or full HD on DVD, Blu-Ray, or a hard drive you provide in a Windows-friendly AVI format.  Films will be turned around in 3-5 business days.

Rates for members:

HD transfer - $0.25/ft

SD transfer - $0.20/ft

Burn to DVD (SD only) - $1

Burn to Blu-Ray disc - $5

Load onto user-supplied external Hard Drive - Free

Convert AVI file to Quicktime MOV, Apple ProRes 422, or other format - $10 

 

Rates for non members:

HD transfer - $0.35/ft

SD transfer - $0.30/ft

Burn to DVD (SD only) - $2

Burn to Blu-Ray disc - $7.50

Load onto user-supplied external Hard Drive - Free

Convert AVI file to Quicktime MOV, Apple ProRes 422, or other format - $15 

 

How to estimate the amount of film you have:

3" reel = 50' of 8 mm / super 8mm film

5" reel = 200' of 8 mm / super 8mm film

7" reel = 400' of 8 mm / super 8mm film

 

Please contact Jon at equipment(at)cineworks(dot)ca for inquiries or to book a transfer

 

Darkroom

Day

40

Weekend

Week

Equipped with several sinks + running water, 2 enlargers for still photography, buckets and tanks for hand processing, and standard darkroom equipment. Coming soon... Pako Processor!!!

Optical Printer

Day

15

Weekend

Week

An optical printer is a device consisting of one or more film projectors mechanically linked to a movie camera. It allows filmmakers to re-photograph one or more strips of film. The optical printer is used for making special effects for motion pictures, or for copying and restoring old film material.

Arrilux 200 Pocket Par System

Electronic and Battery Ballasts, Lighthouse

Kino Flo ParaBeam 200 DMX

0 and 90 Degree Honeycomb Louvers

Sony PMW-EX3 XDCam Camera + Accessory + Laptop Pkg.

 

Sony PMW-EX3 XDCam Camera + Accessory Pkg.

 

A Semi-Shoulder Full-HD Camcorder With SxS PRO Recording Cards and Full Camera Accessories.

• Fujinon 14x Zoom Lens (F 1.9)
• .6X Wide Angle Adapter (Not Zoom Through)
• Two lithium ion Batteries
• Four 8GB SxS Pro Memory Cards
• Sony SxS USB Card Reader
• Rain Slicker
• One of Cineworks’ selection of tripods

Accessory Kit Includes:

• Baseplate
• Varizoom control
• Follow Focus
• 4x4 Matte Box
• Choice of Filters

 

Sony PMW-EX3 XDCam Camera Pkg.

A Semi-Shoulder Full-HD Camcorder With SxS PRO Recording Cards.

• Fujinon 14x Zoom Lens (F 1.9)
• .6X Wide Angle Adapter (Not Zoom Through)
• Two lithium ion Batteries
• Four 8GB SxS Pro Memory Cards
• Sony SxS USB Card Reader
• Rain Slicker
• One of Cineworks’ selection of tripods

Edit 1: Avid Media Composer / Final Cut Pro 6

Operating system: Mac OS 10.5.7
System: Mac Pro, 2x 2.66 Ghz Dual-core Intel Xeon, 11 GB RAM
Storage: 1.5 TB (1500 GB)
Optical Drive: 16x DVD+-R/RW DL
Sony SD CRT Client Monitor

Avid Media Composer 3.5 DNA (Analog Mojo)
   Boris Continuum Complete 5.0 AVX
   DFT Composite Suite
   Stagetools Moving Picture
   cineXML
Final Cut Studio 2 (6.06)
   G-Film Effects
Adobe Photoshop CS
Adobe After Effects CS4
Roxio Toast Titanium 9.02
Visual Hub

Prices include use of the decks in the machine room.

Sound Devices 744T HDD Recorder

Day

50.00

Weekend

75.00

Week

200.00

The 744T is a powerful four-track file-based digital audio recorder. The super-compact 744T records and plays back audio to and from its internal hard drive, Compact Flash cards, and external FireWire drives, making field recording simple and fast. It writes and reads uncompressed PCM audio at 16 or 24 bits with sample rates between 32 kHz and 192 kHz. Compressed (MP3) audio recording and playback from 64 kb/s to 320 kb/s is also supported.

More info on the Sound Devices website

MC 400 Watt Zip

Quacker Clamp

Bead Board Clamp

Manfrotto 136

Decription Coming Soon...

Cooper CS-104

The Cooper 'ENG' mixer has been designed for ease of operation, reliability and superior audio quality. All controls are located on the front and side panels and are ergonomically laid out for operator convenience. Components are of the highest quality. The mixer is housed in a sturdy metal chassis built to withstand the rigors of location recording.

You can find more information about this mixer, along with a downloadable instruction manual at: http://www.coopersound.com/product.htm

Shure FP31 Mixer

The FP31 is a portable electronic news gathering (ENG) electronic field production (EFP), or film production, mixer that provides the quality and features needed for remotes.

Features

Inputs

• Three transformer-coupled, 3-socket XLR-connector inputs; each switchable to low-impedance microphone or line level
• Lo-Cut filters available at each input to reduce extraneous low-frequency interference
• (Phantom) simplex or A-B power for condenser microphones available at each microphone input
• Built-in tone oscillator for level checks or line tests
• Slate microphone with automatic gain control (AGC) for take identification or for emergency use
• Slate tone for identifying take locations during editing

Outputs

• Two transformer-coupled, 3-pin XLR-connector outputs, each switchable either to low-impedance balanced microphone or to 600-ohm balanced line level
• Tape output to feed tape recorder input or other unbalanced Aux-level input
• Front and side panel stereo headphone jacks (8 to 2,000 ohms, and 3.5 mm jacks) with separate Phones level control. Either or both jacks can drive Aux or unbalanced line-level inputs. Four separate sources can be driven from these two headphone outputs.

Controls and Indicators

• Active, feedback-type input gain controls permit direct input of high-level sources without input attenuators
• Built-in Limiter with adjustable threshold -prevents output clipping of mixer or input overload of amplifier, telephone line or tape recorder
• LED indicator flashes with Limiter operation or to signal overload with Limiter defeated
• Professional VU meter, factory set for 0 VU = + 4 dBm, internally adjustable for other VU levels
• VU lamp, stays illuminated while pushbutton is depressed, automatic 5-second turnoff after button is released.
• Battery check function with readout on VU meter
• Master gain controls level at Line/Mic and Tape outputs as well as tone oscillator level
• Phones level control adjusts output at both headphone jacks

Power

• Mixer is powered by two standard 9V alkaline batteries that also supply simplex power for condenser microphones
• Extreme!y low battery drain provides 8-hour minimum battery life under normal conditions
• Separate 9V alkaline battery supplies A-B power for condenser microphones; third battery is not required if power is not used
• Spring-loaded battery compartment prevents incorrect insertion of batteries; batteries available for replacement instantly when compartment door is opened
• Mixer can be powered from any 11 to 18 Vdc source such as: standard belt pack, automotive electrical system, video tape recorder, or ac power converter

Mechanical characteristics

• Extremely rugged and durable construction
• Very small size and light weight
• Carrying case and detachable shoulder strap supplied
• All input and output connectors are professional standard types

Performance

• Reliable operation under wide extremes of temperature and humidity
• Extremely low noise and low RF susceptibility permits use near microwave transmitters and in strong hum fields
• Wide, flat response, extremely low distortion, and up to + 18 dBm output level provide studio-quality performance in a portable mixer

Specifications

Frequency Response

30Hz to 20kHz ± 2 dB

Distortion

Less than 0.25% total harmonic distortion at + 4 dBm, 50 Hz to 20 kHz

Noise

Less than -129 dBV equivalent input noise

Common Mode Rejection

65 dB minimum at 100 Hz, -30 dBV input

Tone Oscillator

1 kHz nominal at + 4 dBm, Master at approx. 7

Slate Tone

400 Hz, 1 sec, each time button is depressed

Slate Microphone

Electret condenser, omnidirectional, with AGC, activated while slate button is depressed

Phase

3-pin Input & Output connectors in phase; pin 3 in phase with tip of phone & mini jacks

Control Interaction

Less than 1 dB with any control combination

Output Isolation

Shorting one output shall cause no more than 8 dB level drop at 1 kHz at other output

Overload and Shorting Protection

Shorting outputs, even for prolonged periods, shall cause no damage. Microphone inputs will not be damaged by signals up to 3 volts.

Dimensions

48.3 mm Hx160mmWx 135mm D(1-7/8x6-5/16x 5-5/16 in.)

Net Weight (less batteries)

1 kg (2.2 Ib)

Supplied Accessories

Removable shoulder strap, carrying case

A/C Cable

Day

1.50

Weekend

2.25

Week

6.00

Several cables available, both in interior and exterior weights, and in 25' and 50' lenghts.

4’ x 4’ Floppy Flag

Panasonic AJ-D910 DVCPro 50 Camera Pkg.

Shoots 4:1:1/4:2:2/4:3 and true 16:9
Canon 21 x 7.8 zoom lens
Sony monitor, 4 x 4 matte box, tripod
Please note: This camera does not shoot in 24p/progressive mode.

C-Stands

Cineworks has six 20" & fifteen 40" C-stands

Sekonic Incident Meter

The classic analog light meter for battery-free ambient light readings; measures both incident & reflected light.

Sachtler Studio II 7+7 with 150mm Bowl Head & Mitchell Adaptor

• Fluid head with 7 levels of drag for both pan and tilt.
• Heavy Duty construction
• Maximum load: 110 lbs / 49.9 kg
• Tilt: ±75°

Arri Lens Package (‘PL’ Mount)

Zeiss T1.3 high speed prime lenses:
18mm, 25mm, 35mm, 50mm and 85mm
25-250mm Zoom Angenieux HR T3.5 w/

NB. Zoom Lens is not included in this package.
2x extender, zoom motor, microforce control = extra $250/day

Pearl MS-8CL stereo microphone

 

The Pearl MS 8 is specially made for Mono-Stereo (MS) recording of TV, Video and Film production. The microphone is very light, an advantage for using on a pole. This microphone is available in many versions such as different sensitivity. In the MS 8 the ´M´ and ´S´ channels are output independently for external processing - this may be recorded directly and mixed subsequently in an MS matrix to provide variable stereo width. They are very resistant against moisture, dust, change in the temperature etc. The amplifier provides low noise and transformerless output. The microphone requires phantom power. An LED illuminates when phantom power is connected. The microphone is finished with durable black powder coat paint.

Sensitivity: 20 mV/Pa, Rec. min. load imp: 1 kohm

 

Arriflex 35mm BL4s Package w/ Prime lenses

Package includes with the Arri 35BL-IVS camera body (4-36 fps)

• colour video tap
• Arri follow focus
• Arri MB14 matte box w/ all accessories
• Film magazines(3) 1000 ft. and (3) 400 ft. mags.
• A set of Zeiss T1.3 high speed prime lenses (18, 25, 35, 50 and 85mm) **Additional $50/day**
• Sachtler Studio 80 II (Mitchell flat mount) fluid head w/ standard and baby tripod legs, hi-hat, lo-hat

Arriflex SR II Package

Package includes

• 10-100 mm Zeiss T3 zoom
• 3 x 400 feet magazines
• 3 on-board batteries
• Media Logic crystal speed control
• 3" x 3" lightweight matte box
• Tripod
  
  Add another 16mm lens for additional $25.00

Neumann KMR 82i (medium shotgun)

Super Cardiod Mic. Off-axis noise is picked up at a reduced level but without colouration. Extremely low self noise, good transient response and high output level.

Specifications

• Acoustical operating principle Interference transducer
• Directional pattern Supercardioid/lobe
• Frequency range 20 Hz - 20 kHz
• Sensitivity at 1 kHz into 1 kohm 21 mV/Pa
• Rated impedance 150 ohms
• Rated load impedance 1 kohms
• Equivalent noise level, CCIR1 23 dB
• Equivalent noise level, A-weighted 12 dB-A
• Signal-to-noise ratio, CCIR1 (rel. 94 dB SPL) 71 dB
• Signal-to-noise ratio, A-weighted (rel. 94 dB SPL) 82 dB
• Maximum SPL for THD 0.5%2) 128 dB
• Maximum output voltage 2.6 dBu
• Dynamic range of the microphone amplifier (A-weighted) 116 dB
• Supply voltage (P48, IEC 61938) 48 V ± 4 V
• Current consumption (P48, IEC 61938) 0.7 mA
• Matching connector XLR3F
• Weight 250 g
• Diameter 21 mm
• Length 395 mm

Manfrotto 504HD tripod system

Day

25.00

Weekend

37.50

Week

100.00

 

 

This system uses the innovative 504HD Fluid Video Head  to create an ideal combo of stability, and smooth, precise control. This compact, versatile system was designed with independent video and DSLR shooters in mind, and provides the level of ergonomics and support required by today's small crews.

 

Arri Lens Package (‘B’ Mount)

5.9 mm Angeniux T 2
9.5 mm Zeiss T 1.3
12 mm Zeiss T 1.3
16 mm Zeiss T 1.3
25 mm Zeiss T 1.3
50 mm Zeiss T 1.3
85 mm Zeiss T 1.4
light weight follow focus

Sony DSR-PD150 DVCAM Camcorder

• Three (3) 1/3" CCDs
• records MiniDV and DVCAM formats
• 12x optical zoom
• focal length: 6 -72 mm (35mm still equivalent)
• 2.5" diagonal LCD screen
• Weight: 1.8 kg (3 lbs 15 oz) w/battery, cassette, microphone and hood cap
• package includes wide angle/telephoto adaptors

Ianiro 1000W Redhead Kit

4 x 1000 watt heads, stands, scrims

Ianiro Blonde Kit

2 x 2000 watt heads, stands, scrims

Bolex Rex 5

• 17-85 mm zoon Kern Varioswitar F 3.5
• 10 mm Kern Switar F 1.6
• 16 mm Kern Switar F 1.8
• 25 mm Kern Switar F 1.4
• 75 mm Kern Macro-Switar F 1.9

Bolex Rex5 The camera that graced the cover of Lenny Lipton's seminal "Independent Filmmaking", the Bolex is THE symbol of low budget independent film-based work. Flexible, mobile, and noisy. Spring wind limits length of shots to 24 seconds. Comes with a teeny tiny crank for those who want to do their own in-camera dissolves.

Schoeps Package #1

Two microphones (requires 48v phantom power) with cardiod,hyper-cardiod, and omni capsules, bass cut, extension cable, ceiling adapter and Rycote suspension system. One of the best microphone packages in Vancouver.

Miller DS10 tripod

The DS10 supports ultralight DVCAM camcorders with a rock-solid yet lightweight tripod plus Miller's renowned silk-smooth fluid action.

• Payload capacity: 5 kg (11 lb)
• Mounting Standard: 75mm ball leveling
• Transport Length: 1.1 m (43.3 in)
• Payload capacity: 5 kg (11 lb)
• Payload Range: 2.5, 5 kg

Eclair NPR/CP 16 Lenses - ‘BCP’ Mount (each)

12-120 mm zoom Angenieux T 2.3

Panasonic DVX 100 Camera

• MiniDV camera NTSC at 60i, 30P, 24P or 24P advance
• PCM digital audio
  • 16 bits: 48 kHz/2 channels
  • 12 bits: 32 kHz/4 channels
  • 2 XLR inputs
• 3 x 1/3-inch CCD image sensor

Beefy Baby Stand

Ianiro 650 Redhead Kit

4 x 650 watt heads, stands, scrims

Schoeps Package #2

Microphone (requires "T-power") with cardiod and hyper-cardiod capsules, bass cut, and Rycote suspension.

Manfrotto 128

 

A lightweight fluid head with adjustable pan bar and quick-release camera plate with secondary security. Ideal for cameras up to 8.9lbs in weight. The head has smooth fluid movements pan and tilt locks. The adjustable pan bar can be positioned either on the left or right side.

 

Filters (each)

Series 9 - ND3,ND6.ND9, 85, 85N3, 85N6, 85N9, +2 diopter, +4 diopter, polarizer

3" x 3" - ND3,ND6.ND9, 85, 85N3, 85N6, 85N9, 81 EF, LC3, LLD, Pola

4" x 4" - 85, 85 N3/N6/N9/N12, ND3/ND6/ND9, Polarizer, SFX 1/2, SFX 1, LLD, BPM 1/8, ND3SE, ND6HE, ND6SE, PM1/2, ENH

Arri S

12-120 mm zoom Angenieux T 2.3
1 magazine, MOS

Arri S An obvious product of the same school of fine German engineering that gave us Volkswagens, Panzer tanks, and autobahns, the Arri S is one of the finest 16mm MOS cameras ever made. Ours is in great shape. 400' mags available for those with the appropriate dent in their foreheads.

Double Riser Combo Stand

Max load 25 kg

Colortran Mini Pro Kit

2 x 650 watt Mini Pro heads, 2 x 650 Mini Broad heads

Sennheiser MKH 415 shotgun

Shotgun condensor mic

Frequency response 40 - 20,000 Hz

O’Connor 10/30 Head

 

The 1030HD has the same features and controls as O’Connor’s 2575 fluid head, the standard for 35mm film cameras. Featuring sinusoidal counterbalance system for true, accurate balance at any point in the tilt range.

 

Hitachi LCD XVGA Video Projector

2000 ANSI Lumens
Contrast Ratio: 400:1 (Peak)
Native 4:3/16:9 Compatible
HDTV Ready
Input signals: RGB - VGA, SVGA, XGA, SXGA
Composite/S-Video - NTSC, NTSC4.43, PAL, SECAM, PAL-M, PAL-N, PAL60
Component - 480i, 575i, 480p, 720p, 1080i
6 lbs.
Remote Control

Rotheisler Doorway Dolly

1.2K HMI Par

 

A 1200W HMI Par. Includes Globe, Lens (4), Magnetic Ballast, Head Feeders (2), Scrim Set (5) & Barn Doors

 

PSC M4 (4 inputs, stereo out)

Field mixer with four inputs, line or mic (phantom power T and 48v). Two channel output at line level. Takes AA batteries.

Deneke Time Code Slate

SMPTE/EBU Time Code slate

Edit 2: Final Cut Pro 6 / Avid Media Composer

Operating system: Mac OS 10.5.7
System: Mac Pro 2 x 2.26 Quad-core Xeon 16 GB RAM
Storage: 1.8 TB (1800 GB) RAID
Optical Drive: 16x DVD+-R/RW DL
Sony SD CRT Client Monitor

Final Cut Studio 2 (6.06) Decklink Extreme SDI/Component I/O
   G-Film Effects
Avid Media Composer 3.5 DNA (Analog Mojo)
   Stagetools Moving Picture
   Boris Continuum Complete 5.0 AVX
Adobe Photoshop CS
Adobe After Effects 7.0
Roxio Toast Titanium 9.02
Visual Hub

Prices include use of the decks in the machine room.

Nagra IV-S Time Code

Analog (1/4" magnetic tape) two-channel time-code recorder. Industry standard for many years, but availability of tape stock must now be checked.

Micron SDR 530 Quad Box

Pentax Digital Spot Meter

Compact spot meter ideal for landscape, nightscape, stage performance or other situations where precise metering is necessary.

The Spot meter's accuracy is highlighted by the 1 degree angle of view (equivalent to a 4000mm telephoto lens), with readings shown on a display in the viewfinder.

Field Monitor Sony 8”

NTSC field monitor

Low Boy Combo Stand

Max load 25 kg

Sennheiser MKH 416 shotgun

The MKH 416 is a short gun interference tube microphone. Its excellent directivity and compact design, high consonant articulation and feedback rejection make the MKH 416 a superb all-round microphone for film, radio and television, especially for outside broadcast applications.

Features

• Increased directivity due to interference tube principle
• Very low inherent self-noise
• High sensitivity
• Transformerless and fully floating balanced output
• Rugged, suitable for adverse climatic conditions
• Matt black all-metal casing
• Supply schedule: 1 MKH 416 P 48 U 3, 1 MZW 415 windshield

Technical Data

Pick-up pattern

super-cardioid/lobar

Frequency response

40 - 20,000 Hz

Sensitivity (free field, no load)(1 kHz)

25 mV/Pa +/- 1 dB

Nominal impedance

10 ohms

Min. terminating impedance

400 ohms (200 ohms to 30 Pa)

Equivalent noise level

A-weighted (DIN IEC 651): approx. 14 dB

CCIR-weighted (CCIR 468-3): approx. 24 dB

Max. sound pressure level

128 dB at 1 kHz

Power supply

phantom 48 +/- 12 V

Supply current

2 mA

Dimensions

19 mm x 250 mm

Weight

175 g

O’Connor 50D

Cineworks has two (2) of the O'Connor 50D.

Production Policy

Day

Weekend

Week

NEW HST TAXES:

As of July 1 2010 12% HST Tax will be added to all equipment and facilities bookings.

IMPORTANT, please note: Each year Cineworks will be conducting a physical inventory of its equipment and it may not be possible to rent the equipment/facilities the last week of March and/or first week of April during our fiscal year end as we adjust for this. If you are considering renting at this time please email or call the office first. Thank you.

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CINEWORKS ACCESS POLICY 2010/2011

ACCESS

Access to and use of Cineworks equipment and facilities at member’s rates is limited to Cineworks Members in good standing. ie: members with no outstanding debts or obligations to the Society. Members may only access Cineworks' equipment and facilities at member's rates for Productions where the member retains full creative and editorial control. (Non-members and members working on non-Cineworks projects may be able to access Cineworks' equipment and facilities at commercial rates.)

PROJECT REGISTRY

Intended use of the equipment must be stated at time of booking. Prior to a booking being confirmed, a Project Registry form must be filled out and returned to the Office Manager (OM) Leanne Makcrow for each project for which members would like to access equipment and/or facilities. Equipment and/or facilities may only be used on registered projects.

OBLIGATORY CREDITS

The use of Cineworks equipment and facilities constitutes a form of production assistance to the filmmaker by Cineworks, and as such Cineworks must be fully acknowledged and credited in the title and/or credit sequence of any film, video, or new media production receiving such assistance as well as on all promotional materials. Suggested wordage of said credit is: 

Produced with the Assistance of Cineworks Independent Filmmakers Society.

Another option is to use the Cineworks logo, available at the online Press Room:

http://www.cineworks.ca/main/pressroom/

Cineworks requires a copy of the completed project to be dropped off or mailed to the office for archival purposes no later than six months from the project completion date.

CERTIFICATION

Equipment and facilities are available for use by competent operators only. Prior to the rental of equipment, all prospective operators of major pieces of equipment must prove competency to the satisfaction of the Equipment (EC) Jurgen Beerwald or Digital Media Coordinator (DMC) (Megan Bodaly). (This may involve filing resumes and references.) Cineworks reserves the right to refuse access to specific equipment or suites should the staff assess that the prospective operator does not possess the necessary skills or experience to safely use the equipment.          

                 

EQUIPMENT/FACILITIES BOOKING

Equipment bookings are made  by emailing: equipment(at)cineworks.ca or calling 604-685-2209 only (please do not call the office). It is often necessary to leave a message with your request, so please allow ample time to book your equipment. Hours of operation are from 1pm – 6pm. Please leave time to pay, pick-up/load, and ask questions. 

Facilities bookings are made through the (DMC) Megan Bodaly at 604-685-3841 or cineworkspost(at)gmail.com. Bookings may not be confirmed until the (OM) Leanne Makcrow has registered the project, checked membership status and ensured that there are no outstanding invoices in the member's name.

•              Bookings must be made at least 24 hours in advance and an accurate checkout and check-in time arranged and adhered to.

•              All bookings are on a first-come, first-served basis. A deposit fee of 50% of the total rental charge for the equipment booked will be required to hold the booking.

•              All cancellations must be declared — and confirmed — at least 48 hours (2 business days) prior to the rental period or the deposit will be forfeited and the member will be responsible to pay the balance owing.

•              All after-hours access must be booked with appropriate staff.

 CHECK-OUT

Members are required to be present when equipment for their productions is checked out. However, on larger productions members may designate delegates to check out for them.

 A maximum of 2 delegates may be chosen. The names of these delegates must be given to (OM) Leanne Makcrow in advance. The member must also send with the delegate a signed rental terms and conditions agreement. Equipment will not be released without payment and a member signed agreement.

 The member is responsible for ensuring they have all items and that all items are in working order (even if a delegate is designated). If there are items missing and/or defective the member must contact equipment(at)cineworks.ca and (OM) Leanne Makcrow within 24 hours. If no one is available a phone message and/or email is acceptable if within the 24 hours.

 All other requirements (payment, Project Registry, insurance, etc.) must be fulfilled before members and/or delegates can check out equipment. Payment is due before checking out the equipment.

 **MEMBERS ARE REMINDED THAT THEY WILL BE RESPONSIBLE AND FULLY LIABLE FOR ALL EQUIPMENT CHECKED OUT ON THEIR BEHALF BY THEIR DELEGATES.

When checking out equipment, members are acknowledging that they have received it in good working order and are accepting full responsibility even if the member sent a delegate. Members are therefore encouraged to carefully inspect all pieces. Hours of operation are from 1pm – 6pm. Please leave time to pay, pick-up/load, and ask questions.

CHECK-IN

The member should check back in all equipment. If a delegate is checking in equipment, the names of these delegates must be given to the (EC) equipment(at)cineworks.ca and (OM) Leanne Makcrow in advance. Equipment and facilities, which are not clean, will be subject to a cleaning fee. Booking extensions must be requested at least 24 hours (1 business day) before the equipment is due to be returned and will be determined by the availability of the equipment. Late returns will not be tolerated and will be subject to an additional daily charge of 100% of the daily rate for each item returned late.

FEES

* The member will pay 50% of the rental fee in order to book equipment and the remaining 50% at check out.

 * Daily rate is charged for each day up to four (4) days; a week booking (i.e.:      seven (7) days) will be charged at four (4) times the daily rate.

 * Three-day weekends (Fri-Mon) will be charged as one day and a half. 

 * Four-day weekends (Fri-Tues, where the Monday is a holiday) will be charged the same as a three-day weekend above.

All invoices are considered to be immediately due for payment. Any member with outstanding equipment or post-production invoices can be denied access until their account is settled.

INSURANCE

Cineworks does not provide insurance. It is the responsibility of the member in whose name the equipment is rented to ensure that they carry adequate insurance. Members who rent Cineworks equipment assume full responsibility in the case of personal injury, damage or loss. Cineworks reserves the right to demand proof of insurance and to refuse the release of any and/or all equipment if a member is unable to supply an insurance certificate upon request or if the insurance coverage is deemed by Cineworks to be inadequate.

For more details, please refer to "Cineworks Rental Terms & Conditions" following this section.

Post-production suites are invoiced on a 6-hour, daily and/or weekly basis and must be paid before any further bookings can be made. Policies for digital post production suites are as follows:

DIGITAL SUITES

Booking / Payment Policy

Weekly

For weekly reservations, the first week’s rental must be paid in advance. This deposit will be held for the duration of the booking period. The deposit will be deducted from the final week’s payment. For non-reserved bookings, 100% of the first week's payment must be made on the first day of the rental and 100% of the second week on the first day of the second week, etc.

6-Hour/Daily

Pay up front by the 6-hour or day.

Cancellations:

If a booking is canceled with 48 hours (2 business days) notice the deposit is refunded.

Less than 48 hours = deposit is forfeited and the member will be responsible to pay the balance owing.

EDITING

Post-production facilities are accessed through the Digital Media Coordinator Megan Bodaly. Users must supply their own editing supplies and are responsible for keeping the rooms clean and tidy. Any problems are to be reported to (DMC) Megan Bodaly immediately.

OPTICAL PRINTER/ANIMATION STAND

Bookings are made with the (OM) Leanne Makcrow by calling 604-685-3841.

Booking / Payment Policy:

Daily- Pay up front by the day.

Cineworks has no storage facilities. Members working on projects are encouraged to keep as little material as possible at Cineworks. Members whose projects are finished or in hiatus are warned that any material left at Cineworks is liable to be summarily recycled without warning.

HARD DRIVE SPACE

Hard drives are not to be used for storage purposes; they are for currently active projects only. Cineworks absolves itself of any responsibility for the integrity of any data left on these drives. Cineworks is not responsible for any loss of data due to equipment failure. It is solely the user's responsibility to ensure that their data is backed up and the user will absorb any costs incurred while restoring lost data.

The current users of any post production suite are entitled to use all of the hard drive space and are entitled to delete other users' data if necessary.

Any users who wish to leave projects-in-progress on Cineworks hard drives must speak to the (DMC) Megan Bodaly to discuss available hard drive space and the feasibility of leaving projects-in-progress on the drives.

The (DMC) Megan Bodaly reserves the right to deny storage access; however, each request will be evaluated on a case by case basis.

Reformatting

Cineworks hard drives are reformatted on a regular basis. All data is lost during reformatting and it is the user's responsibility to ensure that their data is not residing on the drive due to be reformatted.

STUDIO

Studio Bookings are made with the (OM) Leanne Makcrow by calling 604-685-3841. Members must state intended use of studio prior to booking to determine member or non-member rates and to accommodate for special circumstances. Users must leave studio as they found it or better. Users are not allowed to leave any garbage, props, flats, building materials, etc. on completion of their rental term, at Cineworks.  A removal, cleaning and/or painting fee may be charged to those who do not comply.

NB. Cineworks Studio is Wheelchair accessible.

SECURITY

The lane entrance door must be kept locked at all times or have production personnel posted there. At no time should this door be propped open without guard. Note: the person posted at the door is required to ask each person coming in the building what their business is and who they are there to see. In short, to be the equivalent of the door buzzer security feature. Failure to observe this policy may result in suspension of access.

Members using the facilities after office hours must arrange in advance for keys and security access through the (DMC) Megan Bodaly. Card & keys may be signed out for the duration of the project or one month, whichever is shorter.

CARDS & KEYS MUST BE RETURNED PROMPTLY AT THE END OF THE PERIOD BOOKED.

Failure to return card & keys promptly may result in the member being charged $50 per set of keys per month. You may also be denied access.

When you come to pick up keys, you will need to allow a few extra minutes to receive instruction in after-hours security procedures. Members should give the DMC (Megan Bodaly) sufficient warning of their need for after-hours access and book a time to come in and pick up keys. Usually between 12pm–3pm. Members are fully responsible for the security of their booked suite and of the rear entrance during after-hours bookings.

PENALTIES

Any infringement of the access policy will result in penalties up to and including suspension of access privileges without refunds.

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CINEWORKS' RENTAL TERMS AND CONDITIONS

The member who holds copyright and for whose production the equipment is rented (the producing member) is deemed to be 'the renter' and as such assumes full responsibility and liability for all equipment rented for use on that production. The producing member agrees to compensate Cineworks for the full replacement value, including any parts, repairs and labour deemed necessary by Cineworks to restore equipment to good working order should it be lost, stolen, missing, broken or damaged through any cause whatsoever, whether or not due to the fault of the member.

Cineworks does not assume responsibility, liability or make any representation for the availability, performance or workable condition of its rental equipment. The renter discharges Cineworks from all loss, injury, expenses or damages whatsoever resulting from the performance of malfunctioning of said equipment, whether or not there is fault or negligence on the part of Cineworks.

Cineworks does not guarantee to replace equipment or supply alternate equipment in the event of any equipment malfunction or breakdown. In such a case, the member agrees to discontinue use of said equipment, notify Cineworks immediately that repairs may be necessary and return the equipment to Cineworks as quickly as possible. In no case shall the member or any person associated with the member's production, attempt repairs and/or send equipment to a repair shop unless directed to do so by the Equipment Coordinator or Digital Media Coordinator.

Acceptance by Cineworks of returned equipment does not constitute a waiver of the renter's responsibility for damage or loss.

Rental equipment may not be removed from British Columbia, nor be taken from the ground in a non-commercial airplane, nor be taken on the water in a non-commercial boat without prior written consent from the head of the equipment committee.

Cineworks' equipment shall not be under-leased, loaned, mortgaged, sold or disposed of to any person, production or organization in any manner. The equipment shall at all times remain under the immediate control and direction of the member in whose name the equipment is rented.

Upon termination of the rental period or upon the breach of any provision of this agreement or in any circumstance which is deemed by Cineworks to be a breach of the Society's Access Policy, Cineworks shall be entitled to take immediate possession of the equipment and is permitted to enter any premises without notice and without legal process to take possession of said equipment.

Insurance is the renter's responsibility. Cineworks strongly suggests that all rental equipment be insured to full replacement value before it leaves Cineworks' premises and that renter also purchase third party liability insurance. Cineworks reserves the right to ask for proof of insurance coverage for any and/or all of its equipment rented by the producing member and to refuse to allow its equipment to leave the premises if the renter is unable to produce such proof or if the insurance is deemed to be inadequate.

Marshall LCD TV Monitor 7”

Equipped with a high resolution 800 X 480 pixel screen that provides exceptional clarity and brightness and a 140 degree viewing angle, it is perfect for general framing and focus-checking. Otherwise identical to the earlier ‘70P’ monitor, the ‘70XP’ adds several convenient new features: manual gamma adjustment via the menu, image flip, adjustable on-screen markers, and the ability to place 1/4-20 threads on any side of the monitor for more flexible mounting. Most importantly it is equipped with composite, component and HDMI inputs. It also has false color and peaking filters to aid in determining proper exposure, focusing, and white balance.

Eiki SSL-0 16mm Projector

• 16 mm / Super-16 mm projector (comes with 2 gates)
• 2 pieces plus steel base
• power: unplugs from wall: 100-240v 50-60 Hz
• lamp 1000 watts optical sound lamp 70w total 2.25Kva
• flexible hose to hvac
• distance to screen 31 feet
• screen size 9ft wide x 5ft high

Eclair NPR

10-150 mm zoom Angenieux T 2.3
25 mm Zeiss Planar T 2.2
2 x 400 feet magazines

Sync sound, fairly lightweight, detachable mags, quiet, these were the 16mm cameras which made possible the whole cinema verite‚ or direct cinema‚ schools of documentary filmmaking (Salesman, Gimme Shelter, and countless NFB docs) and which defined documentary filmmaking for years. They were also used to shoot numerous low budget dramatic features, and scads of shorts. The NPR is the earlier incarnation- heavier, but, some say, more durable. (Others just say heavier.‚)

Steenbeck flatbed

Flatbed film editing table with 6 plates

16mm + 35mm format

Nagra 4.2 Mono

Analog (1/4" magnetic tape) mono recorder. Two inputs. Availability of tape stock must be checked.

Lectrosonic Wireless UCR 195D

Wireless diversity transmitter and receiver. Excellent range and signal strength. Takes 9v batteries.

Hollywood Stands

Sennheiser MKH 815 shotgun

The MKH 815 T is a directional studio microphone with a relatively narrow directional pickup pattern.

• diameter : 19 mm
• length: 55 cm
• Frequency response: 50 Hz - 20 kHz
• Sensitivity at 1000 Hz : 4 mV/µbar ± 1dB, 4 mV/Pa ± 1dB
• Impedance: approx. 20 Ω symmetrical earth free
• Signal-to-noise ratio: 72 dB
• Operating voltage: 12 V ± 2 V
• Current taken: approx 6 mA
• temperature range: -10° C to + 70° C

Battery Block/Belt (12 volt)

Super 8mm Projector

Edit 3: Pro Tools / Final Cut Pro 7

Operating system: Mac OS 10.5.7
System: Mac Pro 2 x 2.26 Quad-core Xeon 16 GB RAM
Storage: 1.8 TB (1800 GB) RAID
Optical Drive: 16x DVD+-R/RW DL
NEC 24" color correcting monitor

DVToolkit

Final Cut Studio 

Decklink Extreme SDI/Component I/O

Voice-over/ADR suite with:Rode N2T-A microphone, MBox 2, Protool LE

 

Prices include use of the decks in the machine room.

Sony MDR-7506 Stereo Headphones

Type	Circum-aural, closed
Driver Units	40 mm dia., dynamic
Impedance	63 ohms at 1 kHz
Sensitivity	106 dB/mW
Rated power	0.5 W
Power handling capacity	1 W
Frequency response	10–20,000 Hz
Cord	3 m (extended length) coiled cord
Plug type	Gold plated Stereo unimatch, 1/4" and 1/8"
Weight	Approx. 230 g (without cord)

Tascam DA-PI DAT

Tascam DA-P1 - Digital (DAT tape) two-channel recorder (no time-code). Internal batteries do not last long, so ask about extra power if using away from electric sources.

Cetec Vega 67B VHF

Vega Diversity Wireless - classic old-school system - pretend you're on a 70s Altman shoot. Not suitable for field use.

Baby Kit Stands

Arri Baby Blue Kit

Fresnel lenses
4 x 650 watt heads

Sennheiser ME-66 shotgun

Short Description

The ME 66 is a shot gun microphone capsule designed for use with the K6 and K6P powering modules. It is especially suitable for reporting, film and broadcast location applications and for picking up quiet signals in noisy or acoustically live environments as it discriminates against sound not emanating from the main pick-up direction. Matte black, anodized, scratch-resistant finish.

Features

• Super-cardioid/lobar pick-up pattern
• Highly directional
• Low inherent self-noise
• High sensitivity
• Wide frequency response

Specifications

Pick Up Pattern

Super-cardioid/lobar

Frequency Response

40 - 20,000 Hz ' 2.5 dB

Sensitivity

35 mV/Pa ' 2.5 dB

Nominal Impedance

200 Ohms (with K6)

Min Terminating Impedance

1000 Ohms (with K6)

Equivalent Noise Level

16 dB CCIR-weighted (CCIR 468-3)27 dB

Max Spl

125 dB (THD = 1 %)

Dimensions

22.5 x 221 (mm)

Weight

65 g

Ronford Baker Heavy Duty Tripods with Mitchell Flat Base

Intervalometer (for Bolex camera)

By capturing frames at selectable intervals, an intervalometer opens up whole worlds of compressed time (think clouds flitting by, or the sun moving rapidly through the frame). A variety of user-selectable open‚ and closed‚ shutter speeds. Fits the Bolex only.

Arri Combo Stand AR4

Max payload 25-30 kg

Machine Room Decks

All of the following decks can be patched to any of the edit suites and are included in the price of the suite rental.

DVCPro50
Panasonic AJ-SD955
Records and plays DVCPro50 and DVCPro25; plays DVCAM and MiniDV.
Firewire and SDI I/O, AES/EBU I/O, Component and composite out only.

Betacam SP
Sony PVW-2800
Plays both small and BSP large cassettes.
Component, S-Video and composite I/O.

DVCAM / MiniDV
Sony DSR-1800
Records DVCAM format only (on large or mini cassettes),
but plays back MiniDV and DVCAM tapes.
Firewire, S-Video, component and composite I/O

MiniDV Camcorder
Sony DCRHC20
Records and plays back MiniDV and DVCAM (recorded on mini tapes).
Firewire I/O, S-Video and composite out only

DVD-R/RW
Pioneer DVR-310s
Records DVD-R/RW in FINE, SP, LP, EP, and user selectable modes with PCM or Dolby Digital audio.
Firewire, S-Video and composite I/O.

DIGITAL AUDIO TAPE (DAT)
Tascam DA P1 
Yup. Digital audio tape - the sound of the future.
AES/EBU, SPDIF and analog I/O.

S-VHS/VHS
JVC BR-S811U
Records and plays back both S-VHS and VHS.
Composite I/O

¾ Inch SP (U-Matic)
Sony BVU-950
Composite I/O.

Video Hi8 / 8mm
Sony EV-FH10
S-Video, Composite I/O.

Apple LaserWriter 12/640 PS
Prints B/W on Letter or Legal paper