It was time to have a better solution for big camera rigs so we went all in and put together three versions of new car mounts.
There will be a standard hostess tray option, a full sized 1 1/4″ pipe hood mount and 8 point suction cup Mitchell mount cheese plate with the option of using a 100mm ball adapter and an existing tripod head.
All of the mounts have the option of utilizing the oversized swivel plate for full sized camera rigs.
Once we have all the gear put together, we’ll update the rentals list with the different packages and pricing. The intention will also be to have the mounts on the 4 ton all the time and can be pulled as an add on when needed.
We’ve been waiting all spring and summer for these badboys to drop and we’ve finally secured a couple of the Litemat Plus 2L LED kits! We’ll post pics of the units in action when they arrive in a few weeks. Stay tuned!
Over the course of the next month we will be fabricating a custom interior rack system. Once the final weld is made, the new 4 ton beast will be fully operational! Can’t wait to get her on the road and ready to roll out to your location.
Happy to announce we picked up our first ARRI M18. After going back and forth about ballasts I decided to go with the power gems Arri LTM combo 1800w PFC electronic ballast. The power factor correction of the Power Gems is a huge upside for this M18. The standard Arri ballast actually draws a little over 20 amps which can be problematic for many circuits that are older or have other inline fixtures within the same circuit. The EB180P Power Gems ballast has power factor correction ensuring that the ballast draws little additional energy that is not transferred to the lamp head coming in at 16amp vs 20.5 with the Arri. When on set the last thing you want to worry about is a breaker tripping or a line catching fire. With our new ballast you will have 4 amps to spare on a 20 amp circuit!
As fast as filmmakers are producing volumes of content, the lighting industry continues to morph with each season. Increased refinements in LED tech have made these times in grip and electric especially exciting.
Kino Flo has gone above and beyond to create nearly the perfect parter to the 4 and 2 bank fluorescent tube series lights that transformed the film industry years ago. With these new select LED units, the lighting team received a welcomed tech partner. The select LED’s can find a cozy place next to Arri’s Skypanel C series LED’s with the same full color hue adjustments. Kino in some ways has gone a step further with including a built in wi-fi receiver to interface with Luminaire. The lights can be controlled remotely from your iPhone or Android on set.
The Select LED’s are light weight and slim with removable ballasts for remote operation. Having the flexibility of bi-color with green/magenta shift and now vivd colors allows for a broader spectrum of lighting applications with no need for gels or changing tubes. Contact us to find out product availability of these new Kino Flo Select 30 LED’s.
While attending NAB in 2016, I had the chance to speak with Arri directly about their new Skypanel LED fixtures. We’ve been holding off on purchasing these lights due to the high cost, but after hearing such tremendous feedback from industry pros in the field and speaking with Arri about why this lighting system is so valuable I decided to add a pair to the Grip Truck. For 2017 Northwest Grip will have two complete Skypanel S60 kits with chimeras, grids and Arri flight cases!
We picked up one of the Osee field monitor kits for rent as a compact client monitor. 10 bit color with 3d LUT capabilities, v mount battery power option or shore power. The monitor stays perfectly within the case in use so it’s always protected and is easy to quickly mount on a baby stand and just as fast to wrap out at the end of the production day. Contact us for pricing and availability.
Carrying on the legacy of the revolutionary RED ONE®, SCARLET-W brings an unparalleled level of accessibility to content creators everywhere. SCARLET-W combines RED’s intuitive camera design—including integrated mounting points, interchangeable lens mounts, simultaneous REDCODE® RAW and Apple ProRes recording formats, intelligent OLPF system, and in-camera 3D LUT outputs—with a RED DRAGON® sensor to provide a solution that blends flexibility and accessibility with high-end performance.
Available in March 2016.