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Updated Rental Catalog with the Latest Equipment for Rent

Newly updated for April, the Rentals Catalog is now available for a quick look at the majority of equipment in our rental inventory. Download the catalog to search, check pricing (call us for multi-day rates!), or print. We’re constantly adding new gear like the Sigma FF High Speed Cinema Lenses (available in focal lengths of 20, 24, 35, 50 and 85 at a T1.5 and a 14 and 135 at a T2.0 – read Jeff’s blog post and watch his video), SmallHD 703 BoltTeradek Serv Pro Video Server, and Zhiyun Tech Crane-2 Gimbal Stabilizer (to name a few).

Click here to download a copy of the Rentals Catalog.  If you don’t see what you’re looking for, contact rentals by email or phone (not everything we carry is listed). Multi-day rates are available!

 

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The Sigma FF High Speed Cine Primes Do Not Disappoint

I geek out as much as the next guy when it comes to lenses, so you could imagine my excitement when a set of Sigma FF High Speed Cine Primes rolled through our doors recently. I had heard very little about these lenses before seeing them in person and couldn’t wait to see what they could do. 

After my initial testing, I have to say they do not disappoint. 

This line of lenses is Sigma’s jump into the cinema world and it seems as though they have landed firmly on both feet. The full set includes focal lengths of 20, 24, 35, 50 and 85 at a T1.5 and a 14 and 135 at a T2.0. 

At first glance, the lenses cosmetically look and feel a lot like ARRI Ultra Primes, dense but still compact. From one lens to the next, the Sigma Cine Primes are expertly constructed with silky smooth iris and focus rings, clear and precise markings and an electronic EF mount to transmit lens data to your camera. Although this set can be swapped out to PL mount, our set currently comes in EF only. 

Sigma really went all the way in on these lenses to make them look and feel like true high quality cinema glass. Iris markings are all evenly spaced and focus scales span nearly a 300 degree rotation. Focus pulls feel great with not too much resistance and just enough dampening for smooth starts and stops. If using a wireless FF on set, you will never have to move your motors around, as the distance between iris and focus gears never changes between lenses. This might seem like a small thing, but for AC’s it makes all the difference. 

Getting past the outer build quality and onto the optics, this is where things get even better. Full frame lenses in the cinema world are becoming more and more present as our camera’s sensors have been changing. With films being shot on cameras like the 5D MK4 and a7S2 all the way up to the RED Weapon 8K, these types of lenses are becoming necessary.

Having all of the qualities that one would hope for in a great cinema lens, this set performs extremely well. Very little lens breathing, check. Smooth focus fall off, check. Razor sharp at all stops, check. Good close focus, check. Pleasing bokeh, check. No noticeable chromatic aberration, check. With the exception of the two widest lenses, this set has almost no distortion and is tack sharp from corner to corner. The list goes on and on. For the price that these lenses go for, I would confidently call these the frontrunners.

If my stamp of approval means anything, these lenses certainly have it. Interested in renting the Sigma’s? Contact rentals@rule.com or 800-rule-com.

-Jeff Dickerson, Engineer, dickerson@rule.com

 

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New in Rentals: Compact Sigma Cine Prime Lenses

New in Rentals, the compact Sigma Cine primes with full frame coverage and high speed aperture ~ T1.5 (20, 24, 35, 50, 85mm) and T2.0 (14, 135mm) have arrived.

Excellent resolution and ready for 8K, the well-crafted cine design offers smooth focus with minimal distortion or breathing. The nine blade iris makes for a soft round bokeh. Now available in EF mount.

Contact Rentals for details: email or phone at 800-rule-com.

–Dave Kudrowitz, Senior Engineer

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Buy or Rent the GoPro HERO6

Stop by our GoPro display in Production Outfitters! We are selling (and renting) the all new GoPro HERO6 camera. 

Retailing for $499.99, the HERO6 Black is compatible with all GoPro mounting accessories.

This new addition to the GoPro family boasts real image stabilization and an all new GP1 processor. The Hero6 is capable of 240fps at 1080p image quality or 4k up to 60fps making it ideal for slow-mo action. Click here to watch #GoProHERO6 action. 

Contact us for more details: answers@rule.com or 800-rule-com.

–Haley Parizo, Sales Operations Manager

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Quasar LED Lighting Tools to Rent or Buy

Quasar: one of over a thousand known extragalactic objects, starlike in appearance and having spectra with characteristically large redshifts, that are thought to be the most distant and most luminous objects in the universe.

Unfortunately, we don’t have “the most luminous objects in the universe” in our inventory but we do have a fleet of Quasar Science products available to rent and buy. Quasar offers a wide variety of LED lighting tools and many of them can be found right here at Rule Boston Camera.

Low profile, self ballasted, dimmer compatible, energy efficient, 95+ CRI, flicker free, 25,000 hour lifetime, and much more are just a few of the many features in the Quasar line-up of products.

We encourage you to stop by the shop, and check out these lights for yourself. We’ve got a bunch of new fixtures on the horizon for both rentals and sales in addition to what’s already in our rental inventory (Crossfade LED Kit, Kino Quasar 4ft/4 Bank Fixture) and in our Production Outfitters Expendables Store.

Another resource is our IN THE SHOWROOM video on the A-LED and Q-LED Crossfade lighting tools. Click here to watch, and reach out with questions.

Dylan Law, QC/Logistics & MoVI Tech

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The Angenieux EZ-1: Affordable and Flexible Cine Zoom

The Angenieux EZ-1 30-90mm T2 Super35 zoom lens is one of a handful of lenses in the quickly expanding category of affordable cine-zooms. For a long time, cinema zooms were always two things: heavy and expensive. In the past year or so, we have seen manufacturers innovate and release a new group of lightweight cinema zooms. To name a few: Zeiss 21-100mm, Sigma 18-35mm / 50-100mm, Fujinon 18-55mm, and Canon 18-80mm. As a documentary and commercial shooter, it has been great to see this huge increase in choices at a reasonable price. I find myself taking the Angenieux on set because of its size, its flexibility, and its wide open performance.

First and foremost, the size, weight, and handling of this lens is superb. It is well-balanced and weighs in at just 4lbs. I shoot a lot of handheld and gimbal work so weight is always a factor. Having built-in focus, iris, and zoom gears is a big advantage in both keeping the lens streamlined and removing any extra weight from add-on 3rd party focus gears. The EZ-1 also features rubberized grips along the lens for better control when not using a follow focus. This lens is built with the operator in mind.

In the documentary world, staying flexible on set is a must. The ability to quickly go from PL to EF to E mount on set with no tools is a big deal. Pairing lenses and sensors is a big part of a cinematographer’s job these days — both from an aesthetics standpoint and a function standpoint. This lens is equally at home on a Sony a7S wedged inside a car as it is on a 35mm ARRI film camera on a dolly. In addition to the lens mount, you can also change the rear optical block to go from covering just Super35 to covering full frame/ VistaVision. 

There is a certain feeling imbued into lenses by each manufacturer. A subtle difference that doesn’t come across in technical specifications but is often talked about amongst cinematographers and is unique to that manufacturer. Angenieux’s reputation is one of the best in the industry. The EZ-1 fits in easily amongst its family members and delivers the same consistent colors and pleasing sharpness that one should expect from Angenieux.  

-Harvey Burrell, Guest Blogger and Co-founder of Windy Films

 

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ARRI Announces New Lightweight Matte Box LMB-4×5

At long last ARRI weds the popular LMB-25 with the studio functionality of the MB-19 in the new LMB 4×5. 

No longer must we double up on studio and lightweight boxes on the same job as the 4×5 can fill both roles.   

The swing away and tilt module is my favorite new option!  

Click here to watch ARRI’s cool CGI video that visually explains the whole system:

Adam Van Voorhis, Equipment Manager,

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Now Taking Pre-Orders – Buy the Freefly MoVI Pro at Rule Boston Camera

We’re now taking pre-orders for the latest in Freefly’s line of camera movement systems. Introducing the new MōVi Pro — their most powerful, versatile, smart and reliable digital handheld stabilizer yet!

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Freefly plans to start shipping mid-November. Each MōVi Pro system will include the MōVi Pro, the MIMIC, 2x MōVi Pro battery packs & more to get you started right out of the box! To place your pre-order with a $200 deposit (non-refundable, but transferrable), contact Michael Kalish at sales@rule.com or 800-rule-com. Be sure to watch the intro video at https://vimeo.com/188601738. And click here for the MōVi Pro sales price, description, specs and features.

Interested in trying before buying? The MōVi Pro is coming soon to Rentals. Click here for rental rate and details or contact rentals at answers@rule.com or 800-rule.com

RBC’s Dylan Law flew to Freefly HQ in Washington for their MōVi Pro launch party. Stay tuned for his upcoming blog post with all the technical and creative details.

-Haley Parizo, Sales Operations Manager, parizo@rule.com

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The New AKIRA Firmware Update for the MōVI

Everyone loves a good firmware update and Freefly Systems did not disappoint with the newest Akira update. New features and incredible improvements make up the newest download. The MōVI camera stabilization system has already offered up amazing opportunities for filmmakers, and the gifts keep coming.

Movi-Firmware-Akira

 

HiPER STABILIZATION: This new feature (more of an improvement) is the shinning star of Akira, in my opinion. Stabilization performance of the MōVI has increased, resulting in images that are much more stable and stronger overall. Longer lenses, focus, iris, and zoom setups can now be achieved more easily with incredible results.

TIMELAPSE MODE: The possibilities seem endless when working with the MōVI and now, with Timelapse Mode, yet another door has opened. Creating your time-lapse moves with this new software is literally a dream come true, so GO OUT AND MAKE NEW IMAGES!

TARGET MODE: GPS position locking and follow mode! Oh, this is getting fun now! When working with the MIMIC, transmitter operators and DP’s can introduce a “chase cam” look — seamlessly.

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Improvements all around and new added features make up the Akira update. I didn’t even mention the new user interface for the mobile applications. Oh, and there are even more goodies to be found. Ok, enough reading! It’s time to put Akira to the test.

We sell and rent a variety of Freefly motion tools. Please contact us at answers@rule.com or 800-rule-com (800-785-3266) for more information.

Dylan Law, QC/Logistics & MōVI Tech, law@rule.com

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The Sony PXW-Z150

  Sony_PXW-Z150 There’s a lot to be said for a good camcorder-styled camera — a format that, in recent years, hasn’t been given the love and attention I feel it deserves. While not the most exciting camera, more often than not (and especially for event and corporate shooters) — it is by far the most practical. The market was given a glimpse of the future late last year, with Panasonic’s release of the DVX 200. The camera provided a Micro Four Thirds imager, with a camcorder-styled body and attached zoom lens. The idea being that run-and-gun shooters needn’t compromise on depth of field any longer. By using the larger sensor, shooters could finally get images that rivaled those of their DSLR counterparts in the sub-$5,000 market. It’s a need that won’t be going away any time soon, either — producers and content creators have come to enjoy the shallow depth of field “look” that one gets from large imagers (the Canon 5D Mark II is probably to blame). But, rigging these small cameras with external recorders, audio interfaces, shoulder mounts, top handles, and shotgun mics was never the end-all, be-all answer shooters needed (although the DVX 200 delivered on these issues). Enter the Sony PXW-Z150, Sony’s newest offering in the PXW line, sitting happily alongside the popular FS5. At a little over three grand, this camera packs a punch. Its imager is slightly smaller than that of the DVX 200, but compared to the ⅓” and even ⅔” sensors of the prior generation of camcorders, the Z150’s 1” sensor adds just enough depth-of-field options to feel very versatile.   z150-medium In addition to its sensor, the Z150 has a few more tricks up its sleeve to bring it in line with its fancier, smaller counterparts. Sony has built the foundation of the camera’s acquisition on the now tried-and-true XAVC-L codec. While it’s not as dense as the FS7’s XAVC-I, it’s a huge improvement from the price-comparative a7SII (XAVC-S). The Z150 records a UHD 4K image internally, using the same SDXC cards as the FS5. It also has the ability to overcrank to 120fps in HD formats. Slowmo seems to be the new battleground for this market, and it’s great to see that Sony has matched the challenge. Perhaps the most interesting feature, for a humble colorist to appreciate, is its ability to record 10 bit HD. Traditionally, any camera under $10,000 recorded 8 bit images internally. To see a camera like this recording a nice and dense 10 bit image is a huge improvement. This camera has far more in common with an FS7 than an EX1. After that, the features meet all the new standards easily — built-in ND filter, a powerful autofocus and full auto mode, and XLR inputs. Run-and-gun shooters will feel right at home with the familiar Sony layout, and even though they’ve simplified the menus — I don’t find myself wanting anything extra. A common criticism of Sony’s latest camera lines is how complicated their menu structures are, so to see things paired down a bit in this camera is a welcome addition. It’s slightly disappointing that the Z150 doesn’t include any LOG gammas, but the normal picture profiles fill any creative gaps you may have. I don’t foresee many people shooting LOG on a camcorder, but with 10 bit, my question is ‘why not’? I would love to use the Z150 as a B camera to an FS7. Those are small potatoes, though, and I find myself very satisfied shooting with the Z150. For folks who are comfortable with the EX1 or NX cameras, this is, most likely, the 4K upgrade you’ve been waiting for. We are currently selling and renting the PXW-Z150, please contact us at answers@rule.com or 800-rule-com (800-785-3266) for more information! Alex Enman, Engineer, enman@rule.com