Here at 16oz we have tested extensively all available purchasing and leasing options for cinema style filming... here are some details on the choices we made:


The Studio

Our original need was for an efficient premium live action production capacity and this is only really possible if tools and tech team live in a place where experimentation in film technique is encouraged. 16oz is constantly researching, developing and investing in new tools and approaches this keeps everyones craft sharp and up to date.  16oz studio space is both an atelier for film artists/craftspeople and one essential component from a wider commercial tool/offering.

further studio details


Then there was 'light'

Without some form of light there can not be an image. The important question is what lights and how they should be used. At 16oz we tested every known light on the market and have invested in those fixtures that offer the best performance for what we do. Our main testing criteria was that our main fixtures must offer beautiful full colour spectrum light that is flicker free up to 2000fps. Silicon imagers produce cleaner images with daylight balanced fixtures and therefore we tend towards daylight balanced fixtures. We do carry a range of Tungsten fixtures but we mainly use them for effects or as Tungsten balanced light.

further Lighting details

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Camera GRIP. This is ‘motion’ film after all…

At 16oz Studio we have invested in a wide range of camera grip equipment to allow us to easily execute moving shots.  We have limited our investment to tools that can be expertly managed, moved and deployed by the 16oz internal team. Sometimes we will insist on bringing in a third party resource (for example for complex Moco programming work). Predictably we own dollies, jib arms, sliders, car rigs etc. but what is unique is the amount of thought, testing and research that went into these acquisitions.  As with all 16oz equipment investments we are never concerned about the hire-ability of each tool but simply its special ‘use value’ to us as filmmakers.

further Grip details

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Lenses and and other optics

16oz carries an impressive range of PL glass. At one end we have the class defining pristine-ness of the Arri MasterPrime down through the super versatile UltraPrime all the way to the optically interesting Lomo spherical super speeds. Zooms are, with two interesting exceptions (the TLS Morpheus 80-200mm and the Duclos 11-16mm) all from the Angenieux's Optimo line of Cinema Zooms. We also have had some interesting one off PL Tilt lenses and other exotic treats.  Optics does not stop with lenses you must also consider the role of diffusion within the optical formulas and we use lots of interesting varieties – some one off samples and custom made magic.

What lenses are right for your project? Let us show you!

further Lenses and Optics details

 


Camera Systems

The Red Epic Dragon is our standard go to camera and extensive tests (which we can share with you) showed us that it is the most flexible capable camera on the market. If you need a 6k film that will also have very high res stills taken from it or perhaps a film made solely of slow-motion detail shots (up to  240fps) the Epic Dragon will deliver. However when it comes to super slow-motion (up to 2000fps at 2k) the king of all the contenders is the Phantom 4k Flex.  

No matter what camera we use we have invested massively in the accessories that allow them to work well in every situation.

further Camera Systems details


Data management, back-up and processing

16oz takes very seriously the safety of all rushes. The combination of insurance company approved process and some clever workflow investments means that we can guarantee there is no safer place to trust precious rushes. Safety is not the only important consideration. With exceptional speed comes flexibility  and interesting creative options. We offer Live grading, Dual LTO 6 backup, Offsite safety copies etc...

further DIT details


Post Production

16oz Studio is able to offer a very near set post service. Whether it is having a editor cut the material as it is captured for super fast turn around jobs or having all the rushes (or rushes selects)  graded near set to allow clear visualisation of end product through editorial, please discuss with us what is possible. We also have Grade 1 and 4k monitoring and a cost effective post edit grade and conform facility. With more than 100TB of super fast storage we can deal with any size project. 

Please contact us with any questions

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