At Fantastic Plastic, when we shoot a video or film project for you, we use a wide variety of equipment. Whether on location or in our studio, you'll see cameras, lights, reflectors, monitors and such that might crop up on any normal film shoot... plus we have the advantage of a couple of "extra toys" that many production companies don't.

Cinema EOS and our Canon C300PL camera is the most exciting innovation we've seen in years, and is usually our primary camera on our shoots. It's a real hybrid, providing the unmatched beauty of 35mm film images, but with the ease of production and lower cost that you'd usually expect only from video. The Cinema EOS system's 4K sensor captures true Super35mm images, and uses our Leitz-Panavision cinema lenses. Neither film nor videotape, the images are stored electronically and can be immediately imported into any of our editing suites. The C300PL shoots with an extremely wide film-like

latitude, and can photograph in a variety of frame rates for special needs like slow motion.
The result is an amazing 35mm picture, but without the cost of film stock or lab.

Imagine a handheld camera, smaller than your fist, that can go just about anywhere and do just about anything. That's the Ultra-HD 4K Zenmuse X5 camera. It has a three-axis stabilized gimbal, a big sensor with interchangable prime cine lenses, and helps us get shots that look simply impossible.
For film, we prefer Eastman and Fuji stocks shot with our 16mm and 35mm cameras. For the highest quality, we usually suggest shooting 35mm film with the Arri 535B. All cameras are crystal sync with great zoom and prime lenses. Multiple magazines make the shoot day go fast, with video assist to make sure we've got the shot.

Different projects have different needs, so we maintain a complete arsenal of various cameras. For ENG-style HD video, the Canon XLH1 is our chief workhorse, and can be configured in our e35mm format for a cinematic look. It's perfect for handheld work with incredible lenses and really beautiful images.

For multi-camera projects or under special circumstances we have a number of other Canon and Sony cameras that can fit a particular project's specific requirements.

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Of course, something has to hold these cameras up. We have the usual assortment of tripods (we use OConnor, Mitchell, Vinten, and Universal sticks, all with OConnor and/or Mitchell fluid heads), but we have a few more camera support toys too...
How about a cool dolly shot — without using the dolly? Years ago we concepted a curved slider that would allow arching dolly shots in places where it was impossible to set up big and cumbersome dolly track. Finally, we found a great grip company to build this amazing slider to our custom specs. Now great dolly shots that used to take a long time (and a lot of space and equipment) can happen almost instantly. It's amazing how just a little movement can make an otherwise boring shot really come alive. The curved slider is one of our favorite pieces of equipment.
Pans, tilts, dollies, and trucks are the most common camera moves you see, but our director often likes to add VERTICAL movement for an extra dynamic punch. We accomplish this with our Losmandy jib, which allows us to get crane shots up to about 14 feet high. This jib also compacts down tiny enough for use in almost any room, where even a very short crane or tongue move can add visual drama. Unlike a big crane, the jib easily travels and is used on many of our location shoots.
Sometimes you just have to take to the air!
Aerials in bygone days used to be a big deal, but no more. Our DJI Mavic Pro quadcopter is tiny, and easy enough to bring along on almost any shoot. But don't let its size fool you... the Mavic isn't just a "drone" but a full-featured aerial camera platform — with a stabilized Ultra-HD 4K camera for spectacular images. Aerial footage isn't always the right choice, but when it is... wow.
The DJI OSMO Pro is an amazing little gadget with a really big payoff. It's a small handheld rig that carries our Zenmuse X5 camera, literally floating it through space. The camera captures stunning Ultra-HD 4K images while walking, running, riding, biking, flying... with a perfectly smooth stabilized picture. It's like the world's smallest Steadicam. In fact, we rarely (if ever) break out the full-sized Steadicam rig anymore, because the OSMO can go anywhere, and do it better.
One of the things we are known for is making people look really good. Sometimes there's nothing prettier than available light... but often it takes a lot of artificial lighting to look beautiful and, well... natural. Ironic, huh?

One of the biggest revolutions in cinematography has been the development of powerful LED lighting. No more big hot lights... our extensive arsenal of lighting instruments is now almost completely made up of LED fixtures. They're cool, faster to set up, give beautiful light, and are all self-contained with batteries. Even our biggest "Hollywood-sized" lights need no external power, so we're never running "stingers" (extension cords), looking for outlets, or tripping our clients' breakers. LEDs are a game changer.

We love to make you look great, but it's just as important to sound good, too. Boom microphones often sound much better than clip-on "lavalier" mics, so you'll usually see boom mics floating around over our sets. Our favorites are made by Sennheiser, but we have a variety of mics for different applications. We're sometimes asked "What's with the fur?" That's a "windjammer" and allows mics to be used even in very high breezes with no wind noise at all. Fun fact: in the industry that's known as the "dead cat." Ewww.
Of course shooting is just one piece of the puzzle. To see where the post-production happens for your project once principal photography is complete, visit the Studios page.