Always on the leading edge of new technology.
TaylorVision was among the very first in all of New England to own true high definition 1080i cameras. Our Sony CineAlta F900 was considered at that time to be the gold standard. In fact, George Lucas teamed up with Panavision to use the F900 to shoot the STAR WARS Trilogy. Not long after, we were asked for 720p technology to service our network sports clients and four Panasonic Varicams were added into the fold. While both options still capture outstanding image quality, we began to see a demand for Super 35mm acquisition. When FOX SPORTS asked TaylorVision to bring on Sony F3 cameras for their feature production in the 2012 NFL season we knew times were changing. Since then we’ve taken it to the next level by adding top of the line Sony F55 cameras capable of capturing stunning HD, 2K and 4K imagery. With the use of our Sound Devices PIX240 digital video recorders we take the mystery out of digital acquisition and file delivery. Your footage will be ready to bring to post in both Final Cut and Avid friendly codecs without any unnecessary transcoding. Your editors will love us.
Our state of the art equipment
HIGH DEFINITION CAMERAS AND SUPPORT
- (2) Sony PMW F55 CineAlta Super 35mm HD/2K/4K
- (1) Sony PMW F3 CineAlta Super 35mm sensor
- (1) Sony A7SII HD/4K w/ in-body image stabilization
- (4) Panasonic HDC27H VariCams w/ Fujinon HA 18×7.6 HD lenses
- (1) Sony HDW F900 CineAlta w/ Fujinon HA 18×7.6 HD Lens
- (3) Sound Devices Pix 240 digital recorders w/ 1.5 TB of memory
- (1) Panasonic HDX-900 w/ Fujinon HA 18×7.6 HD Lens
- (1) Canon 5D Mark II HDSLR w/ (see lenses)
- (1) Nikon D800 – 1080p video w/ (see lenses)
- Chrosziel matte box w/ follow focus
- Fujinon 10 x 4.8 ultra wide angle 16×9
- Fujinon HD 13 X 4.5 Ultra wide angle
- SmallHD DP7 7″ HD monitor w/WFM
- Panasonic BT-LH900 8.4″ HD monitor
- Panasonic BT-LH1700 17″ HD monitor
- SONY 17″ OLED HD monitor w/WFM
- (3) Oconnor 25L Tripod w/1030B fluid heads
- Lisand adjustable high hat – 100mm ball base
- Anton Bauer Dionic and Hytron Batteries
- Expanded Lighting Package (see lighting/grip)
IT BEGINS WITH A CLEAR VISION AND GREAT OPTICS
PL Mount Lenses:
- Duclos 11-16mm- T2.9 Variable Prime
- RED 17-50mm – T2.9 Variable Prime
- RED 18-85mm – T2.9 Variable Prime
- RED 50-150mm – T2.9 Variable Prime
- Zeen 85mm -T1.5 Prime
- G.L. 100mm/Macro T2.9 Prime
- Carl Zeiss 180mm T2.9 Prime
- Meyer-Gorlitz 300mm F/4 Prime
- Fujinon 20-120mm Cabrio Cinema Zoom
Canon Full Frame Lenses:
- Canon 16-35mm F/2.8 zoom
- Canon 50mm F/1.2 prime
- Canon 85mm F/1.2 prime
- Canon 80-200mm F2.8 zoom
B4 Mount Lens Options:
- IB/E Optics HDx35 B4/PL Mount adaptor
- Fujinon 18×7.6 HD Lens
- Fujinon 17×7.6 HD Lens
- Fujinon 17×7.8 HD Lens
- Fujinon 10×4.8 HD Lens
NIKON Full Frame Lenses:
- Nikon 14-24mm F/2.8 zoom
- Nikon 24-70mm F/2.8 zoom
- Nikon 80-200mm F/2.8 zoom
- Optitek mount for Nikon lenses on Sony F55
SPECIALTY EQUIPMENT – CAMERA MOVEMENT IS KEY
- MOVI M5-M10-M15 – These systems from FreeFly redefine the possibilities of hand-held camera movement. Capable of creating shots that are simply not possible with a conventional Steadicam. We can accommodate cameras ranging from a large SONY F55 to a small Sony A7SII.
- Stanton Triangle Jimmy Jib – Wikipedia calls it the premiere portable crane for TV, movie or film camera support. No argument here. Arm lengths up to 30′
- CamTramSystem – Mini camera dolly with a revolutionary new track from the TaylorVision Engineering Laboratories.
- Kessler Second Shooter – A motion control system capable of repeatable motion control for live-mode, looping, time-lapse and stop-motion applications. The Second Shooter™ is ultra-smooth and quiet making it a great option for a 3rd camera for traditional 2 camera sit down interviews.
- Chapman Super Dolly – Our friends at Atomic Dolly and Crane have been working with TaylorVision for years. The Super Pee Wee is the perfect location dolly that allows the camera to be raised and lowered via a hydraulic arm. It offers a small footprint so it can be maneuvered into tight spaces. It also has built-in track wheels for both straight and curved track.
WE’LL HAVE YOU WIRED FOR SOUND. LITERALLY.
All of the audio technicians at TaylorVision take sound recording very seriously. They believe that it’s not just a science but an art. They are tried and true professionals with decades of real world, on location experience and bring impeccably maintained state of the art sound gear to each and every one of our productions. Many have also been providing their unparalleled post production sound services to most major television networks for years.
The inventory will astound you. Believe us, if we don’t have it, you don’t need it. Whether it be a single or multi camera production, TaylorVision will have you totally wired for sound. No detail is ever overlooked, no matter how small.
GREAT LIGHTING MAKES EVERYONE LOOK BETTER
Tungsten and LED lighting
- (4) Kino Flo Diva Lite 400 (w/ 5500K and 2900K)
- (2) Litepanels 3200K flood
- (5) Litepanels 5600K flood
- (1) Daylight Astra Light Panel
- (1) 1000 watt ARRI Fresnel
- (3) 650 watt ARRI fresnels
- (3) 300 watt ARRI fresnels
- (4) 150 watt ARRI fresnels
- (2) 600 watt ARRILite open faced w/ Chimeras
- (2) Chimera Video Pro soft sources w/grid
- (1) Chimera Chinaball
- (2) Source Four Leko (w/rotating gobo)
- (3) 100 watt Dedo lights w/ 85mm focal spots (for gobos & slides)
- (3) 150 watt Dedo lights w/ 85mm focal spots (for gobos & slides)
Grip Equipment
- (1) 4′ x 4′ Matthews Silk
- (1) 6′ x 6′ Avenger Frame w/ single scrim, double scrim and silk diffusion
- (1) 8′ x 8′ Frame w/ double scrim and silk diffusion
- (2) Double riser Combo stands
- (1) Triple Riser Combo stand
- (10) Arri AS-2 kit light stands
- C-Stands, sand bags, scrims, c-boom arms, flags, mafer & cardellini clamps, window gel, 15’ x 30’ black cyclorama
HMI Lighting
- (1) Frezzi Mini-Arc 50 watt HMI sun gun
- (1) 575 watt Arri HMI
- (2) Aadyntech Jabs Daylight (800w equivalent)
- (1) 800 watt Joker HMI
- (1) 1200 watt Arri HMI
- (1) Aadyntech Eco Punch
