The 2 day event will celebrate the achievements of the 2012 nominees and will include a special breakfast for the nominees and event sponsors followed by screenings of the nominated films. The following day will celebrate the candidates achievements with a private cocktail reception and announcement of the winner of the 2012 ASC Student Heritage Award.

Keslow Camera invites everyone to join in sponsoring the event and celebrating the next generation of cinematographers and helping them pursue their dreams. For further questions or to become a sponsor, please contact Patty Armacost at the American Society of Cinematographers at (323) 969-4333 or via email patty@theasc.com.

“A” Camera 1st Jonas Steadman, and DIT Alex Carr were kind enough to let us photograph them during their prep:

Keslow’s F65 on a Libra Head from ProCam (Keslow’s proprietary side cheese plate with integrated hotswap power and junction box prominently displayed)

Sony F65 / Fujinon 18-85 / Chapman G3 Remote Head / Chapman Hydrascope Crane /

Director of Photography Dana Gonzales sent us some great behind the scenes stills from the upcoming feature film, “Snitch”, starring Dwayne Johnson and Susan Sarandon. Dana chose to shoot “Snitch” on RED EPIC 5k cameras paired with Zeiss Master Primes and Angenieux 24-290mm Optimo zoom provided by Keslow Camera. “Snitch”, directed by Ric Roman Waugh and based on a true story, follows a father who goes undercover for the DEA in order to free his son who was imprisoned after being set up in drug deal. “Snitch” was shot in Shreveport Louisiana and was serviced out of Keslow Camera’s New Orleans office.

Having just ended principle photography, “The Wedding Band” follows a group of four guys who escape their crazy lives by performing in a band, anchored by two lifelong best friends — perennial bachelor Tommy (Brian Austin Green) and Eddie (Peter Cambor), a married father of two.

Keslow Camera thanks “The Wedding Band” and Lisa for a fantastic first season and we have high hopes for the show as it bows later this summer on TBS.

Reza Tabrizi on “A” camera

Will Eichler and the “B” camera crew

The film, set to star Steve Carell & Jim Carrey, follows a famous but jaded Vegas magician (Carell) after breaking up with his longtime stage partner (Steve Buscemi), and who’s now fighting for relevance when a new, “hip” street magician (Carrey) appears on the scene.

Principle photography will begin with a Las Vegas unit starting first of January 2012

Keslow Camera is proud to announce that “Justified” Season 3 is being shot on RED EPIC camera’s, Cooke 5i primes lenses, Angenieux zooms, LightIron OUTPOST™ and LilyPad systems by DP Francis Kenny.

Keslow Camera is proud to announce that “The Lying Game” Season 1 is being shot on RED MX Camera’s, Angenieux Zooms and Leica Telephoto Lenses by DP Denny Hall. Equipment provided by Keslow Camera.

Keslow Camera is proud to announce that “Burn Notice” Season: 5 is being shot on RED MX cameras and Angenieux lenses by DP Bart Tau.

“Criminal Minds” Season: 7 is being shot on the new RED EPIC camera by DP Greg St. Johns. The camera package includes 3x EPIC camera’s, Cooke S4 lenses and the Angenieux 24-290mm and 17-80mm Optimo zooms.

Season 7 of Criminal Minds will premiere on Wednesday, September 21, 2011

Thanks for letting us be on the team. We love what you do.

The camera package included the following:

2x RED EPIC Camera’s
Iconix Camera
Cooke S4 Lenses
Angenieux Optimo Zoom Lenses

From left: Brad Wilson - Rental Manager, Keslow Camera Steven Soderbergh - Director, "Contagion" Dennis McDonald - COO, Keslow Camera Steve Meizler - 1st AC, Contagion Robert Keslow - CEO, Keslow Camera

“Contagion” releases everywhere September 9th and was shot on Red MX Cameras and equipment provided by Keslow Camera.

From left:
Brad Wilson – Rental Manager, Keslow Camera
Steven Soderbergh – Director, “Contagion”
Dennis McDonald – COO, Keslow Camera
Steve Meizler – 1st AC, Contagion
Robert Keslow – CEO, Keslow Camera

Keslow Camera is proud to announce that “Criminal Minds” Season: 7 is being shot on the new RED EPIC camera by DP Greg St. Johns. The camera package includes 3x EPIC camera’s, Cooke S4 lenses and the Angenieux 24-290mm and 17-80mm Optimo zooms.

Thanks for letting us be on the team. We love what you do.

Created by: Logan Media, DP was Stephen Blackman, 1st AC was Jonas Steadman.

Shot on 2 x RED EPIC’s, Zeiss Ultra Primes, and Angenieux Optimo zooms.

From the right, 1st AC: Chad Rivetti, Director: Taylor Hackford, DP: J. Michael Muro & DIT: Nate Kalushner.

Principal photography for the Taylor Hackford adaptation of the graphic novel “Parker” begins today. Lensed by director of photography J. Michael Muro, the movie is being shot in New Orleans, LA. Their camera package includes 4x RED Epic camera’s and Hawk V-Lite anamorphic lenses.

Director of photography, J Michael Muro, chooses Keslow’s RED EPIC cameras for the upcoming Taylor Hackford directed crime thriller, “Parker“, starring Jason Stratham, Jennifer Lopez, & Michael Chiklis, to be shot on Vantage Hawk anamorphic lenses in New Orleans this August

Info from around the web:

IMDb Page

Michael Chiklis Is The Bad Guy In ‘Parker’

Jason Statham to Star in Taylor Hackford’s Parker Film?

USA Network’s “Burn Notice“, now in its 5th season (Keslow’s first season), premiered this past Thursday, June 23rd, returning to the top of the ratings for prime time cable networks.

Keslow Camera is excited to be supporting Director of Photography Bart Tau, who has adeptly taken over the reins from Denny Hall on this fifth season.

Read the post here

“Pretty Little Liars” creator, I. Marlene King, recently spoke with Jim Halterman of The Futon Critic for an extensive interview about the show and dishes on Season 2. Read Here

PLL is shot on Keslow RED One MX cameras by DP Dana Gonzales, and airs Tuesdays at 8:00/7:00c on ABC Family

Franklin & Bash is announced as “Most-Watched Original” based on Wednesday, June 8th’s national cable Nielsen ratings.  Read on here

Franklin & Bash was shot on Keslow Camera’s RED One MX cameras by DP Denny Hall, and airs Tuesdays at 9/8c on TNT

[UPDATE] Franklin & Bash’s ratings streak continues! Read about it here

That project, premiering June 1st on TNT, is the new comedy series, Franklin & Bash. Starring Breckin Meyer as Jared Franklin and Mark- Paul Gosselaar as Peter Bash, lifelong friends who “show their flair for the dramatic and the shocking” in the courtroom.

The 3rd season of “The Middle” starts this fall on ABC, and Keslow Camera has been on board since season 1, providing 35mm Arricam packages to Director of Photography, Blake Evans.

The 2nd season of MTV’s Hard Times of RJ Berger will air March 24th and we are happy to provide the RED One’s for their production. Mathew Rudenberg, DP will shoot it.  The scripted comedy centers around RJ Berger (Paul Iacono), a nerdy high schooler with an unusually large endownment. To read more about this show click here

ABC Family has ordered a series about Emma, a foster child who discovers she is an identical twin with Sutton, who was adopted by wealthy parents. Emma takes Sutton’s place while Sutton searches for their birth mother but does not return. Alexandra Chando stars as Emma-  Click here for more info.  The pilot was shot with RED Cameras and the DP will be Crescenzo Notarile, ASC

Golden Globe Winners

Jeff Cronenweth, ASC, director of photography on The Social Network, was nominated by his ASC peers for Best Cinematography

ASC Outstanding Achievement in Cinematography Nominations

Keslow Camera was proud to support the production of The Social Network by suppling the team with the Master Prime lenses, camera accessories, and a third Red One body

American Cinematographer Oct 2010: “With Friends Like These”

Keslow Camera was very pleased to support David Fincher’s “The Social Network”, supplying the lenses, support gear, and one of the RED camera bodies.

American Cinematographer has a great write-up on the film’s look and how they pulled off key scenes.

Click here for the article

The 5/i prime lenses are supplied with Cooke’s /i Technology, and are designed for all PL mounted professional motion picture film and electronic cameras. /i Technology provides cinematographers and camera operators with vital information on lens setting, focusing distance, aperture and depth-of-field, hyperfocal distance, serial number, owner data, lens type and focal length in both metric and footage measurements.

From one of the 1st AC’s, Mako:

“We had a 4 AM call in the Frazier Park area to get the six RED Ones in position onto the Insert Trailer so that we could start shooting around 7 am. We were able to shoot six scripts with three actors and finish it all by 3 PM … including our lunch break. The Director of Photography was Manny Vouniozos, camera operator was Matt Petrosky … most of the cameras were locked off. The 1st AC’s were Pergrin Jung, Dennis Lynch, Mako Koiwai, Rob Sagaser, Carlos De Verona and Tracy Viera. The 2nd AC was Scott Stephens. DMT’s were Brandon McKenzie and Josh Fuss. Joseph Lee directed for the production company, Moving Pictures.

Here is a shot of our happy DP as the shoot hums along. Nice to not have any camera gear issues when time is of the essence!”

Here is the talent from CHUCK while Dp Manny shoots some Keslow Canon 5D mkII video:

DV.com today posted a press release from Element Technica quoting Robert Keslow of Keslow Camera, the exclusive US West Coast rental house for ET’s 3D beamsplitter/parallel rigs.

Click here for the article.

Tiger, “Griff”, (Griff’s date, Megan), Dave, and Jeff of the MONK camera crew with Jeff, Brad, and Vince of Keslow Camera

Brad Wilson (Keslow), Hector Elizondo, and Vince Cid (Keslow)

Brad Wilson with Tony Shalhoub

This month’s Post magazine’s cover story, “Gripping HD – More series than ever are going digital”, features a blurb on A&E’s “The Cleaner”, which, as the article states, was shot on Keslow Camera’s RED Ones.

Some great quotes from the article:

“One of the things that was huge was the ‘umbilical cord’ issue with the [Panavision] Genesis. There wasn’t anybody who didn’t agree that [the RED] was a hundred times easier to use.”

“…with the show’s second season came an increased challenge to cut costs while keeping quality high. The RED One, he says, seemed to be the answer.”

Click the image for the PDF article.

Keslow Camera congratulate’s NBC/Universal & USA Network’s “MONK” on 8 great, award winning seasons. It was a wonderful pleasure working with such a professional production. We wish the cast & crew a very fond farewell…

You may or may not have heard that we’ve secured an exclusive deal with Element Technica to distribute their new line of parallel and beamsplitter 3D rigs.

Well, the cat is out o’ the bag. 3D is here and it looks like its here to stay now with digital acquisition and projection eliminating a lot of the problems early stereoscopic films suffered.

More news to follow…Click the image for their PDF brochure.

We’ve updated our popular RED QuickGuide (includes the favorite new false color chart) for Build 21.0.2 adding the new 4.5k resolution and REDCODE™ 42. Its a vector PDF for printing at any size.

As always, if you find a discrepancy, let us know.

Enjoy!

Click the image for the PDF article.

(see www.technica3d.com for more info)

Before joining the rentals department at Keslow Camera, Brad Wilson worked in production management at National Geographic TV & Film in Washington, DC.  He then moved his small family down to Sydney, Australia to work as a rentals manager for  Lemac Film & Digital, then moving back to the USA to work for Keslow.  Brad brings a wealth of knowledge of the industry, as well as a thorough understanding of the RED One digital cinema camera.

As a founding member of REDucation, Keslow Camera was invited to exhibit at the Community Day event held on Thursday, 23 July.  Joining us at our booth were Element Technica, showcasing their new 3D rig, and Mark Pederson (OffHollywood) came to demonstrate the advanced video assist tool, QTAKE HD

Keslow’s Leo Kotero holds a prototype RED Scarlet in DSLR mode with Ted Schilowitz

Element Technica’s 3D Rig was a top draw

Keslow’s Brad Wilson shows off the RED Scarlet

Steve Freebairn drops his business card into our drawing for a free lunch with Robert

One of our RED Ones kitted out for REDucation with Kramer’s “Magic Box” (our proprietary hot swap battery/junction box with day glow voltage readout)

This quarters EXPOSURE mag has “House M.D.”‘s DP Gale Tattersall explaining the unique look of the show in a nice article entitled, “The Right Medicine”.

Great quote from Tattersall:

This month’s Production Slate section of American Cinematographer magazine mentions us in relation to Sean Penn’s new film, “Into the Wild”, which we suppled ARRICAM’s and Ultra Prime lenses for.

Click on the image for the PDF of the article.

In this month’s P3 mag they mention our ARRICAMs and Ultra Primes we supplied for the feature film, “Prom Night”…check it out (click the image to link to the PDF)

Keslow has a little column in this month’s Markee magazine with an overview on our inventory and our outlook on the new crop of digital cinema cameras.

“I won’t rent out any equipment that doesn’t have a proven track record”

Keslow Camera’s own Robert Keslow has a little blurb in a 16mm special in this month’s ARRI News Magazine (see the last page of the PDF by clicking on the image).

Another write up this month covering “HOUSE M.D.” and Roy Wagner can be found in Kodak InCamera magazine.

As always, click on the image for the PDF of the article.

Click on the image for the PDF of the article.

We’re honored be written up in this month’s American Cinematographer magazine, this time showcasing work shot by the DP Juan Ruiz-Anchia on the film, “Innocent Voices”.

“Keslow really took care of us”, he [Juan] notes appreciatively”

Click on the image for the PDF of the article.

Some great lines:

“…both Barber and Doering-Powell both swear by service from their rental company, Keslow Camera”

“I know I can call Robert anytime, and get what I need”

“I’ve been lucky to have the support of Keslow Camera. I consider them integral to my work.”

Click on the image for the PDF of the article.

Click on the image for the PDF of the article.