Our 120″ rear projection screen is perfect for movie nights, large conferences, and more. The 16:9 aspect ratio makes it an easy set-up with DVD/Blu-ray players and laptops. This is an excellent screen size for groups up to 50, and it’s easy fold frame transports and sets up with no problems.
The 120″ is the measurement from corner-to-corner of the viewing area. The viewing area is 59″ high and 105″ wide. When assembled, this rental screen is 89″ tall and 110″ across.
A 120″ projection screen is perfect for large business presentations, sales meetings, and PowerPoints. Present anywhere you want with the included tripod stand. We suggest this size screen for groups of 10-80 people. This projection screen has a 4:3 aspect ratio, most popular for business applications. It has some adjustment for height, but we recommend using it in rooms with 8 foot tall or higher ceilings.
Pick your projection screen up from our Milwaukee office and have it set up in minutes, or we offer delivery. Don’t forget to rent a projector, too!
Rent our 144″ indoor/outdoor projection screen for movie nights. That’s twelve feet diagonal! The 16:9 aspect ratio is perfect for movies, including DVD and Blu-ray. This is an excellent screen size for 75 or more people, and transports and sets up easily. You can use the included frame (which stands about 13 feet tall) or clamp it to a wall or other surface.
Pick your screen up from our downtown Milwaukee office and have it set up in minutes. For a screen this huge, we strongly recommend at least a 4000 lumen projector and a respectable speaker system. We can show you how to set up and connect everything when you come to pick up your rental.
$99 for one day or $198 for up to five days. Call or email for availability and to make your rental reservation.
projector, media cart, speaker system, laptop PC, Bluray/DVD player
Rent our 80″ projector screen for PowerPoints, presentations, or movie nights. Because it is rolled vertically, it can be used for both 16:9 and 4:3 projections. A stand is included, so you can set up anywhere. It’s easy to transport, and collapses to just 43″.
Pick it up from our Milwaukee office in Bay View and have it set up in minutes, or we can deliver for an additional charge. We offer a a $10 discount when you combine a projector and projector screen on the same rental order.
We suggest this projector screen size for groups up to 16 people. We also offer bigger screens for larger groups.
Use our 10×16 green/white/black backdrop rental as your studio-in-a-bag. Great for full-body and group shots, for both video and photography. This makes it easy to get the “infinite white” or “infinite black” look with appropriate lighting, and makes for easy keying for video work.
The advantages of fabric backdrops are portability and affordability. If you need a perfectly smooth surface, we suggest using seamless paper instead. We carry a few different colors of 107″ seamless paper for purchase.
Included are two 8′ stands and a 12′ cross brace. We suggest using sandbags for safety. If you have rigging, you can mount this cleanly with mafer clamps with threaded baby pins and wingnuts. Our rate includes one of your choice of backdrop. Add additional colors starting at $5/day.
Jon Kline (Jonathan David Kline) is the founder of MKE Production Rental in Milwaukee. He is also a freelance cinematographer. His award-winning cinematography has been seen on every major television network and at film festivals around the world.
Jon Founded MKE Production Rental in 2013. With a goal of serving filmmakers like himself, MKE Production Rental quickly grew into a full-service video production rental company.
Jon also hosts workshops for cinematographers and photographers, presenting to film professionals and students around the country. His writing has been published by MovieMaker Magazine, Filmmaking.net, and of course the MKE Production Rental blog. He currently lives in Chicago, and is available for travel.
Jon is available as a director of photography for commercial, narrative, and documentary work, as well as speaking engagements and interviews. Booking inquiries should be directed to [email protected]
Rent this HD video projector for movies, presentations, and more. Designed for large screens and rooms with ambient light, this HD extra bright video projector supports 16:9 1080p, making Blu-ray, DVD, and online video pop. A high contrast ratio (5000:1) and fantastic color rendering are possible with the projector’s DLP technology. This projector is a great choice for 10-12 foot screens with some lights on, and screens up to 18 feet in near darkness.
You can connect nearly anything, including Display Port, dual HDMI, VGA, component, composite, and S-video. You can even control the projector over the network using the ethernet LAN port. And at under seven pounds, it’s the only 4000+ lumen projector rental we’d call portable. We include a remote for easy setup.
If you are looking for a projector for a backyard movie night, we include this projector in a rental kit that includes everything you need.
We’re certain nobody in Milwaukee has a brighter projector rental for less! And if you combine your rental with a screen or soundsystem, we’ll give you a discount so you can save even more!
This Sennheiser MKH 416 shotgun microphone is a standard for film and video production. It features a supercardioid pickup pattern, fantastic frequency response, and the ability to handle both field and studio voiceover work.
We rent it with a foam windscreen and shockmount for reduced handling noise and ease of mounting on your boom pole or camera.
You’ll need to provide phantom power to this mic. If you’re looking for a well-matched recorder, we suggest the Zoom H6.
The SLR Magic Anamorphot 1.33x anamorphic 3-lens set with PL mount is the only anamorphic lens set that’s priced to be within reach of independent filmmakers and medium-budget commercials. All three lenses are designed to create 2.35:1 ultra-widescreen images on cameras with super 35-sized sensors. The 50mm and 70mm lenses also cover full frame.
The lenses are PL mount, and can easily be adapted to shoot on Sony E mount. They have a uniform 82mm front filter thread.
The kit includes SLR Magic Anamorphot-Cine 1.33x 35mm T2.4 PL, SLR Magic Anamorphot-Cine 1.33x 50mm T2.8 PL, SLR Magic Anamorphot-Cine 1.33x 70mm T4 PL, and a hard case.
Until now, budget anamorphic meant using an anamorphic adapter with a separate taking lens. Using a complete system prevents optical alignment problems and greatly simplifies focus. The SLR Magic specialized coating emphasizes the horizontal “blue streak” type flare from bright highlights.
These lenses are fully manual and have no electronic communication with the camera. You must adjust aperture and focus manually. You may want to consider renting a follow focus and rails system. The unique front-element focus rotates and extends while focusing, making matte boxes inadvisable for this kit.
The SLR Magic Anamorphot 2.0x-50 anamorphic lens adapter is a game-changer for cinematographers who want to get the cinemascope look without a six-figure lens budget. I spent some time shooting with the 2x Anamorphot (after working with various 2x vintage adapters) and have a lot of tips and tricks to share to get the most from any anamorphic adapter rig.
A frame from “Upstairs.” It was shot with a Sony FS7, a Zeiss 50mm ZE Planar T* lens with Metabones Speedbooster, the SLR Magic Anamorphot 2.0x-50, and Rangefinder.
This is the crazy rig I started using for the short film High Beam. It’s a Panasonic GH4, with an EF to MFT speedbooster, with a m42 to EF adapter, a vintage Helios 44-2 as the taking lens, a modified lens hood for mounting the Bell and Howell anamorphic adapter, which had the adjustable diopter cine modified. Then on the end, to get wide enough, I resorted to taping on a 0.7x wide angle adapter.
I started my anamorphic journey with a Bell and Howell 2x super 16mm projection lens. Getting the imperial threads of the lens adapter to fit onto the metric standards in use on my lenses and filters took a few deep dives on eBay. Figuring out how to mount and support the lens was a lot of trial and error, too. There are a lot of tips online, but with any modified projector lens, you’re going to need to figure out what works best yourself.
I learned one big lesson from shooting on the Bell and Howell: try not to change lenses. While I had lots of options, I ended up shooting almost exclusively on the vintage 58mm Helios 44-2. Since changing the taking lens meant changing the length of the crazy lens assembly, as well as using different stepping rings, lens changes were a 15-minute ordeal. I found it was easiest to switch between a “dumb” adapter for my telephoto shots, a speedbooster for my middle shots, and a speedbooster plus a wide angle adapter on the front for my widest shots. I found the the character of the vintage lens helped forgive some of the softness of the adapter.
Paired with a vintage lens, the Bell and Howell gives one-of-a-kind visuals, although it was bordering on impossible to use. Courtesy of High Beam. Click image to view in 4K
The rig was very inelegant, but did create some gorgeous images. The size of the Bell and Howell was suited to a Panasonic GH4, not s35 or full frame sensors. On MFT, it seemed a bit soft in 4K. Even with the modification to the variable diopter focus, focus was a challenge. It also looked so ridiculous that I couldn’t possibly suggest it for a “proper” shoot.
Looking for something that would be a better fit for the Sony A7s II, I picked up a Lomo 35 NAP2-3m. It’s a massive beast of a lens. While it does allow for relatively wide lenses even on a full frame camera, close focus is limited to a ridiculous 6 meters. The front element is so huge that no variable diopter would fit. Some anamorphic lensheads have done extreme modifications to the 35-NAP2-3M, but to do it right means building your own lens housing. Even with modifications, focus is difficult and requires the dual-focus method. After trying a few test shots, I quickly realized that the Lomo wasn’t a good option for me.
SLR Magic is the only company making modern “budget” anamorphic lenses and adapters. The Anamorphot 2.0x-50 is designed to work with the SLR Magic Rangefinder for single-focus operation. It has easy-to-use metric filter threads on the front and back. Everything about it makes it a lot easier to shoot with than any of the modified anamorphic projection lenses. I decided to work with the 2.0x model, since it gives a much more distinctly anamorphic look than the 1.33x.
SLR Magic definitely has some anamorphiles on staff. Everything in their Anamorphot line has a blue lens coating, which amplifies the blue-streak flares made famous by filmmakers like J.J. Abrams. The glass definitely has a unique character, like nothing I’ve seen from any other anamorphic lenses. The Anamorphot 2.0x-50 is relatively sharp when used with the right taking lens. I used it a lot around f/4 with Zeiss ZE series lenses. To get a tack-sharp image, you need to be sure that your taking lens and the adapter are at infinity, your adapter is mounted squarely, and of course your front focus element needs to be spot on as well. It takes some time and practice before that all happens naturally.
Lighting requires a different touch, as well. In general, highlights are to be avoided, except for the intentional lens flares and bokeh-ed points of light. High-contrast areas on a face, for example, can “bloom” and cause an out-of-focus look. In general, anamorphic shines most in low-key and night scenes. Getting the most from daytime exteriors usually means shooting low contrast, with a long lens and maximizing the oval bokeh effect.
After a few days of camera and lens tests, I’ve fine-tuned my ideal anamorphic adapter setup. I shoot on the Sony FS7, with an Atomos Shogun Flame to handle anamorphic de-squeeze and LUTs. A Zacuto Universal Baseplate provides a stable connection to rails (and gives the option to handhold the rig, if necessary). I use a Metabones adapter (not speedbooster). I found the speedbooster sometimes made focus even harder. I use Zeiss ZE lenses, or the Helios 44-2 for a more vintage look. The Anamorphot 2.0x-50 gets stepping rings to mount to the taking lens. I also use a Canon C-size tripod collar to help keep the adapter from rotating.
Playing with various lenses, I learned that the ideal taking lens has to have certain features. You need non-rotating front filter threads. Ideally, the lens maintains the same length when focusing. For full frame cameras, the front filter threads should be 62mm or smaller and the front element should be about 50mm or smaller. You can get away with slightly bigger numbers if you’re using full frame glass on a crop sensor.
Any comfort you have with lens lengths goes out the window with 2x anamorphic. Since a 50mm becomes a 50mm x 25mm lens, it can almost be wide and telephoto at the same time. Screengrab from Upstairs.
The Zeiss ZE 35mm f/1.4 on super 35, cropped to 2.35:1, was the absolute widest I could get, and required removing the Rangefinder. It still left me wanting a wider option when shooting interiors. It gives about the same horizontal field of view as a 28mm on s35. The 50mm f/1.4 and 85mm f/1.4 were both simple to use, and worked with the Rangefinder no problem. The 50mm was definitely the workhorse lens. Using an 85 seemed limited to large spaces and exteriors. I can see why the Helios 44 series is so popular among anamorphic adapter shooters. It’s an eminently useful length that’s long enough for bokeh effects and still wide enough to use indoors. On paper I was worried about not having a lens longer than 85mm, but in practice I never really felt I needed it.
Full manual is definitely the easiest way to go. Zoom lenses are tricky to use, since most of them change length while zooming. Primes are a much easier option. I experimented with a Canon 70-200, and it’s definitely not parfocal. In general, trying to focus past 135mm with an anamorphic adapter requires a zen-like patience, or a “good enough” attitude.
After shooting a few projects with various adapters, I really fell in love with the anamorphic look. It’s something I’ve wanted to take into my commercial work, but I didn’t feel an adapter was simple enough for high pressure work. I made the decision to add the three SLR Magic Anamorphot PL primes to my collection. I’ll post back here after I’ve shot a few projects with them.
What are your experiences shooting with anamorphic adapters? Let me know in the comments.
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