Camera, Light, Projector and Sound Rental in Milwaukee & Chicago

            Renting cameras, audio, lighting & grip for Milwaukee, Chicago, and the surrounding area.


  1. Transferring SD Cards with Problems


    SD cards are in almost everything, including most digital cameras, audio recorders, and even cell phones. They store images, videos, and more. They are so popular, because they are affordable. Because of this, they are also not very reliable. This means you’ll get card errors, corrupted data, lost and partial files, and other issues from time to time.  Here’s my guide for what to do when you can’t get data off of your SD card.

    If you need to recover data from your SD card and you can’t get in on to your computer, the first thing to try is changing the way you read the card. You should be using a modern card reader that supports SDXC cards and USB 3.0. You can get them for just a few bucks from stores like Amazon. Many older card readers (SD and SDHC) won’t read or recognize newer SDXC cards. You’ll also get the benefit of much faster transfer times with a new reader that supports USB 3.0 and UHS transfers.

    Make sure your reader isn’t using a USB extension cable or a hub. These can sometimes cause problems with data transfers. You should be plugging the reader directly into the computer. If you’re still having problems, try a different USB port. Sometimes USB ports fail, or get unreliable for large file transfers.

    Make sure your operating system supports the file format the card is using. SDXC cards use exFAT, which means you’ll need OSX 10.6.5 or later if you’re on a Mac. On Windows, as long as you are running XP or newer, you should be just fine.

    If you’re still having problems reading your card, you may want to try using a completely different computer. This can eliminate many variables at once.

    If you are able to see your files on the disk, but unable to play them, there is probably corruption of the data on the card. I’ve had about a dozen corrupt MOV files on Canon DSLRs, and for all but one of them, I was able to recover at least some of the video using Grau’s Video Repair software. Unfortunately, it’s not free. Corrupt JPG and RAW files are nearly impossible to recover, because of the way the data is encoded.

    If you still can’t read your files, your card may have failed, or it may have a corrupted file table. This could be a memory controller or other failure. Your options at this point are limited and expensive. If it’s worth a few hundred dollars to recover the files, you can contact a company like DriveSavers or Datatech Labs to attempt to save your files. Typically, they will perform “surgery” on your card, swapping failed components out for working ones. This is obviously a tedious and delicate process, and one you can’t do at home. These companies usually have excellent save rates, and can usually give you an estimate before you even send your SD card in for repair.

    If you accidentally deleted files from a card or formatted the card, you can try a free program like Recuva for Windows to restore them. The first thing you should do is STOP using the card for anything else. You risk overwriting the files. A file recovery program may be able to recover some, or even all, of the files, as long as you haven’t overwritten them with new ones.

    If you rented the device and SD card from us, we would be happy to attempt to transfer and recover any files for you, for a $49 fee. You will also need to provide an external drive with adequate space. If we are unable to recover any files, we will refund the fee and refer you to a data recovery company.

    Want a more reliable workflow for your video camera? We suggest either a dual-recording solution, or using media like SxS or P2 cards. These are more durable and have built-in error correction cababilities.

    Posted by Jon Kline

  2. Time Machine


    Fix problems you didn’t see coming, and create new paradoxes with this time machine rental. We actually wrote this description next year, but it’s just as relevant today. Dazzle your friends, witness your own birth, and then realize that things were perfect before you traveled back in time to fix them.

    This time machine uses subatomic wormhole recombination to facilitate large-object time travel. Objects with as much as 300Kg of mass can pass through with only a few hundred petajoules of energy. Of course, time travel is dangerous, and should only be attempted by trained personnel. Side effects include headaches and spontaneous molecular distortion.

    Please use with caution. We require insurance for this rental. Protective eyewear is recommended.

    Rental Prices

    $7995 for 1 day
    $10995 up to 700 years
    $795 return before rental starts
    Call or email for availability.

    Suggested accessories:
    Large Hadron Collider

  3. The Dress


    By now, you’ve seen the pictures of “the dress”… the black and blue or gold and white dress, all over social media. Of course, what’s interesting about this isn’t the way you see it, but actually trying to understand what everyone else sees. This is all about the biology of image perception.

    As a cinematographer, it’s something I deal with every day. If we look at the image from a purely scientific standpoint, the photograph of the dress has these two colors in it (give or take a few shades on each side).


    Which are, in approximate human terms, a steely blue and a medium brown.  But the interesting part is not what color is there, but what color we see. Our eyes are correcting images all the time, it’s why a white sheet of paper looks white, whether we’re in sunlight or candlelight. Our brains make a correction automatically. We also correct for overexposure and underexposure, using the rest of the image to make assumptions about what things look like, depending on our expectations.


    In the checkerboard above, the squares marked “A” and “B” are the same color. Yet “B” clearly looks brighter. That’s because our mind is cancelling out the effect of the “shadow.” The dress picture is doing a similar thing to our minds, but because the image is really mis-exposed, we can’t agree on which way the correction should go. It’s also playing with our expectations of color a little bit.


    Let’s make the “white” squares a bit yellow and the dark squares just a touch bluer. Then imply the light that is coming from the right side is golden sunlight and the ambient light is cool blue light from the sky. Now we’ve taken this illusion that was previously just brightness and added a color component. A and B are not only the same brightness, they are the same color!

    To see a yellow and white dress: imagine staring at a white and gold dress, on a sunny day. The sun is in front of you. The shadows cast by the sun tend to be a little blue. So white things in the sun are golden, and white things in the shade are blue.  When the camera takes an underexposed picture in this case, it could look just like that image.

    To see a blue and black dress: imagine you’re indoors. The lighting all around is very yellow, and behind the dress the room is very bright.  When you take a picture, the camera is overexposing, making the image far too bright. This is what the people who see the black and blue dress see.

    Photographers often use photoshop tools to correct exposure and color balance errors in their photos. Using just basic curves and color balance tools, it’s easier to see how people might be see the dress “the other way.”


    Personally, I assumed white and gold dress when I saw it. Of course, I assumed wrong! But, if you only learn one lesson here, I hope it’s that camera settings and lighting matter!

    Posted by Jon Kline

  4. Get a Great Deal on Camera, Lighting and Grip Rental (No Matter Where You Rent it From)


    Here’s a question that doesn’t get asked often enough: What’s the best way to get a great deal on the equipment rental for my short film, pilot, web series, or other low-budget project?  The answer isn’t complicated.  It also might surprise you just how much you can save!  Here’s where I suggest you start when you’re looking for a great deal renting cameras, lighting, and grip.

    1. Be insured.  You may only be spending $500 on rentals, but you could still have $10,000 in gear. Having insurance in place before you call sends the message that you take your responsibility and your job seriously. You may be able to “piggyback” on someone else’s policy, if they’re willing to sponsor you and take on the risks of your production. Otherwise, you can usually get some short term rental insurance starting around a few hundred dollars.

    2. Try to keep your large grip/camera/lighting/etc. order with just one or two companies. That includes a production van. It may seem like you’re saving money buy renting a $19.95 U-Haul van instead of a grip van, but the bigger your order with one rental company, the bigger a discount you should be able to get.  If your order is split between the rental companies with the cheapest prices on each item, none of them will want to give you a discount, and you’ll spend all day collecting gear.

    3. Establish a track record with the rental company. Show that you’re reliable, punctual, organized, and responsible. A lot of the cost of managing an order is due to the little things, like chasing down missing parts, staying late for customers that can’t show up on time, etc. If you’re the easy customer, the discounts come easier, too.

    4. Follow, interact, and show appreciation for the company in social media. The person running those accounts might throw you a discount or promo.  Want the people in the rental shop to know your name? Write a nice review on Google, Facebook, or Yelp, mention their names, and you can be sure they’ll hear about it. Word gets around, after all. If you’re their friend, it’s easy to get the friend prices!

    5. Be up front when you’re shopping around. If someone at a different company quotes you a better price, mention it. They may match the price, or let you know that the competition isn’t including the same things with the rental.  Being honest about shopping around also helps us help you, since we’re often borrowing inventory from other shops to fill out your order. And we’ll know if you cancel your order at the last minute because “the shoot was cancelled” and then take your business to another vendor. Film communities are close-knit, and we hear about that kind of behavior. That’s an easy way to get your name on the secret list of people we never give discounts to.

    The best way to get a discount is to ask for one! If you’re ordering more than a few items, or you’ll be renting for more than a week or so, it’s never inappropriate to ask.

    Posted by Jon Kline

  5. Five Predictions for Video Production in 2015 – Part 2


    Every year, we publish a list of predictions for the video industry.  Here’s what I see coming up in the next twelve months.

    #1 – Standard Definition is dead, at least as far as professional acquisition is concerned.  We will see nearly all professional and most consumer cameras introduced without any standard definition support.  This trend has already been underway in many manufacturer’s 4K cameras, and this year we’ll see a lot of cameras dropped from production that offer SD recording as an option.

    #2 – Canon will lose their death grip over low-budget video production.  The 5D mark II and III and the 7D completely owned the market for low-budget commercial, documentary, and narrative projects for the last 4-5 years.  As more shooters and producers see the performance gap between those cameras and mirrorless options from Panasonic and Sony, there will be pressure to change cameras.  This will be amplified by Canon’s decisions on pricing and video recording resolution.

    #3 – Metadata will be growing quickly as people and applications find new ways to use it.  Most still cameras today record exposure information in the file. Some record GPS-based location information. Video has been woefully behind in this, but 2015 will see us starting to catch up, hopefully not just with more tools for acquisition, but also for the preservation of that data through the editing and broadcast process.

    #4 – There will be many more jobs in video production. With the economy at large picking up steam, video as entertainment and advertising will increase.  This will be amplified by improved mobile device bandwidth, increased number of screens, and the accessibility of the technology.  We’ll also see video production professionals who specialize in mobile and mixed-platform video campaigns. What works in a theater doesn’t always work on mobile, and advertisers are learning that quickly.

    #5 – In-camera video HDR will start to take shape. We’ve seen plenty of still cameras with HDR built in, and solutions for video so far (Like RED’s HDRx) require a lot of processing after capture. Now that more and more cameras can capture 60+ fps and still have processing power left over, manufacturers can use that hardware for expanding dynamic range.

    What changes do you see coming in 2015? Sound off in the comments!

    Posted by Jon Kline

  6. Five Predictions for Video Production in 2015 – Part 1


     Last year, I posted my five predictions for video production in 2014.  Let’s take a look back and see the hits and misses.

    #1 – 4K Heyday

    With far more new cameras offering 4K resolution, I think this was an accurate call. I also suggested selling your Sony EX1. That camera has lost about 40% of its value this year.  I predicted a new 4K camera in the $5,000 to $8,000 range before the end of the year, and the Sony FS7 is exactly that.   This prediction gets a “confirmed” rating.

    #2 – Prosumer Video DSLR

    This prediction is mostly accurate, if you replace “DSLR” with “mirrorless.” The GH4 shoots and records 4K video on a crop sensor and can be outfitted with timecode and XLR ins.  The Sony A7s has significantly larger pixels than previous DSLRs, and definitely qualifies for “far better low-light performance.”  The miss here was all about Canon’s strategy.  Instead of delivering a 4K DSLR, Canon avoided bringing their video and photo lines in direct competition.  While the merits of this strategy may outweigh the risks to Canon right now, there’s a lot of other companies who aren’t afraid to shake up the market between still/video and prosumer/professional. This prediction gets a “sorta” rating.

    #3 – Lytro in Motion

    The closest match to this prediction is Pelican Imaging’s announcement of “upcoming” video support for their light field camera. 2014 also saw the release of the first light-field plugin for an NLE (Frauenhofer’s Light Field plugin for Avid). Lytro, the leader in bringing light field to consumers, spent their efforts on improving photographs. The Lytro Illum is really a fantastic camera within the tiny niche of light field photography, and the Lytro Development Kit has put the hardware and software in the hands of NASA and the DOD, who have video applications on the horizon.  Want to develop with the LDK? You’ll just need $20,000 a year. The part of the prediction I missed? This revolution is not hyped at all.  We’ll probably need a storyteller or brand to start using light field video before the world at large sees it and starts to take notice.  I give this predition a “mostly” rating.

    #4 – LED over HMI

    This year was certainly a banner year for LED technology. We’ve seen a dozen new manufacturers, and several are emerging as leaders in the LED video lighting category. Arri updated their LED fixtures with a 25% brightness improvement. This was significant, but the fixtures are still a long way from matching a 575w HMI in output (to be precise, an L7 has about 40% of the 5600k output of an HMI at 575w). Arri also launched the L5 fixture, with less output than the L7, less color adjustments, and lower CRI.  The biggest advantage of the L5 is battery operation. This prediction gets called a “miss.”

    #5 – Magic Lantern will change or become irrelevant

    2014 saw the announcement of the Axiom line of open-source video cameras, with firmware to be developed by the Magic Lantern team.  I think that qualifies as a significant change.  The ML team put a great deal of effort into making raw recording more stable, but the Blackmagic 4K camera gave shooters raw files with higher resolution, more dynamic range, and significantly more manageable workflow. For shooters that don’t need raw, cameras like the GH4 integrate nicely into existing workflows (and shoulder rigs, memory cards, and lenses too).  We’ve seen the rentals of the Canon 5D3 for video shooters drop around September 2014. This prediction gets another “mostly” rating.

    Now I’m off to write part 2, where I make new predictions for 2015.

    Posted by Jon Kline

  7. Sony FS7 Tips, Tricks, and First Impressions

    Sony FS7 tips

    The Sony FS7 in Times Square at night.

    An update to this entry was published on May 19, 2015.

    The Sony FS7 and Metabones EF to E Ultra Speedbooster have been in my hands for about two weeks, and that’s long enough to learn some of the biggest strengths and limitations of the duo. This post is current as of Sony’s firmare v1.01 and Metabones’ firmware V0.38, which are the most recent available today (December 20, 2014).

    First things first, the Sony FS7 is easily my favorite camera under $15,000.  When the FS700 came out, it was a direct competitor to Canon’s C300, which still dominates docu and reality work. With the release of the FS7, Sony has no direct competitor in this price range, and it seems likely that the camera could become the leading choice of docu and reality shooters. It’s also an incredible film-look camera, and will be my first choice for a lot of commercial work.

    There are some notable limitations to the camera right now.  Here’s a list of the caveats and the considerations you’ll want to consider before buying or renting an FS7 package.

    Electronic lenses aren’t working great, yet.  Sony knows that the iris control on the FS7 is a bit “loose” feeling. There is no click-equals-1/3-stop, it’s much more of a spin and pray feel right now. This is across both Sony E-mount and adapted EF-mount lenses, so it’s not just a Metabones issue. Sony has talked about addressing this issue in firmware.

    Some EF lenses have issues where the f-stop “twitches,” making the image flash.  Some high speed lenses are reported by the Metabones to be slower than they are, because Sony firmware doesn’t support lens speeds faster than 1.0. In our tests, a Canon 50mm f/2.5 macro wouldn’t adjust f-stop at all, locking wide-open at f/2.0.  We’ll do a comprehensive test of all the lenses in our inventory, but for now, I suggest you test all the EF lenses in your kit before you take them on a shoot. I have every reason to believe that eventually, nearly all EF-mount lenses will work great. It will just take Metabones some time to get the bugs worked out.

    The best lenses for now are either Sony’s native E-mount or fully manual lenses. Zeiss CP2s or Rokinon cines make for trouble-free operation. You’ll want to use rails and a lens mount, since the Metabones Speedboosters aren’t particularly good at handling heavier weight lenses.

    Waveform or LUT preview work separately, not together. And worse, if you switch between shooting modes, waveform will be disabled by default. The second problem will be addressed by Sony in firmware. Until then, if you change modes and your waveforms turn off, you’ll need to adjust the outputs of the camera to SDI 1080p and HDMI off.  You’ll also need to disable LUTs on all outputs (or enable them and record a baked-in LUT).  The second problem is possibly too processor-intensive to correct in firmware. If you want to monitor in a REC709 space while you have waveform or histogram on the viewfinder, you’ll need a LUT box or LUT-enabled monitor, for now.  I’ve been shooting and previewing in slog3 with waveform on, and have had great results. If I have a shoot with a client over my shoulder, I’ll be sure to bring a DP7-PRO or something else with LUT support, so we can have some idea of what the final product will look like.

    Batteries are a b*tch. Sony ships the FS7 with a BP-U30, which will give you 50-70 minutes of real-world use. Sony brand BP-U60 batteries are expensive, with a full day’s worth costing above $1000.  Sony’s engineers made sure to sell them, though, by blocking aftermarket batteries from working with the FS7. Even BP-U series batteries that work with the EX1 and EX3 won’t work with the FS7. Want to use an aftermarket battery with a Sony barrel connector, instead? No problem, until you want to charge it with Sony’s latest BP-U series charger. The Ikan BP-U65 battery I tested wouldn’t take a charge on the Sony charger, either. As we learn of aftermarket batteries that work with the Sony FS7, we’ll post a link here.

    The configuration is designed to be customized. I’ve experimented with several configurations to help balance the weight when mounted on a shoulder rig. My preferred method moves the shoulder pad back about 2 inches, puts a V-mount battery behind me, and leaves the viewfinder where it is. Other shooters prefer to move the viewfinder and the handle forward (suggested if you’re not using V-mount batteries). Swapping the stock rod for a 10″ 15mm rod will let you move the viewfinder, and an Arri rosette dogbone will solve your handle problems. Figure out how you’re likely to be using the camera before you figure out how you’re going to pack it.  You’re stuck choosing between a bulky bag that’s ready-to-shoot or a compact bag that needs a few minutes to get set up.

    You’ve got to put in the time. If you haven’t used the Cine EI mode on Sony’s cameras like the F5 and F55, or you’re not familiar with log color profiles (specifically Slog3), you’ll need to read up before you’re ready to get the most out of the Sony FS7. Alister Chapman has a world-class overview of Slog3 and LUTs for the FS7, great for getting started with the camera. There is, as always, no replacement for real-world experience, though. It’s going to take a few missed shots before you’re regularly getting great results from the FS7 in Slog3. It’s definitely not an expose-to-the-right picture profile, and does much better with underexposure than overexposure.

    What are your experiences with the Sony FS7? Let us know in the comments below.

    Posted by Jon Kline

  8. Consignment Rental

    consignment-camera-rentalHow many hours a week do you use your camera?  Wouldn’t it be great if you could make extra cash when you’re not using it?   MKE Production Rental is always looking to add cameras and a few other pieces of equipment to our rental inventory.

    What is consignment rental?
    Consignment rental is a simple agreement between you and us that lets us rent your equipment to other people.

    How much money will I make?
    For most equipment, we’ll give you a 50/50 split of the rental revenue.  For equipment on our Most Wanted list, we’ll give you even more (60/40 split).

    Is my equipment safe?

    We use the same procedures with your equipment as we do with ours. When your equipment is in our care, it’s covered by our insurance. When it’s with a customer, we require proof of their insurance, and we complete a background check. In the unlikely event something permanent happens to your equipment while part of our consignment rental program, you’ll be paid the replacement cost. If your equipment needs repair due to misuse, we will pay for it. Maintanance costs, like re-lubricating gears, replacing lamps, etc., are split at the same ratio as rental revenue.

    Can I use my equipment for my own projects?
    Of course! If the equipment is not already committed to a rental, you can pick it up and return it during normal business hours.

    What kind of equipment is acceptable for consignment rental?
    Most 4K and cinema cameras, as well as professional photo and cine lenses are the most popular items.  We are also a big renter of stills cameras, so high end DSLR and mirrorless cameras less than three years old are in demand.

    You can read our boilerplate Consignment Rental Agreement, get in touch, and start making money today!

    Consignment Rental Most Wanted List

    Video Cameras, Lenses, & Accessories

    Canon c300 mark II Kit
    Canon c500 Kit
    Canon c700 Kit
    Arri Alexa or Amira Kit
    Cooke S4/i, mini S4/i, or S5 Lens Kit

    Still Photography Equipment

    Profoto Heads
    Medium Format Digital Camera
    IR (Infrared) DSLR Camera

  9. Using Bounce – Available Light

    You know lighting has a huge impact on how people look in photos and video.  But sometimes adding lights is complicated, expensive, or just plain impossible.  Using available light isn’t just the “easy” way out, sometimes it’s the most effective.  In this series of posts, we’ll talking available lighting.  Tool number one: bounce light.


    silver reflectorYou’ve probably seen a photo/video reflector (sometimes called 5-in-1s, collapsible circles, flexi-fills, or multi-discs) on a photo or video shoot before.  You may have also seen more professional reflectors, like shiny boards, or budget-friendly options like beadboard, foamcore, or even aluminum foil.  These are all different ways to bounce available light.  Some are expensive, but you can find a basic photo/video reflector for under $20.

    Why to use bounce light

    Bounce light can do a few things very well.  When used as a fill light, it can soften wrinkles and make skin more even.  It can create a catchlight (eyelight) that makes eyes appear more alive.  It can also help control contrast, especially when working in direct sun.  These are all ways to make the subjects of your video and photos look more attractive.

    When to bounce light

    I often use bounce light both outdoors and inside.  When shooting outside, it can be challenging to choose the background you want while still putting the subject in flattering lighting.  Three-point lighting is often the goal, but the sun usually gives us either two-point lighting (the direct sunlight and the sky) or one-point (under clouds, where everything is even and the light is soft, but flat).  Adding a reflector is adding another light source, giving you more tools to flatter your subject and move the lights to where you want them.

    What to bounce with

    There are about seven bounce surfaces I use on a regular basis.  The most basic is a white card or fabric.  This type of bounce is great for the fill side of the face when the key is in direct sunlight.  The diffuse light will soften shadows and reduce contrast.  It’s also the surface I use most often for bouncing artificial lights.

    Another popular white surface is bead board, sometimes called platypus.  This is white styrofoam sheets, often used as building insulation.  Bead board tends to be softer and more flattering than a white card, but the effect is similar.  In my opinion, the greatest advantage of bead board is that it holds up well in water.  I’m not just talking rain, either.  Water rolls right off, but it floats, too.  It’s great for fill when you’re shooting in a small boat or other watercraft.

    Another common bounce surface is silver.  This is a semi-reflective fabric surface that gives some directionality to the light.  If your source is a hard light, it will create shadows, although they will be a bit softer than direct sunlight.  If your light source is very soft, like an overcast sky, the bounce will be very soft as well.  Silver is great as a key light on extremely overcast days, since you can add contrast where there otherwise wouldn’t be.  You’ll need to be very close to your subject.

    Many reflectors include a gold side.  The end result is much like silver, but the color of the light is warmed.  Using the gold side allows you to vary the color temperature of your light sources without needing to use gels or other methods.  Gold is a great tool to have on a mostly overcast day, especially for particular skin tones.  Many people with very light or very dark skin can look great under a warmer-looking key or fill source.

    Some reflectors are gold-silver combo.  They are usually arranged in a fine zebra pattern.  When gold is too warm, but silver is too cold, this is the perfect option.  This usually works great for fair skin and on days when the sun is partially hidden behind haze.

    Shiny boards are a standard 42″ square, and have a flat surface with a foil-like covering.  They bounce light much more directly, and are great for using over longer distances.  If you need a direct light indoors, away from a window, you can set a shiny board outside and direct light down a long hallway or into a deep room.  Shiny boards are also commonly used with an additional bounce or diffusion, and can make it look as if sunlight is coming from 3 or more directions at once.  They are usually mounted on heavy-duty stands.  You can improvise your own shiny board by taping aluminum foil to a hard surface like a foamcore card.

    Mirrors are the ultimate bounce.  I usually don’t use them to light people.  When I want a very precise line of light on my background, or there is simply not enough space to get a light where I want it, a mirror is a useful tool.  Covering a mirror with clear tape and breaking it allows for a nice breakup, throwing random-looking slices of hard light (please be careful when intentionally breaking mirrors).

    Other common bounce surfaces include bleached muslinunbleached muslin, and supersoft bounce. Each has unique strengths, depending on the application.

    Reflector before and after

    Both images were captured on a hazy/overcast day. The sun is over the model’s right shoulder, but in the image on the right, a gold-silver bounce has been placed just out of frame right. It warms the skintones, fills in wrinkles, and can be seen as a reflection in the eyes.


    (Image detail) You can see the reflector as a shiny circle in the subject’s eye. This is often called a catchlight, and helps make people look more alive. It’s even more impactful on very dark eyes.

    How to place your bounce

    Usually, three-point lighting is a good starting objective.  You can use direct sunlight as your key or as your backlight.  If you don’t have direct sunlight, you can use the cloudy sky as your fill and a shiny surface close to the face as your key.  Under haze, you can usually use the sun as key, fill, or backlight, depending on what you need.

    Be conscious of the height of your bounce.  If you are too low, you can create odd shadows, especially when the source is a hard light.  If you are too high, the eyes can be lost to shadow.  The goal is usually to light up the eyes, avoid too much light under the chin, and see the reflector in the iris of the eyes.

    Just like regular lights, moving the bounce toward or away from the subject will increase or decrease the amount of light they receive.  Moving the source closer also has the effect of softening the light, and creating a larger reflection in the eyes (or other specular surfaces).

    Learning by doing

    You can read all about how to bounce light, but the easiest way to learn is to get out there and try it yourself!  Don’t forget, when you’re using a reflector or board, they can turn into a safety hazard if you’re not careful.  They can become sails in high wind and can hurt people if they are mounted improperly.  Always practice safe grip.

    Have a favorite way to use bounce light? Sound off in the comments below!

    Posted by Jon Kline


  10. Gay All the Way!

    Same Sex Marriage

    Congrats Betty and Linsi on tying the knot in Wisconsin!

    Congratulations Wisconsin! We’ve joined with the majority of states in legalizing same-sex marriages. Our friends, our neighbors, and our customers have been waiting too long!

    At MKE Production Rental, we believe that every couple has a right to marry, so we’re celebrating with our 50 for 50 promo. Until all 50 states recognize same-sex marriages, we’re offering 50% off on any equipment rental for a same-sex wedding event. That’s 50% off on PA systems and microphones, DJ lights, uplighting, and even projectors and accessories. Meet with one of our technology experts to help you create your perfect day. But please book early, because this offer only lasts until the USA goes gay all the way!



    Mandatory fine print: This offer can’t be combined with any other offers.  You must mention the 50 for 50 promo when making your reservation.  All rentals are subject to availability.  All rental terms must take place between October 1, 2014 and December 31, 2015.  We may require a copy of a completed marriage application or marriage certificate to confirm eligibility.  The discount will be applied at the time of rental pickup.  50% off applies to all equipment rentals, but excludes any labor, delivery, late or damaged equipment fees, and taxes.  Rentals are considered booked when the deposit is received.  Offer ends 12/31/2014 or when a same-sex marriage has been legally recognized in each of the 50 United States.