Available for immediate rental! Please contact us for more information.
Now supporting a wide range of media including CODEX SXR Capture Drives -- capable of recording High Speed frame rates in ARRI RAW & Open Gate.
Native Content & Publicis North America worked closely with Sight & Sound Studios to help coordinate, equip and crew the Camera, Grip, Video Assist and Sound Department. Seasoned location manager, Jim Triplett, secured a number of stunning locations across the island of Oahu; from Makapu'u ridge to Kualoa Ranch.
"When Native Content approached us for Video Assist services, I was excited for the challenge. I was told that we'd be hitting a lot of remote locations, multiple company moves per day and limited available power; being flexible and mobile was a necessity.
Our mobile QTAKE system was able the meet and exceed the production's expectations. I worked primarily out of a pickup truck; that way I could quickly deploy, wrap and move to the next location; important for a 1-man department. The Director, DP and Creative Team loved that QTAKE was able to quickly overlay graphic elements with a live view to assist with framing and visualize the final commercial as we were shooting it!"
-- Kevin Sawicki, VTR Operator
Sight & Sound Studios sports decades of production service experience in all aspects of the filmmaking process. From equipment and crew to coordination and advice, we want your experience in the islands to be painless and filled with aloha. Sight & Sound is an ally to producers, managers, supervisors, and coordinators - we help your production team put together the pieces of the puzzle (and we all know that the puzzle doesn't necessarily come with a picture on the box!)
Beyond collaboration with the Chelsea agency out of L.A. to assist in all aspects to get Walgreens' Thanks For Giving commercial off the ground, Sight & Sound personnel played integral parts on the crew. Bill Maheras as gaffer, Kevin Sawicki as VTR, Steve DeFeo as Audio, hand-picked professionals in the grip & electric department and more.
The creative hearts and minds at Chelsea crafted a globe-trotting expression of Walgreens' humanitarian efforts - utilizing the diverse settings available in Hawaii to whisk viewers between Vietnam, Ecuador and Africa (all while never actually leaving the U.S.!) Hope that revelation doesn't break the spell, but we can't help but be impressed by the movie magic! Check it out below, and enjoy!
The ARRIMAX is here! Day for night? How about night for day! Sight+Sound Studios is happy to offer this newly designed par head amidst of our already tapped out arsenal of lights, like any of our Arri 18K or 12K fresnels. On the 75th anniversary of the attack of Pearl Harbor we put the Arrimax to the test for Hawaii News Now's special newscast with Stephanie Lum and Keahi Tucker. Lighting Designer/Key Gaffer, William Maheras, worked throughout the night to have everything ready for Hawaii News Now's Sunrise broadcast; while Stephen Bacquet was on set to gaffe the evening report. Using a single Arrimax, we lit the entire Arizona Memorial from the pier of the USS Missouri, a total distance of 322 yards away! Bacquet flooded the light and dropped a full scrim to get it just right.
The Arrimax is now available in our inventory for your next project.
Some unique features include:
- 50% brighter than a 12 K PAR
- 15° to 50° continuous beam angle: standard reflector
- 8° to 15° beam angle: spot reflector
- Lens-less design
- Arc-like shadow quality
- ARRI eXtreme cooling
- 18,000W Single Ended (GX51)
- Easy re-lamping : EZ lamp lock system
- ARRI Dual Pin Width support (GX51/GX38)
ARRI / Zeiss Master Prime lenses are an industry standard offering excellent optical performance and liberating speed.
Sight & Sound now carries the 18, 25, 35, 50, 75, and 100mm as a standard set. The only one in the state.
A T-stop range from T1.3 to T22 allows artists to shoot in more diverse situations with natural lighting. Zeiss and ARRI have engineered some incredible glass - unprecedented resolution, beautiful contrast, and virtually no breathing.
Realize your vision at the highest caliber of optics.
Don’t lie. We know you can name most if not ALL the original 151 Pokemon, and you probably remember the theme song as well. After all, it was the very best, like no one ever was.
(I guess that’s all true if you’re a millennial anyway.)
Sight & Sound got the opportunity to catch ‘em all with our friends from Production Partners Inc. (PPI), to scout, crew, manage, and provide all camera, audio, grip, and lighting equipment for a series of narrative commercial shorts ahead of the release of Nintendo’s Pokemon Sun and Moon for the 3DS.
Our crew interfaced with the seasoned professionals at PPI, who for decades have been a resource for international productions and Japanese agencies. Shooting in over a dozen locations around Oahu, Sight & Sound offered full service to the crew, agency, and talent who flew in from the other great chain of islands across the Pacific. We employed RED Dragons, Zeiss Super Speed Primes, complete grip and electrical truck packages, wireless HD video monitoring and playback, location management, and Bill Maheras was the gaffer.
It was a huge amount of work, but that’s what it takes to be a Master!
Enjoy the videos and Train On!
Powered by the HELIUM 8K S35 sensor, the EPIC-W is capable of shooting 8K Full Frame at up to 30 frames per second.
Accurate Black Reproduction
Unlike many alternative display technologies, the OLED panel used in the Sony Trimaster EL Series features the ability to turn each pixel completely off so that no luminance signal is added to parts of the image recorded as black.
Super Top Emission Technology
Designed to provide a wide color gamut with accurate color reproduction throughout the luminance range of the picture.
Faster Response Time than LCD Panels
The gray-to-gray switching of the Sony Trimaster EL Series is faster than comparable LCD-based displays. This helps eliminate ghosting, motion blur (that is not naturally part of the scene), and other artifacts that reduce image quality
Wide Angle of View
Provides better off-axis viewing than many LCD-based alternatives, allowing users to accurately evaluate the image even if positioned off to the side. It features an 89° viewing angle in all directions while the contrast ratio remains above 10:1.
Say hello to the
Concept Smoke Systems B1 FOGGER!
The B1 is our newest addition to our SFX arsenal! This battery powered fogger outputs smoke at the push of a button. Never again will you have to wait for the fog machine to heat up, it's ready whenever you are! DMX Controllable, high output, ready to go where no fogger has gone before!
Sight + Sound Studios teamed up with the talented duo, Peden + Munk, to capture the gorgeous Tommy Bahama Retail Store, Restaurant & Bar located on Beachwalk Drive in Waikiki. Throughout the course of a week, we were able meet and exceed our client's expectations and capture some amazing footage. We couldn't have done it without our amazing crew and precise coordination.
"Tell us about your experience with Sight + Sound Studios?"
"Superior. Definitely praise worthy. As an executive producer and your client I can say that not only did you offer me the best (and cleanest) equipment but the level of service was amazing. The Crew was knowledgable, armed with an amazing attitude and great character and solutions to the multitude of problems thrown at them. Part of what makes Sight & Sound a complete professional stand out is not only the available high level of equipment nor the company's vast resources but its people. An absolute A team was assembled thanks to them. Everyone was on top of their game, not a "no" or "not my job" in the bunch. Serious hard working men and women who love what they do. My project would have not been met with the same amazing outcome without Sight & Sound. Knowing that even my clients were blown away by everyone's work output and ethic made the experience that much more amazing."
- Brian Howard - Executive Producer
"My experience with Sight + Sound Studios has been always great! High standards and professionalism. The staff/crew know what they are doing and are masters in their craft. This is the first time working so close with S+S as a Line Producer/AD. The result, total success! The representatives at Sight + Sound were able to accomplished what was required elegantly, efficiently and effectively, always with a grounding and calming attitude both amazing qualities in the mist of an aggressive industry that is in constant flux. I am aware that S+S staff was involved in several projects during the preproduction of the Tommy Bahama Shoot, yet I don't know how they did it, they were always there and always responded. They handpicked an amazing crew that worked in great harmony and had high aloha spirit, mandatory in any production. I was personally told by the client several complements about the crew, they really admired every single one and noticed that they had nothing but an A+ team for their project. Communication with Sight + Sound was always transparent, honest, direct, respectful, they listened always and provided helpful feedback when needed. Although the Sight + Sound Staff always had a "yes" approach, I do admire that they were also able to set up realistic boundaries and say "no" if it is necessary in a gracious way with a proper explanation."
- Fe Bailey - Hawaii Based Line Producer / AD
Thanks again to our amazing Clients and Crew! Looking forward to seeing the final edit in the up and coming months. Cheers!
LEDs are what's up. On the Bang:Buck ratio the market continues to run towards this technology and ARRI has produced a beautiful entry into that world with the SkyPanel LED - one of the brightest and most versatile heads in the industry. Incorporating the same features from their L-Series line-up - the SkyPanel offers fully tuneable color correction between 2,800 K and 10,000 K, with excellent color rendition over the entire range. Full plus and minus green correction can be achieved with the simple turn of a knob, and in addition to CCT control, vivid color selection and saturation adjustment is also possible.
Sight & Sound has long been the home base for all lighting that comes in a silver and blue package and we're stoked to add this to the arsenal. RENT IT TODAY
Check out ARRI's gear-porn video to get you jazzed:
San Diego coast in the late 70s. William Maheras is winning Emmys and contributing to American Cinematographer before he takes a trip to Hawaii's Big Island.
A lifetime later Bill is one of the premiere Directors of Photography in the state of Hawaii having shot, produced, and directed countless projects for local, national, and international distribution.
Dynamic images that engage. Expertly crafted, built on experience, and just plain beautiful. That's been Bill's pursuit for 40-years in this business. That's what he does today with Sight & Sound Studios. If you've got a vision, Bill has the means. Get in touch. Join the pursuit.
To fill the gap between the M40/25 and the ARRIMAX 18/12 ARRI has introduced the 9,000W M90 HMI Head. Osram has created a 9K lamp for this power class that is nearly the same size as the 6K version allowing use of either lamp in the MAX Technology reflector. The highly stable, 9K lamp can be used with the standard ballast or with the EB 6/9 kW High Speed Ballast for high speed filming at 1,000Hz with the ARRI EB 6/9 kW camera.
The M90 uses lens-less MAX technology to combine the characteristics of a Fresnel and PAR source. With a focus range of 16 - 49°, normally only achieved with supplementary lenses, the M90 performs like a traditional 12K with the compact form factor of a 6K head. Innovations include CCL, which compensates for power loss when using long cables and Cross Cooling which separates the electronics from the lamp housing, thus ensuring greater longevity of the head and lamp.
Q&A with Michael Tanji aka BLACKOUT - Director // Cinematographer // Editor
Thanks for taking the time to share your story with us! First thing's first--
How'd you get the nickname-- BLACKOUT?
I was interning at a local production company called Liquid Planet Studios. At the end of the day, I was told to turn off the studio lights and close up. The switch happened to be in a dark hallway and I wasn't exactly sure where it was. I had my hand on a switch and knew something didn't feel right so I called out-- "Hey, are you sure this is the switch?" Someone yelled back, "Yeahh, it's at the end of the hall!" I said, "Okayyy!" and flicked it off. It happened to be the breaker for the entire building. All of a sudden, Kim Seko started yelling to everyone in the office, "There's a blackout, there's a blackout!" And I've been called BLACKOUT ever since.
What inspired this project?
When we first pitched the concept, we were given a small specific list of criteria from the artist that this video had to feature in some way. 1. A Love Story, 2. Surfing, 3. Big Ass Waves. From there, we really ran with it creatively. As we started listening to the song more, we felt this love story was also kind of a tragedy. That this love was never reciprocated and there was this longing to have someone that would not or could not be with you. So, we wanted to make this Siren also represent the Goddess of the ocean.
What was your creative/visual goal for this music video?
We wanted to make this video feel like it takes place out of time with a very ethereal vibe. It was really important to us to create this world in which the story inhabits.
How did you use Sight & Sound Studio's gear to achieve this look?
I was confident that our camera package would capture the best representation of how I saw the video visually. It was really about shooting at the right time of day and shifting my white balance to taste.
How did you achieve the look in the studio? Highlighter & blacklights?
In the studio, a bunch of Kino Flo's were outfitted with black lights as the main light sources. We had a killer team of make-up artists that I had a lot of conversations with in prep to achieve the look for our talent. I even found myself shopping in a cosmetics store with them! After that, I really let them run with it and I think the final product really shows the talent that those ladies possess. Also there were a lot of in-camera tricks that we did on set to complete the look. I try to dial it in as much as I can in-camera and leave less to post.
Anything you want to say about local Hawaii production? Where do you think it's heading?
I think we're in a really exciting time for local Hawaii Production. Not only is the technology/gear more accessible but people are taking more creative risks. There's a lot of filmmakers out there creating great work which I think is only going to help push the creative and level of productions forward here in Hawaii.
Any projects coming up in the near future?
I do have another music video we're finishing up in post right now. But, I have a few potential short films coming up later this year that I'm collaborating with some talented directors which I'm really excited about.
I always appreciate Sight & Sound's support on the projects I've worked on! They've been really key in helping make some of them happen.
The morning of December 7, 1941 is one of the most significant events in United States history. In collaboration with Full Throttle Pictures, the U.S. Money Reserve, and the U.S. Navy - Sight & Sound Studios produced a show for the upcoming release of a 75th Anniversary commemorative solid gold coin as a tribute to the men and women whose lives were forever changed that day.
Sight & Sound brought together a great team for the endeavor - filling the positions of all the local crew including: gaffer, grips, audio technician, teleprompter, camera assistants, jib operator, data manager, make-up artist, script supervisor, wardrobe stylist, production assistants, and craft services. We’re lucky to have been in this business long enough to know who to call to get the job done right. The production was shot using our ARRI Amira package with our ARRI Ultraprime kit, the Fujinon Alura 45-250, and the Fujinon Cabrio 19-90.
Mark Morgan of Steadicam Hawaii provided his Panther Advanced Foxy Jib system which looked pretty amazing swinging down from the forward guns of the historic Battleship Missouri Memorial. With 18kW HMI lighting, gaffer Bill Maheras facilitated the epic cinematic looks that this story required.
After our foray on the Battleship we had the unique opportunity to meet several survivors of the attack. Bill switched roles (as he often does) from gaffer to cinematographer to visit them in their homes and record their stories. Sterling Cale - who spent the day pulling the dead and injured from the oily waters of the harbor, Herbert Weatherwax – part Native Hawaiian who spoke of the paranoia and mistreatment of Japanese Americans, Alfred Rodrigues a storekeeper at Bishop’s Point who viewed the attack firsthand, and Everett Hyland who was on board the USS Pennsylvania and was originally “tagged” dead after his gun turret was struck by a bomb blast.
These men are living history, and an incredible reminder of where we’ve come from as a nation.
Sight & Sound Studios is proud to have been a part of this undertaking and we are honored to have the privilege to help keep our history alive.
Sight & Sound Studios now offers a shooting space for photography & video productions!
All of our equipment at your fingertips & discounted rates for studio use, call us today for booking!
Whether you were rootin' for Team Rice or Team Irvin, Sight & Sound Studios was drafted to play on the NFL Network team for the 2016 Pro Bowl at Aloha Stadium. Always a pleasure to work with our friends from NFL and ESPN to bring fans the excitement they're looking for.
Sight & Sound crew busted out our ARRI HMI Lighting for the Pre-Game Field Show and the ESPN Press Box. We've got the power distribution, grip hardware, and professional expertise to tackle any play. (Football puns!)
To all our production friends and fans out in San Fransisco this Sunday - be safe and have fun!
The ARRI L7-C Color LED Fresnel is part of a new generation of lighting equipment that can be seamlessly integrated into the studio or onto the set without sacrificing features or performance.
The key characteristic of any Fresnel is flood to spot capability and the L7-C meets and exceeds expectations with an impressive beam angle of 15-50°. There's simply no learning curve or accommodation to be made when swapping out L7s fixture for fixture with standard Fresnels. In fact, you're not going to be moving them around or juggling scrims in high places thanks to the 100 - 0% on-board dimming.
The colors, Duke, the colors!
Say goodbye to party gels! The L7-C is a "fully tune-able" white light source, too, allowing you to match existing fixtures from a warm 2,700K to ice-blue 10,000K. The on-board controller allows manual intensity control as well as color temperature and +/- green. Specific color shades and skin tones can be matched through the full gamut color mixing feature. All of the functions can be controlled via DMX, an ideal feature for broadcast studios.
The L7-C LED source produces the equivalent of a 750W tungsten light while drawing only 220W for a savings of a whopping 75% over similar output tungsten lights. And low heat means lower AC bills in the studio. Lighting teams working on location will love the versatility they can achieve in small to medium-size packages. Nine ARRI L7 Fresnels can be run off a single 20A, 120 VAC outlet, as opposed to only two 1000W or three 650W tungsten Fresnels. When it comes to performance and features, the L7-C might just be the ideal light source.
With the Blu-ray release of Jurassic World around the corner, Universal Studios teamed up with Sight & Sound Studios to knock out a press junket! Six Arri Amiras, two Sony FS7s, and all three of our grip trucks were deployed to facilitate 50+ journalists in five locations in 48 hours.