Paramount Pictures is hidden just slightly off of Santa Monica Boulevard in Hollywood. From the parking garage you can see the Hollywood sign off to the left and the Griffith Observatory off to the right.
The "Paramount Pictures" building edifice picture below is the Sumner Redstone building on the lot. The office inside is VERY nice and proudly displays a number of Oscars. We asked permission to walk through the lobby.
We also attended a seminar in the Paramount Theater (last two pictures in the series below). The panorama photo is from the lobby. This is perhaps the nicest movie theater I've ever experienced. That, and on a day where the temperature is about 85 degrees outside the air conditioning was a welcome change. You could tell the vintage of the movie by the sharpness of the pictures hanging on the wall.
The pictures below are some of the incredible ways Hollywood gets camera movement now days. Need a fast moving camera?...attach it to a gyro stabilized crane on a Porsche. Need a really, really fast moving camera while capturing images at 2500fps? Attach is to a robotic crane arm. The picture could either say "come play with me" or "I am your new digital overlord, bow peon!" Need to follow something in high places? Rent the helicopter plus crew for $18k/day like Roger Deakins did with the helicopter below on Skyfall and his new movie, Prisoners.
The more I see the BBS version of Source Fours, the more I like them. I first saw these lights at NAB and I want to be able to rent them. The original Source Four tungstens are just a burden to work with. These LED ones that BBS make are reasonably cool and don't require gloves.
I had to show an 18k...just because it's so gear-porntastic.
Even Mole-Richardson was highlighting their new LED lights. The Hollywood standard fixtures were kind of off to the side where people were mostly ignoring them. The LED series seemed to be where it's at. The thing I don't quite understand yet is that if they are doing themselves a favor or a disfavor by choosing to keep the same form factor as the mid-20th century tungsten lights they have been producing. It seems like most other people have moved on to lighter weight, more agile, and mobile form factors.
Speaking of form factors, the new "lowcaster" lights from Arri were my find of the show. They put out as much light as a litepanels 1x1, have a built in lens to give a circular beam (unexpected from the shape), dim, +/-green, and allow for color temperature adjustment. There is also a lens accessory that replaces the barn doors which narrows the beam even further. Way cool for what I need to do.
The "broadcaster" version of this light simply adds DMX control. Something I don't need.
One of the vendors told me that Cingear takes on a whole different look at night. Once 7pm hit, the guys with the light balloons and 24k fresnels went to work. On my way out I spotted "The Ice Man" truck and took a photo for my amusement. I wonder if they make snow cones in between blizzard scenes?
Back to the studio today for more ADR.