At MPS Studios, we believe great stories deserve the tools to be told well. That’s why we’re proud to support the next generation of filmmakers through the MPS Camera & Lighting Austin Award, an in-kind grant presented in partnership with the Austin Film Society.

This award is part of the AFS Grant program, one of the most respected funding initiatives supporting independent filmmakers in Texas and beyond. The program awards grants twice each year—once for feature films and once for short films—helping emerging and established storytellers bring ambitious projects to life.

Supporting the Creative Community

The MPS Camera & Lighting Austin Award provides filmmakers with a multi-day camera and lighting package rental valued at up to $10,000. By providing professional-grade equipment, the award helps filmmakers elevate production quality and execute their creative vision.

Independent filmmaking often depends on collaboration and community support. By contributing equipment resources, MPS helps bridge the gap between creative ideas and the practical tools needed to produce them.

The award includes:

• A camera and lighting package rental from MPS Studios valued up to $10,000

• Professional cinema equipment suitable for narrative, documentary, or hybrid productions

• Support from a team experienced in film and television production workflows

Strengthening the Texas Film Ecosystem

Texas continues to grow as a vibrant hub for film and television production. Organizations like the Austin Film Society play a crucial role in nurturing that ecosystem by providing financial resources, mentorship, and industry recognition to filmmakers working across the state.

By partnering with AFS on this grant, MPS Studios aims to help filmmakers access the professional equipment needed to tell powerful stories and expand the reach of independent cinema.

Award Guidelines

Recipients of the MPS Camera & Lighting Austin Award must use the package for the selected project and may not transfer or sell the award. Grantees are required to meet MPS Studios’ minimum insurance requirements, and equipment availability is subject to scheduling.

Award recipients must also acknowledge MPS Studios in the film’s credits.

Empowering Filmmakers

For decades, independent filmmakers have relied on community partnerships to help bring their projects to life. Programs like the AFS Grant demonstrate how collaboration between filmmakers, nonprofits, and industry partners can create real opportunities for creative voices.

MPS Studios is honored to support the filmmakers who continue pushing the boundaries of storytelling.

To learn more about the Austin Film Society grant program and current recipients, visit the Austin Film Society website.

Whether you’re shooting in Dallas, Austin, or anywhere across Texas, the DZOFilm X-TRACT offers unmatched versatility, allowing filmmakers to capture extreme close-ups in tight spaces with dramatic depth and stunning clarity. If you’ve been searching for a macro zoom probe lens rental near you, MPS has the answer.

A Cinematic Game-Changer for Macro and Specialty Work

Unlike traditional macro lenses, the DZOFilm X-TRACT system features a 3X zoom range (30mm–90mm), enabling dynamic reframing without repositioning the camera. The integrated remote focus and zoom motor system allows for smooth, precise lens control — even when mounted on sliders, jibs, or motion-control rigs.

The articulating lens tip is a standout feature, offering ±35° tilt in any direction. This opens up creative possibilities for inserting the lens through narrow openings or angling shots around corners and obstacles, perfect for highly stylized product sequences, packaging reveals, and science or nature content.

Full Kit Rental – What’s Included

At MPS Studios, we provide the complete X-TRACT Kit as listed by DZOFilm and Duclos Lenses. The rental includes:

• 30-90mm Full-Frame Probe Zoom Lens (PL mount)
• Remote Lens Controller with:
  • Focus and zoom motor controls
  • Power cables
  • Extension cables
• Two interchangeable lens tips:
  • Standard straight probe
  • Articulating probe (±35° tilt)
• Macro Extension Tube
• Relay Module
• Illuminated tip with integrated lighting
• Hard shell transport case

All accessories are carefully maintained and tested to ensure they perform flawlessly on set.

Mobile Production Service is proud to announce the arrival of the Nanlux Evoke 5000B, now available for rent. This groundbreaking LED monolight represents a leap in production lighting—delivering serious punch, flexibility, and industry-leading build quality tailored for demanding shoots.

5000 Watts of LED Power with Bi-Color Flexibility

At its core, the Evoke 5000B is an LED powerhouse equivalent to a 9 kW HMI or 24 kW tungsten fixture. It consumes 5000 W on 200–240 V power and slightly more (5200 W) on 100–125 V systems.

The fixture delivers an astonishing 555,250 lux at 3.3 feet using its 5600 K reflector configuration. But power is only part of the story—what sets the Evoke 5000B apart is its broad 2700–6500 K color range with seamless ±80 green/magenta tint adjustment thanks to Nanlux’s proprietary Nebula B4 light engine .

This flexibility means dialing in warmth for natural tungsten looks, crisp mid-day daylight, or fine-tuning to match fluctuating ambient light—all without swapping gels.

Exceptional Color Accuracy and Efficiency

The Nebula B4 engine uses four types of white-light LED chips, improving white-light efficiency by approximately 30% over conventional full-color bi-color systems.

The Evoke 5000B achieves outstanding color rendition with CRI and TLCI ratings near 97–98, and TM-30 Rf/Rg values averaging 96/102. You get ultra-accurate and consistent light—ideal for high-end video, broadcast, or film production.

Rugged, Weatherproof Design for Any Location

Built with high-strength magnesium alloy and sealed to IP66 standards, the Evoke 5000B is a true storm-rated workhorse. Whether on outdoor sets, backlots, or studio environments, rain and dust won’t slow it down.

Weighing in at around 43 kg (95 lb), the unit is one-piece and rugged. Its stackable skid housing makes it highly transportable between locations.

Built-for-Professionals: Control & Utility

The monolight’s hardware ergonomics reflect serious on-set thinking. An included motorized yoke allows 540° of horizontal pan and a 270° vertical tilt with electronic adjustment—ideal when rigging high or heavy.

Balance rails and disc brakes lock securely, while the PosiTight mount system keeps modifiers firmly in place—even when swinging or panning.

On the back, you’ll find user-friendly control: three knobs, four buttons, and a 4.3″ display with a modern UI. Dimming is smooth and precise from 0–100% in 0.1% increments, with refined optimization across the curve.

Control on Set or Offsite

You can tweak settings either on-board or remotely. The Evoke 5000B supports wired controller, Nanlink App (wireless), DMX/RDM, LumenRadio CRMX, and Art-Net/sACN protocols.

For deeper creative use, the light includes 12 built-in special effects—complete with customizable speed and intensity—plus five fan modes (Smart, Full, Low, Pause, Off) (newsshooter.com).

A Home for Nanlux Modifiers

The NL-mount system ensures seamless compatibility with Nanlux’s full range of modifiers, including those designed for the Evoke 2400B line. From spot attachments to softboxes or projection lenses, your modifiers click on securely, maintaining balance and performance.

Why Mobile Production Service is Excited

At Mobile Production Service, we are committed to giving you access to top-tier tools that elevate your production. The Evoke 5000B stands out because:

• It combines HMI-level output and tungsten-like dimming finesse in one unit.
• The full bi-color and tint control means fewer gels, fewer bulbs, and faster setup.
• Rugged IP66 design opens creative possibilities even in challenging weather.
• Motorized yoke and remote control modes address real-world production needs.
• Built-in effects and smart fans add extra value without added gear or noise.

Use Cases and Rental Scenarios

Commercials and branded content shoots: Achieve crisp, high-contrast light for outdoor car spots or warm, cinematic interiors—plus consistent color across cut scenes.

Feature and episodic production: Reliably light large backlot or practical-set shooting with weather protection and motorized adjustment—avoid sticky rigging or noisy crew resets.

Music videos and live programming: Take advantage of effects for stylized looks, or use full wireless control for tight live timelines.

Documentary and location work: Access daylight and evening flexibility with breeze, dust, and light showers—they won’t bring this light down.

Availability & Rental Details

The Nanlux Evoke 5000B is in stock now at Mobile Production Service. Our rental package includes:

• Main unit with motorized yoke
• Power cable and accessories
• Control via onboard panel, wired controller, or wireless Nanlink
• Modifier-ready NL mount

Reach out to our team for custom packages, crew support, and bundled rates on modifiers or additional units. We’re here to craft the right setup for your project.

Final Thoughts

The Nanlux Evoke 5000B feels like a milestone: raw output, precision tinting, rugged design, and smart control—all wrapped into one LED fixture. It’s rare to find that level of power in a bi-color LED, especially one that handles extreme environments and heavy modifiers so gracefully.

If you’re planning a show, shoot, or set where high-quality, flexible lighting matters—and logistics are part of the conversation—the Evoke 5000B deserves a close look. And through Mobile Production Service, it’s ready for you to reserve, rent, and refine.

Curious to experience it in person? Want to bundle it with other gear or discuss custom rental setups? Drop us a note or include the Evoke 5000B next time you plan a shoot. We’re excited to light your story.

About Mobile Production Service: We deliver top-tier film gear with flexible rentals, expert support, and a service-first approach—so you can focus on storytelling, not technical hassle.

For inquiries, quotes or to reserve the Evoke 5000B today, by adding to your quote request cart or by contacting our rentals team at 214-630-1655.

Emerson Miller/Paramount+

By Zoe Hewitt Originally published on Variety.com

When the largest state in the country with a production incentive program does anything, it’s supersized. Texas has been enticing productions to film within its borders for about a century and isn’t letting up on its commitment anytime soon.

Last year, the Texas legislature approved a statewide filming grant of $200 million, up from $45 million. This session, Senate Bill 22 proposes a $500 million program that automatically renews every two years, for 10 years total. Aside from the funding, another key benefit would mean long-term productions coming to Texas wouldn’t have to worry each year that their incentives might disappear with a flick of a pen. SB 22 is about security as much as funding. (The vote on SB 22 has not occurred as of deadline.)

Fred Poston, executive director of the Texas Media Production Alliance (TXMPA), says, “With a state that’s as proud as Texas is, we want to make sure we’re the ones telling our stories.”

The TXMPA advocates for the state: the Texas geography can stand in for a slew of other locations, there’s strong infrastructure and it boasts attractive incentives.

Austin film commissioner Brian Gannon, notes that the incentive program has been able to build onto Texas’ production history and help make film and television a state “cultural export.”

Though Hollywood has experienced a slowdown in local production, Gannon says Austin has been hopping. The second half of Taylor Sheridan’s “1923,” starring Harrison Ford and Helen Mirren, just concluded its run and “it’s amazing to see everything,” says Gannon. “They shot so much here, and then watching the actual show, it’s great to see Austin play so many different places.”

Additional recent Austin-based productions include comedian Tom Segura’s new Netflix show “Bad Thoughts,” as well as Matthew McConaughey and Woody Harrelson’s new project, “Brothers” for Apple TV+.

McConaughey and Harrelson have also been hard at work trying to entice production to follow them to Texas, where they both own homes: they’ve shot a PSA and also spoke before the Texas legislature to help encourage voting approval of SB 22.

And, while the Sundance Film Festival has made recent news headlines for leaving its long-time home and making a future move to Colorado, Austin hosts multiple film festivals, including the famed South by Southwest, with no plans to change that. “The DNA is intermixed,” says Gannon of Austin’s multiple festival partnerships. He adds that it’s not just about media consumption, but also the great places to dine, sightsee and schmooze in as well.

Gannon recalls a big barbecue dinner one year during the opening night of the Austin Film Festival and seeing Ron Howard. “There’s an intimacy that’s part of why productions love Austin: You can be a celebrity here and you’re just a normal person. You can have a life and not be hounded.”

While productions prefer incentives, the infrastructure is imperative. Martin C. Jones, head of Austin Studios, notes that their 20-acre property with seven soundstages and two office buildings are always being updated and improved for future productions. One new addition has been a massive bar set originally build for “Walker,” which ran for four seasons on the CW. Too impressive to tear down, the studio saved it for other productions to rent.

Jones credits decisions by directors like Richard Linklater for helping shape production in the state. Linklater founded the Austin Film Society in 1985, a nonprofit dedicated to helping support filmmakers and their projects. The society operates a leading arthouse theater with programming nearly every day of the year that is curated by a dedicated full-time staff.  It operates as a satellite venue during South by Southwest as well. The organization opened Austin Studios in 2000.

“We have this enviable crew base because of the decisions [made by multiple directors] to put down roots and build this foundation upon which our Texas ecosystem has been anchored,” says Jones. “So now, the way we measure success is keeping people [in Austin], keeping them in their homes and not necessarily having to go away. During the filming of ‘Walker’ it was great to see some crew members who had flocked to Georgia … come back home to Texas.”

Jones notes that in their 25 years of operation, Austin Studios has hosted 1,100 productions, which have yielded 37,000 jobs and $2.77 billion in economic impact.

In business for almost 45 years, MPS Studios, which operates out of locations in both Dallas and Austin, has also experienced success with its varied production support. Executive vice president Meredith Stephens notes that they recorded an increase in production across film, television and commercials over the past year.

In addition to offering soundstage availability, MPS rents cameras, lenses, lighting equipment and more; they’re also the official Arri service and warranty repair center for a large section of the country. Not only can they get anything a production might need, but they’re experts at making sure anyone renting knows all of the benefits and capabilities of their borrowed equipment.

“Our film industry in Texas extends over 100 years,” says Stephens. “You have third- and fourth-generation film professionals that live and work in the state so you don’t have to fly in a ton of people to do even a really large production.”

MPS has a 35-person staff, many of whom are “highly skilled technicians that are manufacturer trained,” notes Stephens.

High demand in the area has led to additional purchases, so MPS has the latest and greatest technology on hand — and if it doesn’t, it will source it.

While the state hasn’t always been top of mind for Hollywood projects, that seems to be changing as producers and studios alike realize what the Longhorn state has to offer.

And for film fans, the Texas Film Commission’s website’s Film Trails option offers fans a variety of sightseeing spots across the state. Grouped by category, paths follow popular film and television show locations. For instance, Thrills and Chills highlights the many versions and sequels of “The Texas Chain Saw Massacre,” 2007’s “No Country for Old Men” and 2009’s “Friday the 13th.”

The Texas Classics category takes fans to spots from 1967’s “Bonnie and Clyde,” the “Dallas” TV series and 1999’s cult classic “Office Space.”

Before there can be Texas-inspired creativity, though, there has to be financing. And for that, there’s the incentive program.

“You get a lot of bank for your buck shooting in Texas,” says Jones.

One of the most talked about films from this year has been “Sing Sing”, a story about a wrongly incarcerated man finding purpose by acting alongside his fellow inmates. This stunning story about humanity and the power of art has gotten a lot of people talking! The film was recently nominated for three Academy Awards (Best Adapted Screenplay, Best Actor in a Leading Role, and Best Original Song “Like a Bird”).

Monique Walton, the producer for the film, has been a long time client of MPS. Starting with her time as a student in the UT Graduate Program, we have been proud to help provide Monique with the equipment needed to tell impactful stories about the human condition. We were able to catch up with her and discuss her journeys in film, Texas, and more!

What started your passion for filmmaking? What first ignited that fire? 

I think my interest in film actually started in undergrad. I was introduced to filmmaking through a documentary film course and at the time I was curious about film, I had never really considered it as a potential professional path. But I really fell in love with documentary! Taking the class with those professors, it was really a trial by fire. I was teaching myself how to edit, how to shoot, how to interview and… I just kind of fell in love with the way that film brings people together in conversation. When my final project about the black student experience at Yale University came out, I realized it was a way to really connect with people that you would normally not otherwise connect with. That was my first introduction to film and that’s what got me really inspired to pursue it.

What got you into producing? 

Well, I didn’t end up getting into producing until I got to graduate school at UT. But their program has a directing focus, so I was there as a director. But I really wanted to learn about all aspects of production on the crew side and creative side. Eventually I was able to produce someone’s film, and from there I just was really excited about the idea of creative producing that you could be a part of the creative side and the technical side. You’re overseeing everything, the cast, the crew, what the culture is onset, and figuring out how to bring the film off the page and into the world. I was just really in love with that collaboration. Everyone always needs a producer but they’re never enough producers, I was being asked to produce a lot of student films at the time and was able to really figure out if I loved it or not. I was also able to find collaborators that I’m still working with today, like Amy Silverstein, who I graduated with and then made a feature film together.

What made you choose UT for your Masters? Why Texas? 

At the time I knew I really wanted to take some time away from New York. I wasn’t really compelled to go to LA, and when I learned about the program at UT it just felt like it was a really intimate program. It was really small, but you had a lot of opportunity as a filmmaker. You had to make a lot of films over the course of the program and get you to also be very collaborative. It was the right pace and Austin is such an artist friendly town, it felt like there could be a way to live and survive as an artist here.

How has your experience been working with MPS? 

I always knew about MPS because they’re one of the major equipment houses in Texas. My first experience was through AFS and their grant program, which has been so incredibly helpful throughout my filmmaking career. The AFS grant and specifically the in-kind support that MPS provides for that grant really helps especially for example, with documentaries. You have to shoot a little bit before you raise more funding, and you’re always raising funding throughout the life of the project. So you have to figure out ways to continue working and filming, or there’s timely things that you need to capture. Having that support from MPS to be able to jump in and get a great camera package to be able to film and make something that looks really polished without very much resources is really crucial. Especially when you’re making a documentary and you’re constantly applying for grants and raising funding.

What would be one major lesson that you’ve learned while working in the film industry? 

I think you really have to trust your instincts and you really have to find people that connect with on a human and worldview level because everyone’s in film for different reasons. It’s important that when you’re making a film together that you’re all making the same film.

We would like to thank Monique for taking the time to answer our questions! Be sure to tune into the Oscars on Sunday, March 2nd live on either ABC or Hulu and root for Sing Sing!

September 24, 2018 – Dallas, TX – MPS Studios, which provides studios, equipment rental and lighting, recently celebrated its first year anniversary as an ARRI authorized lighting repair center in it’s Dallas facility. 

Marc Stephens, President, explains that, “MPS Senior Lighting Technician Angel Ovalles was trained at and employed by ARRI’s New York Service Center. When Angel relocated to Texas and came on board at MPS, we built a 3,000 square-foot Lighting Service Center at our MPS Dallas location that incorporates industry-standard test equipment and tools alongside an extensive parts inventory.” 

With the hire of Ovalles, his proficiency added a new element to the business structure of MPS Studios, paving the way for an agreement between ARRI and MPS Studios to provide warranty repair on-site. “Lighting technology is evolving really quickly right now. I was trained at ARRI and continue training on all new ARRI lighting products. ARRI has a long-standing tradition of manufacturing the best products, and we are an extension of that quality of assurance,” says Ovalles.

MPS services the central US, while ARRI has service centers in New York and Burbank, California. After four years as a service repair shop, Stephens explains that MPS added ARRI because, “It was a natural fit. We maintain a substantial inventory of ARRI lighting, cameras and lenses, and ARRI products have been integral to our success over the past 40 years.”

For ARRI, having an authorized warranty repair service center in the Central US serves as a convenience for their customers and provides an extension of the high-quality service they are known for.  “We are pleased to have the MPS Lighting Service Center as a resource for our customers,” says Frank Mueller, Direct of Service, ARRI. “They are known for outstanding service and support in the region and can offer that with ARRI fixtures.”

About MPS Lighting Service Center:

The MPS Lighting Service Center offers complete repair and maintenance services to keep your lighting equipment in top-notch condition. Our robust inventory of parts allows us to service your gear quickly, and on-site. From major overhauls to minor adjustments, our factory-trained technicians bring the skill and expertise that you can trust. For fastest service, request repair on our website: http://mpslightingrepair.com, or call 214-630-1655.

Applicants were to write an essay describing their interest in attending the camp, and six of the highest-qualified candidates were chosen. The girls get to learn from nine film industry volunteers, meaning they will have lots of one-to-one mentorship opportunities.

The National Cowgirl Museum and Hall of Fame and the Lone Star Film Society came together initially to make the camp happen.

“The Museum had recently honored Callie Khouri, the writer of ‘Thelma and Louise’ and the series ‘Nashville’, who noted that not many women have jobs behind the camera; opportunities for women and girls to learn are few,” said Diana Vela, Associate Executive Director of Exhibitions and Education at the Cowgirl Museum. “Knowing that Lone Star Film Society was right in our backyard, we wanted to take advantage of their expertise and offer an opportunity for young girls to learn about what happens behind the camera.” 

The Cowgirl Museum reached out to the Lone Star Film Society, and the partnership was born. They began putting their heads together to build an education program that involved documentary filmmaking for their participants. 

The collaboration grew even further when Chad Mathews, Festival and Film Society Director for LSFS, enlisted the help of Four Thirds Creative – a woman-owned production company focused on creating videos with social and emotional impact.

“Four Thirds Creative will provide an overview of the post-production process at the end of the camp and is charged with editing the participants’ hard work into a documentary,” said Karen Ryan, Post Master General at Four Thirds Creative. “The final piece will be shown at the Lone Star Film Festival in November.” 

The camp will be held at Wings of Hope Equitherapy in Cleburne, Texas.

“One of the founders of Wings of Hope, Margaret Dickens, is a Museum Hall of Fame Honoree,” said Vela. “We honored her due to her non-profit work with equitherapy – at a time when very few were doing it. We wanted to highlight the incredible work of Wings of Hope while also allowing the girls an opportunity to learn filmmaking skills.”

Wings of Hope provides equine-assisted activities for children and adults with unique physical, mental, and emotional challenges. 

“Our mission is so out of the ordinary, and we live outside of the box, so this was a perfect fit for our organization,” said Allison L. Gross, Development Director for Wings of Hope. “Our goal is to best serve individuals with disabilities and challenges through the partnership of a horse, so any time we can collaborate and stretch that service it allows us to enhance our mission.” 

Four Thirds brought MPS on as a sponsor, and MPS’s own Executive Vice President, Meredith Stephens, will be volunteering both days of the camp to mentor the girls. “It’s exciting that MPS gets to be a part of the inaugural year of the Cowgirls with Cameras camp, and we hope the collaboration will continue for years to come.” 

“Once we complete this camp, we will evaluate it and hopefully begin planning for 2019,” said Mathews. “Depending on the success of this year, expansion is definitely something we are very interested in exploring.”

MPS is honored to be a part of this community rising together, working in tandem to support and promote area organizations and the growth of the next generation of filmmakers.

ABOUT MPS STUDIOS

For nearly 40 years, MPS Studios has provided the equipment and support services to production companies making movies, commercials, and television shows. A staff of highly specialized, factory-trained, and industry-savvy technicians provide world-class service to clients around the corner and around the globe. The company offers cameras, lighting/grip/electric, sound stages, and lighting repair. Inventory includes ARRI, RED, Canon, Panasonic, and Sony cameras, along with, hundreds of lenses, and thousands of filters. Lighting inventory includes ARRI SkyPanels, ARRI M-series HMI’s, Kino Flo, Mole Richardson. Contact MPS Camera & Lighting Austin, MPS Studios Dallas, or MPS Denver to have a rental package customized for your next project. www.mpsfilm.com

One of the ways MPS offers such support every year is through the Austin Film Society’s Grant fund. MPS provided $10,000 in goods and services to the 2017 grant, and it went to the film 1985, which was shot in Dallas and will premiere at SXSW this weekend. “The Austin Film Society is a strong industry leader and supporter of independent filmmakers. Like AFS, MPS has been a long-time champion of the Texas production industry and supporter of independent filmmakers,” said Meredith Stephens, Executive Vice President at MPS. Since 1996, the Austin Film Society has awarded $1.8 million to Texas filmmakers. Many of those projects have been heralded worldwide, receiving nods from Cannes, Tribeca, and even consideration from the Academy Awards.

“MPS Studios has championed the Texas production community and independent filmmakers for nearly 40 years. Partnering with AFS was a natural fit for us,” said Stephens. “The AFS Grant fund provides financial assistance to filmmakers at all stages of production, helping stories to be told and ultimately evaluating the visibility of the Texas production community.”

Other films that Austin Film Society supported and MPS touched that will be featured at SXSW include Friday’s Child, Don’t Leave Home, and Support the Girls – MPS’s fourth movie with DP Matthias Grunsky, BVK – which were all shot in Austin. Augustine Frizzell’s comedy Never Goin’ Back, which was shot in Dallas, is another such film. MPS also provided lenses, camera accessories, and additional support on two other films – Thunder Road, a short feature written and directed by Jim Cummings, and Blood Fest, from the creative minds at Rooster Teeth – which will also be premiering at SXSW.

“As the spotlight shines on these films and filmmakers, the visibility of our entire community increases added Stephens. “Our infrastructure – crew, vendors, talent – become stronger, and more production comes to Texas. MPS is proud to support the Austin Film Society Grant and to back the Texas production industry, embracing emerging filmmakers and those established. We are honored to be a part of this year’s SXSW through lending our support in as many ways as we possibly can.”

ABOUT MPS STUDIOS

For nearly 40 years, MPS Studios has provided the equipment and support services to production companies making movies, commercials, and television shows. A staff of highly specialized, factory-trained, and industry-savvy technicians provides world-class service to clients around the corner and around the globe. The company offers cameras, lighting/grip/electric, sound stages, and lighting repair. Inventory includes ARRI ALEXA Mini, ARRI ALEXA EV and Plus, RED Weapons and Dragons, hundreds of lenses, and thousands of filters. Lighting inventory includes ARRI M-series HMI’s, Kino Flo, Mole Richardson. Contact MPS Camera & Lighting Austin, MPS Studios Dallas, or MPS Denver to have a rental package customized for your next project. www.mpsfilm.com

Writer/director, Matt Hullum teamed up with Daniel Fabelo to co-direct Lazer Team II. The cast includes”Shameless” star, Nichole Bloom and “Heartland” star, Victoria Pratt. Per Variety Magazine, “Bloom will play a new lead character — a scientist named Maggie Wittington — alongside “Superstore” castmate and returning original “Lazer Team” cast member Colton Dunn, who plays Herman.

In addition, Victoria Pratt (“Heartland,” “Mutant X”) is joining the “Lazer Team 2” cast as Kilborne. Returning cast members include Rooster Teeth co-founder and chief content officer Burnie Burns as Hagan; Gavin Free (“The Slow Mo Guys”) as Woody; and Michael Jones (“RWBY”) as Zach.

In “Lazer Team 2,” after Woody (Free) goes missing while working on secret alien research, Maggie (Bloom) must recruit the former members of Lazer Team (Burns, Dunn, and Jones) to join her in rescuing their lost friend.”

Cinematographer Philip Roy, who shot LAZER TEAM, returned to DP LAZER TEAM II. 

For the futuristic project, MPS provided lenses and camera support, and well as lighting, for the shoot that extended over three months. Working to create two different looks (one look for “earth” and one look for “sic-fi”) for the movie, Roy chose our Super Baltar Primes, Zeiss Standard Speeds, and Cooke 18-100mm zoom to work alongside his Schneider Cine Xenon primes.

In addition to lenses, MPS provided a  Preston 2-Channel wireless system, complete with MDR-4 and (2) DM-1X motors, a Preston Single Channel, and an Odyssey 7Q used in combination with Teradek Bolt 300 and monitor cage for wireless director’s monitor.

Be sure to keep your eyes open for LAZER TEAM II on YouTube Red in 2018. In the meantime, you can watch the first Lazer Team here.

ABOUT MPS

For nearly 40 years, MPS Studios has provided the equipment and support services to production companies making movies, commercials, and television. A staff of highly specialized, factory trained, and industry-savvy technicians provide world-class service to clients around the corner and around the globe. The company offers cameras, lighting/grip/electric, sound stages, and lighting repair. Inventory includes ARRI ALEXA Mini, ARRI ALEXA EV and Plus, RED Weapons and Dragons, hundreds of lenses and thousands of filters. Lighting inventory includes ARRI M-series HMI’s, Kino Flo, Mole Richardson. Contact MPS Camera & Lighting Austin, MPS Studios Dallas, or MPS Denver to have a rental package customized for your next project.

“Day 5 is the first dramatic series from Rooster Teeth Productions, set in the immediate aftermath of a fatal sleep epidemic. After a fortuitous drug bender saves his life, addict Jake (Jesse C. Boyd) ventures out into the quiet streets… unaware that most of the world already died in their beds. Now, battling sleepless fatigue and encroaching delirium, Jake teams with a scrappy teenager (Walker Satterwhite), overnight doctor (Stephanie Drapeau) and red-eye pilot (Davi Jay) to search for answers… and just maybe find a way to sleep again. Set in a world of insomniacs, late-shift workers and roving psychotics, Day 5 presents a unique vision of the apocalypse that fuses serial drama and thriller around a human story of survival and redemption.” (http://roosterteeth.com/show/day5)

For Season 2, MPS Camera & Lighting Austin is providing lenses and camera accessories, including Preston FIZ-3 for wireless lens control and Teradek Bolt Pro 2000 dual-receiver systems for wireless video and wireless handheld director’s monitor.

For lensing, cinematographer Lee Phelan chose the award-winning Cooke Anamorphic Primes, which are especially well balanced for astigmatism and corrected for lateral and longitudinal aberrations over the entire image area. Known for the quintessential “Cooke Look” and 2:1 oval bokeh for out of focus highlights, the Cooke Anamorphic primes are equipped with the next generation of /i Squared Technology for lens metadata capture, and offer superb optical and mechanical performance. Distortion, veiling glare, flares, and all aberrations are controlled at all apertures over the whole field of view.

“The quality of the engineering combined with the sharp, subtle, smooth rendering that provides dimensionality and high contrast, makes these lenses some of our most popular lenses in inventory,” says Meredith Stephens, MPS’ Vice President of Business Development. “We are especially excited to see how these lenses help shape the storytelling of Day 5, Season 2.”

Stephens continued, “Rooster Teeth is a huge part of the film community here in Austin. It’s been a pleasure working with them on a number of projects throughout the years. Day 5 is yet another testament to the creative genius brewing in the Rooster Teeth offices.”

Day 5 was created by Rooster Teeth vets, Josh Flanagan, Chris Demarais, and Matt Hullum. It is shooting in Central and West Texas, and its production office, Rooster Teeth, is located right here in Austin, Texas.

Stay tuned for the release of Season 2. In the mean time, download Season 1 here , and be sure to read up on the fantastic cast and crew on the Day 5 Wiki page.

ABOUT MPS STUDIOS
For nearly 40 years, MPS Studios has provided the equipment and support services to production companies making movies, commercials, and television. A staff of highly specialized, factory trained, and industry-savvy technicians provide world-class service to clients around the corner and around the globe. The company offers cameras, lighting/grip/electric, sound stages, and lighting repair. Inventory includes ARRI ALEXA Mini, ARRI ALEXA EV and Plus, RED Weapons and Dragons, hundreds of lenses and thousands of filters. Lighting inventory includes ARRI M-series HMI’s, Kino Flo, Mole Richardson. Contact MPS Camera & Lighting Austin, MPS Studios Dallas, or MPS Denver to have a rental package customized for your next project. www.mpsfilm.com

Her track “Vice” was nominated for single, song, and video of the year. Speaking of video, MPS and our friends and Big Feather Films had the privilege of working with Miranda and her team on the award nominated video for “Vice”.

The video was shot right here in Central Texas on an Arri Alexa Mini. Due to the rugged, western-style location MPS also provided the crew with equipment that would could withstand the dirt and the heat. For that, we provided an Angenieux Optimo 15-40mm lens, a TV Logic onboard monitor, a FIZ-3, a Western dolly, and more.

We caught up with Ashley Bergeron Ford, producer for “Vice” and Big Feather Films, to get the inside scoop on the making of the “Vice” video!