AUSTIN FILM SOCIETY ANNOUNCES RECIPIENTS OF THE AFS GRANT FOR SHORT FILMS

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.

Being the worthy successor to the ARRI SkyPanel, the ARRI Orbiter is the newest LED fixture from ARRI. It features systems designed completely from the ground up, guaranteeing both the easiest and the most versatile use over a wide range of mediums including but not limited to motion pictures, television and broadcasting, live theater and performance, and still photography.

It is ultra-bright, completely color tunable, and maneuverable in any direction. It fully harnesses and adapts ARRI’s most powerful software and technology to date to create one of the most powerful and technologically advanced LED luminaires on the market. Let us take a look at some of the innovations the ARRI Orbiter is bringing to the table for image capture.

Orbiter Key Features

Quick Lighting Mount

One new key feature the ARRI Orbiter introduces is the QLM, or Quick Lighting Mount, which allows for a wide and increasing array of changeable optics that can be specifically built and customized for any situation. The QLM exponentially increases the versatility of the unit when compared to other LEDs of its kind.

Widely varying optics can be connected with the use of the QLM, allowing for wildly changing properties and effects. This can be done on the fly with no downgrade in the power of the beam, the power of the output, or the quality of coloring given from the unit.

ARRI has already designed a number of optic attachments for the Orbiter, with more options, including third-party support, coming down the line. The already designed attachments include the open face optic, the dome optic, and the projection optic. They each excel in specific areas and can be used to incorporate your unique ideas into your production.

If you need the light to reach long distances, you can attach the open face optic to the Orbiter, including several different beam angles 15°, 30°, and 60.

If you need to light up a large area, the dome optic can be attached, providing a wide, open light that covers vast spaces and illuminates them thoroughly, domes come in 3 different sizes.

The projection optic can offer more precise lighting, which can then be further adjusted with cutters or more specific focus, optics available are 15°,25°, and 35°.

To support third-party development, a QLM attachment will be made that allows for universal adaptability with both current and future products made for the Orbiter.

With the creation and incorporation of the QLM, the ARRI Orbiter is allowed to become whatever light fixture you need in the moment, and there will be plenty of room in the future for even further innovation that can provide more than you could ever imagine for the lighting of your production, regardless of the size and scale.

ARRI Spectra Six-Color Light Engine

Another one of the ARRI Orbiters greatest features is the new ARRI Spectra six-color light engine. Designed with the ARRI Orbiter in mind, ARRI Spectra features red, green, blue, amber, cyan and lime LEDs, which can blossom into an incredibly vast color range with impeccably accurate color definition.

The highest color rendition across the vast spectrum of the CCT range will be fully supported. Compared to previous ARRI units such as the ARRI SkyPanel, the ARRI Orbiter with Spectra allows for 15% better color approximation, making sure the color you want is the color you get. You can also switch from High Color Rendering Mode to High Output Mode for 20% more output.

The ARRI Orbiter is given a very wide CCT range of 2,000 to 20,000 K, the largest of any ARRI unit, allowing for ultra-color rendition regardless of color temperature. With the versatility and endless possibilities of the ARRI Orbiter and the new ARRI Spectra light engine, skin tones are allowed to look more bold, natural, and impressive than ever, whether for film, television, theatrical productions, or still photography. It is completely tunable, allowing for lossless tuning down to zero with absolutely no skips in color or unstable jumps. What you get with the ARRI Orbiter is incredibly potent brightness with absolute tenability.

ARRI’s Orbiter is seemingly as powerful as the sun itself, likewise, bringing with it a brand new day for the industry of digital lighting and image capture as a whole. Quite possibly the most technologically advanced luminaire on the market, ARRI has taken their game to a totally new level with the Orbiter. Outperforming any other ARRI unit in versatility and function, without sacrificing one for the other, the state-of-the-art-electronics in the Orbiter allow it to perform more tasks than any other lighting unit available.

The Orbiter doesn’t just outperform other fixtures, it eclipses them on the track and passes it twice before the bell rings. Four times faster than the SkyPanel, with 125 times more memory than the SkyPanel built in at launch, the ARRI Orbiter arrives on the market already dwarfing its predecessor.

Not only that, but the adaptability and software infrastructure built into the ARRI Orbiter open it up to be further advanced in real-time with no limits, having extensive updates, including new software features, being provided for it well into the distant future like we had with the Skypanel series. It is a very sleek piece of technology, oh and it’s also weatherproof.

LIOS – Lighting Operating System

Taking full advantage of all past software development the ARRI team has ever accomplished, including a longstanding and venerated history in both digital lighting and image capture, ARRI has provided for the Orbiter a new OS built from the ground up, designed specifically for the Orbiter. LiOS, or Lighting Operating System, is ARRIs magnum opus when it comes to its software technology. Absorbing into itself and enhancing all prior leaps made in the field of lighting technology, LiOS is a veritable capstone, standing as the most powerful and intuitive OS in the industry.

Everything the ARRI SkyPanel attempted and worked towards has been exhaustively matured and perfected in the development of the ARRI Orbiter and its LiOS. The ARRI Orbiter blows its competitors out of the water.

The biggest feature of LiOS is its range of color modes. These include CCT, HIS, RGBACL, Gel Selection, X/Y Coordinates, Source Matching, and Effect. Most powerful of all, however, is the new color sensor mode, developed exclusively for the ARRI Orbiter.

The color sensor mode takes full advantage of the ARRI Orbiters full suite of built-in sensors to accurately and finely measure the ambient light around it and then fully recreate it through the Orbiters own output. The things that can be done with this feature will be incredibly versatile, allowing for a whole new generation to further explore and innovate in the field of digital lighting for image capture.

Multiple Sensors

Orbiter also comes stacked with a color sensor, a 3-axis accelerometer for motion sensing, a magnetometer for directional sensing, an ambient light sensor, and heat sensors.

Surely, the ARRI Orbiter is a luminaire to be reckoned with. On top of its power, the ARRI Orbiter will prove to be both incredibly versatile in its applications and unbeatably user-friendly.

Intuitive & Removeable Controller 

One of its most attractive features for the user is a removable control panel with a 4” full-color electronic that can be taken away from the unit and used to control the unit as a remote control.

This remote unit will provide full functionality for the ARRI Orbiter with an incredibly intuitive and easy-touse interface, so you can pick up the control from wherever you need to be stationed and start lighting the room the way you want to light it.

With the remote control panel, the device can be operated from up to 15 meters away. It will stay connected by wire to ensure no weakness in signal affects your ability to control the device.

On top of this, the ARRI Orbiter features nearly universal connectivity for any device imaginable to sync up and interact with it, making it the perfect universal tool.

Orbiter Input/ Outputs

Included in its design is a full setup of the most popular inputs and outputs on the market, making sure you can hook up the ARRI Orbiter to whatever device it needs to be hooked up to. The ARRI Orbiter is also equipped for all modes of wireless connectivity, with not one but two separate EtherCON ports, which can support right out of the box sACN and Art-Net 4.

Adaptability with an oncoming plethora of third-party add-ons has also been guaranteed to keep coming steadily down the line, promising to further enhance both the capabilities and connectivity of the ARRI Orbiter.

An SD card slot is used for both future software expansions, which will be plentiful, and for making sure the firmware stays up to date so that the Orbiter stays functioning at a high standard. Connectivity is rounded out with both USB-A and USB-C ports, allowing unlimited communication with many other devices.

The plethora of support and maintenance being promised for the future of the ARRI Orbiter makes it a luminaire of nearly infinite potential. Given ARRIs solid reputation and history in the industry, with each new unit eclipsing the one before it in terms of both power and versatility, the appeal and purchase of the ARRI Orbiter seems like an absolute given.

With an unlimited range of applications spanning from the motion picture industry to broadcast television, theatrical performances and live entertainment to still photography, the ARRI Orbiter is the perfect unit for anyone in need of adaptable, flawless lighting for their professional project.

[/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Tech Specs” _builder_version=”4.0.2″][et_pb_row _builder_version=”4.0.2″][et_pb_column type=”4_4″ _builder_version=”4.0.2″][et_pb_accordion admin_label=”Tech Specs Table” _builder_version=”4.0.2″][et_pb_accordion_item open=”on” _builder_version=”4.0.2″]

Technical Specifications

Conclusion 

With a smorgasbord of features already built-in, as well as a generation of support and innovation guaranteed by both ARRI and third-party developers, the ARRI Orbiter is no-question a must onset when it comes to lighting for your next commercial, photoshoot, movie or live performance. The Orbiter’s capabilities and power are guaranteed to keep improving in years to come, mirroring what we witness with ARRI’s Skypanel line of upgrades. 

As always, we are committed to offering you the latest technology in professional lighting and camera to make your next project come to life, be on the lookout for the Orbiter soon for rent at MPS Studios.  

In case you haven’t see yet it here’s ARRI’s Orbiter Keynote presentation which goes into more detail and has a full demo of the light in action:

Sources:

https://microsites.arri.com/orbiter/

https://www.arri.com/en/company/arri-news/news-stories/news-stories-2019/arri-introduces-orbiter-the-ultra-bright-led-point-source-with-a-variety-of-optics

https://lightingkeynote.arri.com/

https://microsites.arri.com/orbiter/orbiter-tech-specs.html

1. How did you get your start with MPS, and how long have you been with the company?

I started here in January 2019, I responded to an Indeed job recommendation. After looking over my resume and doing a couple interviews I was given the job as assistant lighting repair technician.

2. When you’re not at MPS, where can we find you? i.e. How do you recharge?

I like mountain biking, I also have various electrical projects at home including an all electric bicycle. I tinker with electronics, engines, and computers.

3. What’s your favorite piece of equipment to work with?

I think my favorite piece of equipment is the Hakko 472D Desoldering Station. It’s effect on how I do repairs and how long it takes to do repairs is priceless. A repair that would have taken an hour with other desoldering methods now takes 15-20 minutes.

4. If we were to hop onto your music playlist, what would we see you were listening to most recently?

I listen to many different genres and artists. My all time favorite musician is Elliott Smith, specifically his hit album “Either/Or”

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

The 180mm is one of 10 various focal lengths that make up the Cooke Anamorphic/i Special Flair lens series. These lenses allow for next-level visuals when it comes to flare, bokeh, and aberration, offering remarkable optical and mechanical performance over the entire field of view.

Equipped with the /i “intelligent” Technology, the 180mm Anamorphic is designed for all PL mounted professional motion picture film and electronic cameras. The /i Technology is a feature that enables film and digital cameras to automatically record key lens and camera data, such as lens setting, aperture and depth-of-field, focusing distance, hyperfocal distance, and more, captured frame by frame – for use in post-production and real-time displays. This technology streamlines both production and post, which saves significant time and cost and takes out the guesswork while allowing for greater creative freedom.

Another great feature about the 180mm is that it comes with the Cooke Look®, which, according to the Cooke website, is “a sharp, subtle, smooth rendering that provides dimensionality and high contrast, and pleases the eye.” It has certainly caught the attention of Austin-based DP Peter Simonite.

“I recently shot with the Cooke Anamorphics from MPS on a commercial project for Amazon. The 180mm is a beautiful addition to the Cooke set,” Simonite said. “I love the clarity and the unique character of these lenses, and especially the look of the 180mm. When we put the 180mm up, everyone behind the monitors was thrilled.”

MPS’s 180mm is one of just a few in the United States. Also available at MPS are the 25mm, 32mm, 40mm, 50mm, 65mm MACRO, 75mm, 100mm, and 135mm focal lengths – just one lens shy of the complete set.

“It’s great having tools like this in Texas so I can deliver the quality the directors I work with are looking for,” added Simonite. MPS is proud to now offer the Cooke 180mm Anamorphic lens to further its never-ceasing support of Texas filmmakers and beyond.

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

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

I had just returned from living in Israel and brought my future wife back to Dallas in 1982 when my brother Mark asked us to get involved with his equipment rental business that he had setup in his garage.  He had a shelved out box truck, an Elemack dolly, and what I thought was a large inventory of grip, cable and tungsten lighting that he was renting at the same time that he was freelancing as an assistant cameraman. I started gripping and driving the first MPS grip truck in Dallas at that time.  We’ve been going and growing ever since.

2. When you’re not at MPS, where can we find you? i.e. How do you recharge?

When I’m not at MPS, I’m usually relaxing at the house, working in the yard, and a little socializing. Spending time with my wife, Gillian, family, and enjoying life.

3. What’s your favorite piece of equipment to work with?

My favorite piece of equipment to work with is the whole entire entity that is MPS Studios.  Using MPS Studios to service the Motion Picture business in Texas to the best of my ability.

4. If we were to hop onto your music playlist, what would we see you were listening to most recently?

Since I have traveled around the world in my lifetime, I do enjoy every bit of music that is out there!  From Classical, Pop, Rock, Country Western, Middle Eastern, are a few examples.

5. If you could have any superpower, what would it be and why?

My superpower would be the power to heal sickness and disease because I hate it, devastating effects in human kind.

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.