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Eastern Effects, Inc.

Since 1999, Eastern Effects has been providing Lighting & Grip Equipment Rentals for Independent Feature Films, Television Productions, Corporate & Industrial Videos, Student filmmakers, and Live Broadcasts.
Eastern Effects, Inc.
Eastern Effects, Inc.Wednesday, June 21st, 2017 at 12:00pm
"This month, Rosco will donate a portion of the proceeds of its popular e-colour+ filter line in North America to the Safety for Sarah Foundation, with a first donation of $5,000 taking place at this year’s Cine Gear Expo in Los Angeles. Jones belonged to the Local 600."
Eastern Effects, Inc.
Eastern Effects, Inc.Thursday, June 15th, 2017 at 12:00pm
"If these initial media reports are any indication of what’s to come, Jenkins is well positioned to achieve girl wonder status, becoming an inspiration for future directors, who happen to be female. But Jenkins remains just one director in a sea of males."
Eastern Effects, Inc.
Eastern Effects, Inc.Tuesday, June 13th, 2017 at 12:00pm
An interesting comparison of the Litemat 4 vs a 4x4 Kino-Flo.
Eastern Effects, Inc.
Litemat 4 vs. Kino Flo 4x4
Here is a quick review of the Litemat 4 S2 lights. These are GREAT bi-color LED lights that we use on almost all of our interview shoots in NYC & NJ. Cinemat...
Eastern Effects, Inc.
Eastern Effects, Inc.Thursday, June 8th, 2017 at 2:35pm
Dear Friends,

We were thrilled to see a large and enthusiastic turnout for today’s launch event for NYC Film Green! There was so much excitement about the program and its potential to support NYC’s sustainability goals. We’re looking forward to working with you to green TV and film production in NYC! To find further information about the program and apply, visit

Please see below for some fun highlights of the event, and tweet your own pictures to @MadeinNY and #nycfilmgreen !
Eastern Effects, Inc.
Eastern Effects, Inc.Tuesday, June 6th, 2017 at 12:00pm
To capture the detachment of the Russian spies played by Matthew Rhys and Keri Russell, Daniel Stoloff used framing and camera placement. "Within the safe house, we present the frame graphically, often from a distance, through doorways, archways and windows," he says. "Once established, we move the camera into the room and close to the characters, favoring wider focal lengths."