The acquisition phase of your project is typically the most expensive and often an irreplaceable aspect of it. Having the proper relationships in place, that can provide you with the professionals, who have the experience necessary to guarantee you a functional acquisition is critical. We could devote an entire page on this website to the horror stories and problems typical of filmmakers who did not consider this with due diligence.
We have the unique benefit of having a veteran team of professionals who have worked on everything from full-fledged feature films down to the humble local commercial spot. Our company owns and operates a complete production package including the necessary operator talent to make a motion picture possible.
Because no two productions are alike, we can (and often do), prepare rental packages relative to the individual needs of your project. Let us hear more about your particular production and we will outline a package for your specific needs.
Eye Candy’s camera crews are world class; having worked feature films selected for major film festivals and having won many awards including best cinematography.
Our Director of Photography (DP) Larry McKee boasts some hefty accolades including awards at international film festivals in Houston, Honolulu, and Mexico among others. There have also been a number of Telly awards. He has worked with the likes of Willie Nelson, B.B. King, Woody Harrelson, Danny Trejo, Owen Wilson, Antonio Banderas, and many more. McKee’s television credits include productions for PBS, The Discovery Channel, TNN, and The Outlaw Music Channel. He worked as Producer and Director of Photography on the popular FOX 26 series, Bailamos, which consistently received six times as many viewers as other programs in its time slot. McKee has worked on several documentaries, including a chronicling the life of serial killer Elmer Wayne Henley, Jr. and another centered around guitar legend Sam “Lightnin” Hopkins. He has served as Director of Photography and Producer on a number of motion pictures, including Through the Valley, In the Mirror Dimly, Escape of the Wild Thing and Suicide Notes.
How are we different?
Our approach is to offer our service and know-how with the end product in mind. We realize you are embarking in a motion picture project and you want to see it completed. The best acquisition alone will not give you this; only proper planning and experience will bear the final result. With digital cinematography what is typically known as “post-production” begins at the production phase. We specialize in outfitting your project and preparing the pipeline for your end goal. Please inquire about how a minimal investment during the pre-production phase can save you many thousands of dollars at the post-production phase.
We know how to get the most out of any camera package you choose. Even if you shoot with your phone, speak to us first and you will be surprised by what you will learn and how we can improve the acquisition.
We have a number of special tools developed internally and proprietary to Eye Candy Inc. These tools where made to provide a special edge to the productions we offer. These proprietary tools are not available for rent, and only become part of our production packages when our team is engaged fully on your production.
Some of these include:
Daylight balanced infrared free, lighting system
Daylight balanced infrared free, close up light system(s)
Custom camera rigging system(s)
Light manipulation equipment
Custom created diffuser panels
Custom motion camera mount systems
Underwater HD housing system; with follow focus, and daylight balanced underwater lighting.
Portable production light system (works fully on batteries)
The gear
Eye Candy can outfit your production team with cutting edge technology. The industry is changing fast and we are surfing the waves or change. We offer a full production pipeline for RED digital cinema, including of course the proper DP and RED camera to guarantee you useful acquisition. 
If you have been considering shooting your next feature with this revolutionary camera, consider that this new technology can benefit your project by providing cinematic quality from relatively small package. The RED’s portable size can be taken where only pro-summer cameras would dare. The RED’s amazing recording capacity allows it to record motion at 4,096 lines (4K) of horizontal 2,304 vertical, effectively replacing film acquisition. For reference, consider that standard HD cameras normally used for TV commercial production and some feature films such as Sin City and the Star Wars prequels where shot at 1,920 x 1080. The RED when properly operated can yield images worthy of its reputation. Consider that since the RED ONE hit the market by storm in 2006, more feature films have been made on it than on standard 35mm film. -- http://www.red.com/shot_on_red/
Significant parts of the kit include:
Red One 4K Ultra HD digital Cinema package.
Lumix GH1-HD DSLR digital Cinema package. (Hot Rod PL adapter kit)
35mm Russian camera package
Grip truck including;
Most motion stabilization and camera rigging typically required for cinematic production, less Steady Cam (Glide Cam is available).
10-foot jib and wheeled platform
Two types of dolly system(s)
Two rail slide methods
Custom (proprietary lighting system)
Custom (proprietary lighting diffusion system)
The above listed equipment is part of our internal capacity and is wholly owned and operated by our company typically billed inside the production package with salient benefits when scheduling long term projects or projects for low budget features where long term rental is not an option.