ARRI 435 Xtreme
The ARRIFLEX 435 family is the workhorse of the film industry, the golden standard for 35 mm MOS camera work to be found on sets all over the world. Combining robust construction with a super steady movement, high speed and special in-camera effects, the ARRIFLEX 435 Xtreme is the most versatile MOS camera ever built. It is ideal for features, commercials, music videos, Steadicam or special effects work alike.
ARRI 535B
The 535B is characterized by a compact and lightweight design and ideal both as a main camera or as a second unit with the advantage of being able to use the complete 535 accessory range. The light-weight and modular viewfinder system with an exceptionally bright image is the main feature of the camera. The viewfinder can be pivoted in two axes. Viewing from each camera side is possible, with an upright image in all positions.
ARRI ALEXA 35
ALEXA 35 is the smallest fully featured ARRI production camera ever, packing the features and processing power of a larger ALEXA into a Mini-sized body that can record native 4K at up to 120 fps. Fast and easy operation is assured through numerous usability improvements and a simple menu structure that will be intuitively familiar to crews. ALEXA 35 is the best A-camera, B-camera, and action camera on the market, all rolled into one.
SPECS:
Lens Mount: ARRI LPL/ ARRI PL with Included Adapter
Sensor Type: Super 35 format ARRI ALEV 4 CMOS sensor with Bayer pattern color filter array
Sensor Frame Rates: 0.75 – 120 fps
Dynamic Range: 17 stops
Exposure Index:: Adjustable from EI 160 – 6400 in 1/3 stops
Shutter:: Electronic shutter, 5.0°- 356° or 1s – 1/8000’s
Recording Media: Codex Compact Drive 1TB & 2TB
Recording Formats: MXF – ARRIRAW/ MXF – Apple ProRes 4444 XQ/ MXF – Apple ProRes 4444/ MXF – Apple ProRes 422 HQ
Color Output: Rec 709/ Rec 2020/ Rec 2100 PQ / Rec 2100 HLG/ LogC4/ Custom Look (ARRI Look File ALF-4)
Measurements (HxWxL): 147 x 152.5 x 203 mm / 5.8 x 6.0 x 8.0″ (camera body with LPL lens mount)
Recording Frame Rates: ARRIRAW 4.6K 3:2 Open Gate: 35 – 75 fps/ ARRIRAW 4.6K 16:9 – 4.6K: 45 – 75 fps/ ARRIRAW 4K 16:9 – 4K: 55 – 120 fps/ ARRIRAW 4K 2:1 – 4K: 65 – 120 fps/ ARRIRAW 3.3K 6:5 – 3.3K: 55 – 100 fps/ ARRIRAW 3K 1:1 – 3K: 55 – 100 fps/ ProRes 4.6K 3:2 Open Gate: 60 fps/ ProRes 4.6K 16:9 – 4K: 75 fps/ 4K 16:9 – 4K: 100 fps/ ProRes 4K 16:9 – UHD: 120 fps/ ProRes 4K 16:9 – 2K: 120 fps/ ProRes 4K 16:9 – HD: 120 fps/ ProRes 4K 2:1 – 4K: 120 fps/ ProRes 3.3K 6:5 – 3.3K: 75 fps/ ProRes 3.3K 6:5 – 4K 2.39:1/ Ana. 2x: 90/ 90 fps/ ProRes 3K 1:1 – 3K: 90 fps/ ProRes 3K 1:1 – 3.8K 2:1/ Ana. 2x: 100 fps/ ProRes 2.7K 8:9 – UHD 16:9/ Ana. 2x: 100fps/ ProRes 2K 16:9 S16 – 2K: 120 fps
ARRI ALEXA MINI
Compact, lightweight, and self-contained – ARRI ALEXA Mini is the small and versatile allrounder in the ARRI camera family.
The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, ALEXA Mini comes with a series of interchangeable lens mount, allowing the use of B4 video, EF mount stills lenses.
Specs
Sensor Type:
Super 35 format ARRI ALEV III CMOS sensor with Bayer pattern color filter array
Sensor Maximum Number of Photosites and Size:
3424 x 2202
28.25 x 18.17 mm / 1.112 x 0.715″
⌀ 33.59 mm / 1.322″
Sensor Frame Rates:
0.75 – 200 fps
Weight:
∼2.3 kg / ∼5 lbs
(camera body with titanium PL lens mount)
Photosite Pitch:
8.25 μm
Sensor Active Image Area (photosites):
S16 HD: 1600 x 900
HD: 2880 x 1620
2K: 2868 x 1612
3.2K: 3200 x 1800
4K UHD: 3200 x 1800
4:3 2.8K: 2880 x 2160
2.39:1 2K Ana.: 2560 x 2145
HD Ana.: 1920 x 2160
ARRIRAW 16:9 2.8K: 2880 x 1620
Open Gate 3.4K: 3424 x 2202
Sensor Active Image Area (dimensions):
S16 HD: 13.20 x 7.43 mm / 0.520 x 0.292″
HD: 23.76 x 13.37 mm / 0.935 x 0.526″
2K: 23.66 x 13.30 mm / 0.932 x 0.524″
3.2K: 26.40 x 14.85 mm / 1.039 x 0.585″
4K UHD: 26.40 x 14.85 mm / 1.039 x 0.585″
4:3 2.8K: 23.76 x 17.82 mm / 0.935 x 0.702″
2.39:1 2K Ana.: 21.12 x 17.70 mm / 0.831 x 0.697″
HD Ana.: 15.84 x 17.82 mm / 0.624 x 0.702″
ARRIRAW 16:9 2.8K: 23.76 x 13.37 mm / 0.935 x 0.526″
Open Gate 3.4K: 28.25 x 18.17 mm / 1.112 x 0.715″
Recording File Container Size (pixel):
S16 HD: 1920 x 1080
HD: 1920 x 1080
2K: 2048 x 1152
3.2K: 3200 x 1800
4K UHD: 3840 x 2160
4:3 2.8K: 2944 x 2160
2.39:1 2K Ana.: 2048 x 858
HD Ana.: 1920 x 1080
ARRIRAW 16:9 2.8K: 2880 x 1620
Open Gate 3.4K: 3424 x 2202
Recording File Image Content (pixel):
ProRes S16 HD: 1920 x 1080
ProRes HD: 1920 x 1080
ProRes 2K: 2048 x 1152
ProRes 3.2K: 3200 x 1800
ProRes 4K UHD: 3840 x 2160
ProRes 4:3 2.8K: 2880 x 2160
ProRes HD Anamorphic: 1920 x 1080
ProRes 2.39:1 2K Anamorphic: 2048 x 858
ARRIRAW 16:9 2.8K: 2880 x 1620
ARRIRAW Open Gate 3.4K: 3424 x 2202
ARRIRAW 4:3 2.8K (OG 3.4K): 3424 x 2202
ARRIRAW 2.39:1 2K Ana. (OG 3.4K): 3424 x 2202
ARRIRAW 16:9 HD Ana. (OG 3.4K): 3424 x 2202
Dynamic Range:
14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Exposure Index:
Adjustable from EI 160-3200 in 1/3 stops
EI 800 base sensitivity
Shutter:
Electronic shutter, 5.0°- 356° or 1s – 1/8000s
Recording Formats:
MXF/ARRIRAW
Apple ProRes 4444 XQ
Apple ProRes 4444
Apple ProRes 422 HQ
Apple ProRes 422
Apple ProRes 422 LT
Recording Media:
CFast 2.0 Cards
Recording Frame Rates:
ProRes HD: 0.75 – 200 fps
ProRes S16 HD: 0.75 – 200 fps
ProRes 2K: 0.75 – 200 fps
ProRes 3.2K: 0.75 – 60 fps
ProRes UHD: 0.75 – 60 fps
ProRes 4:3 2.8K: 0.75 – 50 fps
ProRes 2:39:1 2K Ana.: 0.75 – 120 fps
ProRes HD Ana.: 0.75 – 120 fps
MFX/ARRIRAW 16:9 2.8K: 0.75 – 48 fps
MFX/ARRIRAW 3.4K Open Gate: 0.75 – 30 fps
Recording Modes:
Standard real-time recording
Pre-recording
Intervalometer
Stop Motion
Viewfinder Type:
Multi Viewfinder MVF-1 with 3,2″ flip-out monitor
Camera Control Panel (CCP-1) with option to daisy-chain MVF-1
Viewfinder Technology:
OLED viewfinder display
LCD fold out monitor
Viewfinder Resolution (pixel):
1280 x 720
Viewfinder Diopter:
Adjustable from -5 to +5 diopters
Color Output:
Rec 709/ Rec 2020/ Log C/ Custom Look (ARRI Look File ALF-2)
Look Control:
Import of custom 3D LUT
ASC CDL parameters (slope, offset, power, saturation)
Knee, gamma, saturation, black gamma, saturation by hue
Support of ARRI Look Library
White Balance:
Manual and auto white balance, adjustable from 2000K to 11000K in 10K steps
Color correction adjustable range from -16 to +16 CC
1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values
Filters:
Built-in motorized ND filters 0.6, 1.2, 2.1
Fixed optical low pass, UV, IR filter
Image Outputs:
1x proprietary signal output for MVF-1 viewfinder
2x SDI Out: 1,5G (SMPTE ST292-1), 3G (SMPTE ST425-1, ST425-3), 6G & DL 6G (SMPTE ST2081-10, ST2081-11)
uncompressed video with embedded audio and metadata
Lens Squeeze Factors:
1.00, 1.30, 2.00
Exposure and Focus Tools:
False Color/ Zebra/ Zoom/ Waveform/ Aperture and Color Peaking
Audio Input:
1x LEMO 5pin balanced stereo line in
(Line input max. level +24dBu correlating to 0dBFS)
Audio Output:
SDI (embedded)
Audio Recording:
2 channel linear PCM, 24 bit 48 kHz
Remote Control Options:
Web-based remote control from phones, tablets and laptops via WiFi & Ethernet
Camera Access Protocol via Ethernet & WiFi
GPIO interface for integration with custom control interfaces
WCU-4 hand-unit with control over lens motors and operational parameters via built-in white radio
Interfaces:
1x LEMO 5pin LTC Timecode In/Out
1x LEMO 10pin Ethernet for remote control and service
1x BNC Sync In (optional activation through ARRI Service)
1x LEMO 7pin EXT multi purpose accessory interface w. RS pin and unregulated power output (outputs battery voltage)
1x LEMO 4pin LBUS (on lens mount) for lens motors, daisy chainable
1x USB 2.0 (for user setups, look files etc)
Wireless Interfaces:
Built-in WiFi module (IEEE 802.11b/g)
Built-in White Radio for ARRI lens and camera remote control
Lens Mounts:
Titanium PL lens mount with LBUS connector
LPL lens mount with LBUS connector
PL lens mount with Hirose connector
EF Mount (LBUS)
EF lens mount
B4 lens mount with Hirose connector
Leitz Cine Wetzlar M lens mount
Flange Focal Depth:
PL mount – 52 mm
LPL mount – 44 mm
Power Input:
LEMO 8pin (10.5-34 V DC)
Power Consumption:
min. 43 W
max. 84 W
(Camera body with MVF-1)
Power Outputs:
LEMO 7pin EXT unregulated power output (outputs battery voltage) with max. 1.1 A
Measurements (HxWxL):
140 x 125 x 185 mm / 5.5 x 4.9 x 7.3″
(camera body with PL lens mount)
Operating Temperature:
-20° C to +45° C / -4° F to +113° F @ 95% relative humidity max, non condensing, splash and dust proof through sealed electronics
Storage Temperature:
-30° C to +70° C / -22° F to +158° F
Sound Level:
< 20 dB(A) at 24fps
Software Licenses:
ALEXA Mini 4:3 License Key
ALEXA Mini ARRIRAW License Key
ARRI Look Library License Key
ARRI ALEXA MINI LF
Combining the compact size and low weight of the popular Alexa Mini with the Large-Format Alexa LF sensor, Alexa Mini LF brings exciting new creative possibilities to ARRI’s Large-Format camera system. Featuring 16 recording formats, the Mini LF can be universally used for Large-Format and Super 35 Productions
Specs
Sensor Type:
Large Format ARRI ALEV III (A2X)
CMOS sensor with Bayer pattern color filter array
Frame Rates:
0.75 – 90 fps
Dynamic Range:
14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Exposure Index:
Adjustable from EI 160-3200 in 1/3 stops EI 800 base sensitivity
Shutter:
Electronic shutter 1s – 1/8000s
Recording Media:
Codex Compact Drive 1TB
(CA08-1024)
Codex Compact Drive 2TB
(CB16-2048)
Recording Formats:
MXF/ARRIRAW
MXF/Apple ProRes 4444 XQ
MXF/Apple ProRes 4444
MXF/Apple ProRes 422 HQ
Recording Frame Rates:
ARRIRAW 4.5K LF 3:2 Open Gate-4.5K: 0.75-40 fps
ARRIRAW 4.5K LF 2.39:1-4.5K:
0.75-60 fps
ARRIRAW 3.8K LF 16:9-UHD: 0.75-60 fps
ARRIRAW 2.8K LF 1:1-2.8K: 0.75-60 fps
ARRIRAW 3.4K S35 3:2-3.4K:
0.75-60 fps
ProRes 4.5K LF 3:2 Open Gate-4.5K: 0.75-40 fps
ProRes 4.5K LF 2.39:1-4.5K: 0.75-60 fps
ProRes 4.3K LF 16:9-UHD: 0.75-48 fps
ProRes 4.3K LF 16:9-HD: 0.75-75 fps
ProRes 3.8K LF 16:9-UHD: 0.75-60 fps
ProRes 3.8K LF 16:9-2K: 0.75-90 fps
ProRes 3.8K LF 16:9-HD: 0.75-90 fps
ProRes 2.8K LF 1:1-2.8K: 0.75-60 fps
ProRes 3.2K S35 16:9-3.2K: 0.75-75 fps
ProRes 2.8K S35 4:3-2.8K: 0.75-75 fps
ProRes 2.8K S35 16:9-HD: 0.75-100 fps
ARRI SR-III Advanced
The ARRIFLEX 16SR 3/ SR 3 Advanced is designed to meet all modern production requirements. With the advanced model the viewfinder brightness has been improved through the removal of the lightmeter. The newly designed film guide with sapphire rollers on both sides reduces film dust development and enhances image steadiness dramatically in telecine transfer. The Integrated Video System (IVS) offers maximum video quality. With its off-set PL lens mount it is easy to change the recording format from Regular 16 to Super 16.
ARRICAM LT
The Arricam Lite (LT) is the compact, lightweight film camera that represents the pinnacle of analog 35mm sync sound cameras developed with dependable Arri precision and reliability. This line of Arri cameras is equipped with features such as: an electronic mirror shutter, the best and brightest optical viewfinders, a 5-link movement for optimum image steadiness, and modular accessories to meet your unique shooting needs.
ARRIFLEX 416 PLUS HS
The ARRIFLEX 416 is a lightweight, modern Super 16 film camera with a 35-style viewfinder and a very low sound level. A completely lightweight ergonomic design, integrated electronic accessories and compatibility with the same lenses and accessories used by its 35 mm siblings make the 416 a powerful, flexible and portable Super 16 camera
Bolex RX5
With quality Bolex cameras becoming harder to find these days, we decided to make one available for rent for your next 16mm project. This RX5 model camera has been refurbished, so it is in top mechanical and optical condition.
Specs:
OVERALL DIMENSIONS: 9″ x 6″ x 3″
WEIGHT: 6 lbs. 12 oz.; Approximately 8 1/2 lbs with magazine.
OUTER CASE: Highly polished duraluminium body, covered in genuine Morocco leather. Metal parts are chrome-plated.
FILM CAPACITY: 100ft (30m) daylight loading spools of 16mm film. Saddle accepts 400ft (120m) magazine.
THREADING: Automatic threading and loop forming. The end of the film is simply placed in a channel leading to the feed sprocket. The release is pressed and the film is then automatically threaded throughout the entire mechanism.
MOTOR: Constant speed, spring motor mechanism; governor controlled. Large winding handle folds downward and attaches to camera when not in use. Spring cannot be over-wound. 8:1 and 1:1 external drive shaft permits the attachment of an electric motor.
TURRET: Rotating turret with folding lever; Accommodates three interchangeable RX type C mount lenses; Built-in turret lock lever.
VIEWFINDER: 10x magnification; Reflex viewing with semi-reflecting prism system; Groundglass focusing; Adjustable to eyesight. An Octometer viewfinder is available by request.
FILTER SLOT: Built-in slot holds a gelatin filter behind the taking lens and in front of the shutter.
VARIABLE SPEED: 12, 16, 18, 24, 32, 48 and 64 frames per second
RELEASE BUTTON: provides for the making of continuous exposures by a finger-tip release on the front of the camera. A side release allows for locked, hands-free running or single frame exposures.
VARIABLE SHUTTER: 133 degree variable shutter; Operated manually to decrease exposure time, or with accessory Rexofader to accomplish fade-ins and fade-outs.
FOOTAGE COUNTER: adds and subtracts accurately in forward or reverse motion and automatically returns to zero when film is reloaded into the camera.
AUDIBLE FOOTAGE INDICATOR: A distinct click announces the passing of each 10 inches of film through the gate. This mechanism may be disengaged, if desired, by simply moving a lever.
FRAME COUNTER: Twin dial counts frames individually and in total; Adds frames in forward motion and subtracts when film is wound backwards. Dial may be reset manually at any time.
SINGLE FRAME: Time lapse and animation is possible by using the side release button or an accessory cable release and adapter; I-T lever allows for timed or instantaneous single exposures.
MANUAL REWIND: Clutch disengages spring motor and permits forward movement and backwind without running down the spring; allows for dissolves and superimposition.
FLAT BASE: Contains three tripod sockets: Two 3/8″ thread and one 1/4″ thread. Front of the base is removable for easy mounting of the Bolex Matte Box.
Available C-Mount lenses
Canon 1014XLS
As 8mm movie cameras became increasingly computerized, this model became the world’s first 8mm movie camera to use a one-chip CPU. The CPU allowed electronic sequence control of the camera. The lens, a newly developed zoom lens with a wider-angle orientation, achieved both high performance and compactness. The world’s first superimposed viewfinder display showed superimposed information in the viewfinder only when necessary. Multiple functions and safety mechanisms, such as automatic lap dissolve or interval shooting, were applied to satisfy the needs of advanced amateurs. SPC (Silicon Photo Cell) was used for the photocell and it, together with a five-blade iris diaphragm, produced highly precise images with beautiful bokeh (pleasing out-of-focus highlights). This model could be called “the pinnacle of Canon 8mm movie cameras.”
The design stressed the mechanical, with an all-metal folding-type grip. It was very well accepted as a high end 8mm movie camera.
CANON C300 MKII
Bringing Canon’s expertise and decades of experience designing sensors, lenses, image processing and design to the world of motion picture capture, the EOS C300 camera has been designed to meet the demanding needs of cinema industry professionals, providing a modular, portable and eminently adaptable system of cameras, lenses and accessories built for moviemaking in the 21st century.
Featuring a unique Super 35mm Canon CMOS sensor, revolutionary Canon DIGIC DV III Image Processor and 50 Mbps 4:2:2 codec, the EOS C300 provides outstanding cinema quality movie capture. Compact, modular and compatible with Canon’s existing line-up of EF and new EF Cinema lenses as well as accessories from third parties, the stunningly simple to operate EOS C300 is designed to please cinematographers for any production large and small, on location or in the studio, from shoestring to Hollywood budgets.
The EOS C300 has a Canon EF lens mount and is compatible with all of Canon’s new EF Cinema lenses and current EF lenses, including compact primes, super telephotos, specialty tilt-shift, macro and fisheye – over 60 in all. Designed with SMPTE HD production standards, its MPEG-2 codec is an internationally recognized standard compatible with major NLE applications while additional features such as Canon Log ensure seamless integration with existing production workflows, making post-production easy. And with an entire support infrastructure designed to help you get the most from your equipment before, during and after production, the EOS C300 is ready to go to work.
Canon C300 MKIII
Create cinema-quality productions with the Canon EOS C300 Mark III Digital Cinema Camera, which features a Super 35mm Dual Gain Output sensor with up to 16 stops of high dynamic range capability for superior HDR recording and low noise. The EF lens mount offers compatibility not only with Canon’s existing broad range of DSLR lenses but also with their line of EF-mount cinema prime, zooms, and even 2.0 and 1.33 anamorphic lenses. The mount is also interchangeable with a separately available PL mount by the end user.
• Canon Super 35mm Dual Gain Output (DGO) Sensor
• DIG!C DV7 Image Processor, which powerfully processes high-resolution image data
• High Frame Rate; 4K 120P and 2K CROP 180P
• HDR Support
• Modular Design with three available Expansion Units allows a high level of connectivity and interoperability
• Canon Log 2 and 3
• LM-V2 4.3” LCD Touch Screen Monitor
• 4-Channel Audio Recording
• Support for Custom User LUTs
• User Interchangeable Lens Mounts, which gives users freedom to use the lenses they desire
• Anamorphic Lens Support
• Canon Cinema RAW Light and XF-AVC Recording
• Proxy Recording
• Electronic Image Stabilization
• 12G SDI
• Dual Pixel CMOS Autofocus with support for Touch AF and Face Detection
• RC-V100 Support and LANC Compatible
• Wireless Remote Capabilities
Canon C500 MKII
5.9K Full Frame CMOS Sensor, with support for Super 35mm and Super 16mm crop modes
The Cinema EOS C500 Mark II features Canon’s high-resolution 5.9K (38.1 x 20.1mm) Full Frame CMOS sensor, which offers exceptional low noise and a broad range of tonality with over 15 stops of dynamic range. The sensor’s expansive native cinema gamut goes beyond that of current standards, including ITU-R BT.2020 and DCI-P3, helping the EOS C500 Mark II achieve more natural skin tones and allowing for greater freedom in color grading in both SDR and HDR productions.
The Full Frame sensor is capable of capturing footage in a wide variety of aspect formats, including DCI-4K, UHD and Anamorphic Widescreen. The Cinema EOS C500 sensor supports both anamorphic and spherical lenses. In addition to full-frame, the sensor can also be paired with conventional Super 35mm and Super 16mm lenses using appropriate sensor crop modes, lens mount and adapter.
User Changeable Lens Mounts which gives users freedom to use the lenses they desire
User interchangeable lens mounts and an available B4 mount adapter gives operators the freedom to make bold creative choices based on the subject matter.
The EOS C500 Mark II ships with an EF Mount that can be user swapped to an optional Locking EF (EF-C) or PL mount. Each mount swaps easily by simply removing four M3 hex screws. A shim set is provided with each mount kit in order to adjust back focus for the precision in focusing accuracy that professionals rely on.
*Dependent on the mount the user has in place
Newly developed DIGIC DV 7 Image Processor, which powerfully processes high-resolution image data
The EOS C500 Mark II uses a newly developed DIGIC DV 7 Image Processor that takes the extensive RAW information captured from the 5.9K imaging sensor and processes it for output. DiG!C is also the engine behind features such as high frame rate recording, Dual Pixel Auto Focus, Cinema Raw Light Recording, HDR(PQ and HLG) output, electronic image stabilization, proxy recording and oversampling 5.9K processing.
Canon Cinema RAW Light and XF-AVC Recording
Thanks to the powerful DIGIC DV 7 image processing platform, the EOS C500 Mark II can record Cinema RAW Light directly to onboard CFexpress cards, which keeps the data-rich signal captured by the 5.9K full-frame sensor intact. Cinema RAW Light offers plenty of freedom for grading in file sizes that are about 1/3 to 1/5 the size of Cinema RAW, offering a great combination in terms of codec efficiency and quality.
When recording in 5.9K Cinema RAW Light, 60 fps is available, which is an ideal range of high-quality slow-motion capture for typical human movements. In 2K (Crop) mode, frame rates up to 120fps are available allowing users to slow down the action even further, for more dramatic scenes and special effects. Two new buttons S&F(Slow and Fast Motion) and S&F FPS (Slow and Fast Motion – Frames per Second) have been added to gives quick access to desired speed settings, making it simple to utilize this creative tool quickly and spontaneously when the moment is right.
To accurately record the extensive data produced by the 5.9K imaging sensor and provide greater recording times, the EOS C500 Mark features two CFexpress recording slots. CFexpress is the future of onboard recording media providing write speeds needed for higher resolutions and frame rates. The dual card slots can be used to either create an instantaneous backup thorough simultaneous recording or extend record run times by relay recording.
Proxy Recording
Higher resolution, greater bit depths and faster frame rates provide versatility and greater image quality but come at the cost of much larger file sizes. Proxy files can greatly speed up the editorial process by providing a lower bandwidth alternative for the initial file sharing and edits.
Canon’s powerful, high-speed DIGIC DV 7 image processor makes it possible for the EOS C500 Mark II to simultaneously record 2K Proxy files. Cinema RAW Light (5.9K, 4K Crop, or 2K (Crop)) can be recorded to the internal CFexpress card while an XF-AVC 2K 4:2:0 8-bit Proxy can be recorded directly to an internal SD card.
Anamorphic Lens Support
The EOS C500 Mark II offers cinematographers anamorphic lens support. Users can now achieve wide cinematic looks and oval bokeh particular to anamorphic glass. It is a distinctly cinematic palette that is within reach for your next project.
DJI Osmo Pocket 3 Creator Combo
Capture steady and smooth motion videos with the DJI Osmo Pocket 3. Boasting a wide range of upgrades over its predecessor, the Osmo Pocket 3 features a 1″ CMOS sensor with full-pixel fast focusing, ensuring high-quality, low-noise footage acquisition even in high-contrast environments and with resolutions up to UHD 4K120. Three built-in microphones capture stereophonic sound while reducing ambient noise, and new software enhancements bring ActiveTrack 6.0 to your fingertips for precise subject tracking in both photo and video modes with smart horizontal and vertical shooting modes as well as D-Log M and 10-bit support.
| Image Sensor | |
| Image Stabilization |
| Focal Length | |
| Maximum Aperture | |
| Minimum Focus Distance | |
| Field of View |
| Internal Recording | |
| Still Image Support | |
| Audio Recording | |
| IP Streaming |
| Shutter Speed | |
| ISO/Gain Sensitivity | |
| White Balance |
| Wireless | |
| Mobile App Compatible | |
| Media/Memory Card Slot | |
| Inputs/Outputs |
| Battery Type | |
| Charging Time | |
| Estimated Battery Life |
DJI Ronin 4D 4-Axis Cinema Camera 8K Kit
The Ronin 4D 4-Axis Cinema Camera 8K Kit from DJI combines imaging, stabilization, and focusing in a lightweight, uniquely flexible gimbal/camera rig. This 4D X9-8K version pairs the Ronin 4D gimbal with the Zenmuse X9-8K camera, a DJI DL 17-28mm T3.0 lens, a LiDAR range finder, a low-pass filter, and a RAW license that requires activation via DJI; wireless video transmission is available separately. With support for up to 8K60 17:9 video in Apple ProRes RAW, and 8K30 17:9 and 8K75 2.39:1 in ProRes 422 HQ, the X9-8K offers the higher imaging standards required for visual effects, cine-style capture, and broadcasting while reducing your setup time with its all-in-one combination design.
- Left and right control handgrips
- LiDAR range finder
- Integrated 5.5″ monitor
- NOTE: Does not include the high-bright main monitor
- TB50 battery and charging adapter
- Top handle
- Baseplate
- Hard carrying case
- 7″ high-bright, touchscreen monitor
- Wireless video transmitter
- X9 focus motor
- 3-channel FIZ lens control unit
- Expansion plate with SDI, XLR, and timecode ports
- DJI Leica L and M lens mounts
- Third-party ARRI PL and Sony E lens mounts
- Support for the industry-standard ACES workflow provides easy compatibility with other cinema cameras.
- The DJI DCCS color science reproduces vivid, natural skin tones in a range of lighting conditions and creates looks that are compatible with ARRI footage.
- The full-frame Zenmuse X9-8Kcamera uses a proprietary chip for advanced processing and high-performance computing.
- Selectable Z-axis stabilization reduces unwanted vertical camera movement, especially during dollying moves.
- Z-axis stabilization is built into the camera; 4-axis stabilization in the gimbal.
- Tilt stabilization uses dual, symmetrical motors.
- Pan and X (roll) axes with additional stiffness buffering.
- Downward ToF (time of flight) sensor.
- Forward and downward-facing dual-vision sensors.
- Built-in IMU (inertial measurement unit) and barometer.
- New and improved stabilization algorithm.
- The D4’s DL lens mount supports full-frame capture with DJI’s current selection of lightweight, carbon fiber 18, 24, 35, and 50mm lenses.
- Interchangeable lens mounts are available for use with Sony E-mount or Leica M-mount lenses.
- Supports ultrawide, f/0.95 large-aperture, electronic zoom, macro, and anamorphic cine lenses.
- Please see the current lens compatibility list here.
- Up to 8K60 ProRes RAW in 17:9 full frame or 5.5K 60 fps ProRes RAW in 17:9 Super35.
- RAW activation required with DJI.
- Up to 8K30 ProRes 422 HQ in 17:9 full frame.
- Up to 8K75 ProRes RAW in 2.39:1 full frame.
- Up to DCI 4K60 ProRes 422 HQ or H.264 in 17:9 full-frame or Super35.
- Up to UHD 4K120 ProRes HQ, HQ LT, or H.264 in full frame.
- With Dynamic Range Expansion off: Dual native ISO 320/1600.
- With Dynamic Range Expansion on: Dual native ISO 800/4000.
- EI 200 to EI 6400.
- 14.7 stops of dynamic range produce nuanced imaging under a range of lighting conditions.
- LiDAR (light detection and ranging) system uses up to 43,200 ranging points within a 33′ range.
- Excellent focusing performance even in low-light environments.
- Focus pulling can be viewed graphically, thanks to a built-in depth meter.
- Intuitive and highly accurate focusing system.
- Modular LiDAR focusing module attached to the front of the D4 rig.
- Maintains focus, even when motion blur is produced by fast-moving subjects.
- Separately available focus motor for use with manual lenses.
- Continuous autofocus is compatible with ActiveTrack Pro, a boon for solo operators.
- The AMF function (Automated Manual Focus) combines the accuracy of manual focus with the ease of autofocus.
- Operators can grab the focus wheel of the right handgrip at any time to manually focus.
- Handgrip focus wheel uses dynamic damping to provide a physical feel for focus changes.
- Built-in ND.03 to ND2.7 filters let you easily adjust to quickly changing lighting conditions.
- Especially handy for outdoor shoots with changing cloud cover.
- Motorized filter system.
- DJI’s ActiveTrack Pro features combine continuous autofocusing with composition adjustment for professional-looking tracking shots out of the gate.
- ActiveTrack Pro is based on computer vision, deep learning technology, and the computing power of DJI’s CineCore 3.0 imaging system.
- Right-hand grip has a focus wheel that doubles as a control for main camera adjustments (menus, exposure, etc.).
- Left-hand grip has a full-range joystick to control pan/tilt; useful when adjusting headroom and more during follow mode.
- Top-notch stabilization in a lightweight form.
- Ideal for both solo operators as well as assistant-accompanied shoots.
- Designed to counter footsteps from inexperienced gimbal shooters.
- Works equally well with a single grip, dual grips, shoulder supported, or tripod mounted.
- Sport mode is available with the touch of a button, accommodating faster-paced action.
- Use in standard, underslung, jib, and crane setups.
- Requires a ProSSD 1TB drive (included) to capture raw footage.
- USB-C port for external recording; no reader needed to offload footage.
- Integrated CFexpress Type-B card slot.
- 5.5″ 1920 x 1080 monitor.
- 1000 cd/m² display.
- Touchscreen control.
- Integrated stereo microphones capture dual-channel 24-bit audio.
- Built-in 3.5mm audio input port and XLR port via expander plate.
- Uses the same TB50 intelligent batteries as the Ronin 2 and Inspire 2.
- Each battery provides up to 2.5 hours of capture time.
- Batteries charge fully in approximately 1.5 hours.
- Support auto-heating for cold weather use.
- AC adapter for uninterrupted shooting.