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GoPro MAX2 360 Action Camera
Swap between panoramic 360° images and high-resolution single-lens images with a single device using the GoPro MAX2 360 Action Camera. With opposite side lenses that can be toggled between single- and dual-lens modes, the MAX2 can record up to 8K30 360° video and 4K60 single-lens video. The camera can also take 29MP 360° photos and 12MP single-lens photos. An upgraded Enduro battery with a 1960mAh capacity keeps the camera running for longer shoot days. Built-in Wi-Fi 6 and Bluetooth 5.3 connectivity make for fast file transfer directly to your smartphone using the GoPro Quik app.
Specs
| Image Sensor | |
| Effective Sensor Resolution | |
| Image Stabilization |
| Focal Length | |
| Maximum Aperture | |
| Field of View | |
| Zoom |
| Stitching Method | |
| 360 Video Recording | |
| Single-Lens Recording | |
| Still Image Support | |
| Audio Recording | |
| Built-In Mic | |
| IP Streaming | |
| Internal Storage |
| Shutter Speed | |
| ISO/Gain Sensitivity | |
| Exposure Modes | |
| White Balance |
| Wireless | |
| Mobile App Compatible | |
| Media/Memory Card Slot | |
| Inputs/Outputs |
| Battery Type |
| Environmental Resistance | |
| Operating Conditions | |
| Impact Resistance |
| Display Type | |
| Built-In Light | |
| Built-In Speaker | |
| Creative Effects | |
| Tripod Mounting Thread | |
| Dimensions (W x D x H) | |
| Weight |
| Package Weight | |
| Box Dimensions (LxWxH) |
GoPro HERO12
- Star Trails uses Earth’s rotation to create light trails with the stars in the sky.
- Light Painting converts moving light into brushstrokes.
- Vehicle Light Trails records the movement of nighttime traffic lights.
- Choose between capturing 8-bit or 10-bit color for smoother gradations in your footage.
- GoPro exclusive HyperView digital lens takes the 8:7 aspect ratio footage captured by the new image sensor and delivers it as a wide-angle 16:9 shot for immersive POV video.
- Plug your HERO12 in when connected to your home Wi-Fi and automatically upload your footage to the cloud. A highlight video is sent to your phone and can then be edited with beat-synced music and effects.
Specs
| Image Sensor | |
| Effective Sensor Resolution | |
| Image Stabilization |
| Focal Length | |
| Maximum Aperture | |
| Field of View | |
| Zoom |
| Internal Recording | |
| Still Image Support | |
| Audio Recording | |
| Built-In Mic | |
| IP Streaming | |
| Internal Storage |
| Shutter Speed | |
| ISO/Gain Sensitivity | |
| Exposure Modes | |
| White Balance |
| Wireless | |
| Mobile App Compatible | |
| Media/Memory Card Slot | |
| Inputs/Outputs |
| Battery Type | |
| Charging Time | |
| Estimated Battery Life |
| Environmental Resistance | |
| Operating Conditions | |
| Impact Resistance |
| Display Type | |
| Built-In Light | |
| Built-In Speaker | |
| Creative Effects | |
| Tripod Mounting Thread | |
| Dimensions (W x D x H) | |
| Weight |
| Package Weight | |
| Box Dimensions (LxWxH) |
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.
KOMODO-X 6K
KOMODO-X 6K, a digital cinema camera featuring faster frame rates, a redesigned S35 sensor, and an updated form including advanced video and audio interfaces. With built-in Wi-Fi and a USB-C connector, the KOMODO-X provides a powerful platform for smooth professional capture, multicamera setups, and IP-based workflows, including live streaming. The KOMODO-X will be complemented by pre-bundled packs and additional accessories such as RED Pro I/O V-Mount and Gold Mount Modules.
SPECS
| SENSOR SPECS | |
|---|---|
| SENSOR | KOMODO-X™ 19.9MP Super 35mm Global Shutter CMOS |
| EFFECTIVE PIXELS | 6144 × 3240 |
| SENSOR SIZE | 27.03mm x 14.26mm (Diagonal: 30.56mm) |
| DYNAMIC RANGE | 16.5+ stops |
| KEY FEATURES | |
| LENS MOUNT | Integrated locking RF mount with electronic communication
Supports /i PL lenses with RED RF to PL Adapters Supports Canon EF Adapter with communication and other adapters based on the RF mount |
| RECORDING | |
| MAX DATA RATES | Up to 560 MB/s using RED branded or other qualified CFexpress media cards1 |
| REDCODE® RAW MAX FRAME RATES |
80 fps at 6K 17:9 (6144 x 3240)
96 fps at 5K 17:9 (5120 x 2700) 120 fps at 4K 17:9 (4096 x 2160) 240 fps at 2K 17:9 (2048 x 1080) |
| PLAYBACK FRAME RATES (PROJECT TIME BASE) |
23.98, 24, 25, 29.97, 30, 50, 59.94, 60 fps, all resolutions |
| BEST AVAILABLE REDCODE® SETTINGS |
REDCODE HQ, MQ, LQ, and ELQ at 6K 17:9 (6144 x 3240) up to 80 fps
REDCODE HQ, MQ, LQ, and ELQ at 4K 17:9 (4096 x 2160) up to 120 fps REDCODE HQ, MQ, LQ, and ELQ at 2K 17:9 (2048 x 1080) up to 240 fps |
| REDCODE® RAW ACQUISITION FORMATS |
6K 17:9 (6144 x 3240), 2:1, 2.4:1, 16:9. 1:1, and Anamorphic 2x, 1.8x, 1.6x, 1.5x, 1.3x, 1.25x
5K 17:9 (5120 x 2700) and 16:9 4K 17:9 (4096 x 2160) and 16:9 2K 17:9 (2048 x 1080) |
| APPLE PRORES | Dedicated recording in 4K (4096 x 2160) ProRes 4444 XQ up to 60 fps, ProRes 4444 up to 80 fps, and ProRes 422 HQ, ProRes 422, and ProRes 422 LT up to 120 fps |
| GENERAL | |
| CONSTRUCTION | Aluminum Alloy |
| DIMENSIONS | 129.37 x 101.26 x 95.26 mm / 5.1 x 4 x 3.8 in (LxWxH, largest fixed dims.) |
| WEIGHT | 2.62lbs (without body cap and CFexpress card) |
| MEDIA TYPE | CFexpress Type B |
| BATTERY TYPE | Integrated V-Lock battery interface optimized for Micro V-Lock Batteries1 |
| DC POWER INPUT | 11-17 V via 6-Pin DC-IN |
| OPERATING TEMPERATURE | 0°C to 40°C (32°F to 104°F) |
| STORAGE TEMPERATURE | -20°C to 50°C (-4°F to 122°F) |
| STORAGE RELATIVE HUMIDITY | 0% to 85% non-condensing |
| FEATURES | |
| COLOR MANAGEMENT | Image Processing Pipeline 2 (IPP2)
Supports 33×33×33 3D LUTs Supports import and adjustment of CDLs |
| AUDIO | Integrated dual channel digital mono microphones, uncompressed, 24-bit 48 kHz
Integrated dual channel (mic/line/+48V) input via 5-Pin 00B Audio Port, uncompressed, 24-bit 48 kHz 3.5mm stereo headphone port |
| AUTOFOCUS | Phase Detect and Contrast |
| MONITOR OPTIONS | Proprietary Top Accessory Port for Monitoring and Control
Integrated 2.9″ 1440×1440 touchscreen LCD with preview and camera control Integrated 12G-SDI with 6G-SDI, 3G-SDI and 1.5G-SDI modes 12G-SDI: Up to 4096 x 2160 4:2:2 for 60p 6G-SDI: Up to 4096 x 2160 4:2:2 for 30p 3G-SDI: Up to 2048 x 1080 4:2:2 for 60p 1.5G-SDI: Up to 2048 x 1080 4:2:2 for 30p, 24p SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio |
| ADDITIONAL I/O | Tri-Level Genlock Input via 9-Pin EXT
LTC Timecode Input via 9-Pin EXT RS232 CTRL (using RCP2) via 9-Pin EXT |
| IP CONNECTED | Wi-Fi (2.4GHz/5GHz) for camera control, video preview, and media offloading
Ethernet via USB Type-C for camera control, video preview, and media offloading MJPEG 1080p live stream accessible through Wi-Fi and USB Type-C. PTP for frame level synchronization R3D live broadcasting available with RED Connect License and 5Gbps Ethernet Adapter |
| SOFTWARE | |
| RED CONTROL & RED CONTROL PRO |
Access full camera controls and live preview from iOS or Android devices.
Pro App: Operate one or multiple cameras over an IP connection to synchronize settings, manage media files locally or upload directly to FrameIO, develop custom looks with advanced CDL and LUT controls, and more. Ideal for control of multi-camera arrays, multi-cam shoots, and live events, all from one central location. Standard app available from the Apple App Store and Google Play Store. RED Control Pro available via Apple App store only and requires additional purchase. RED Control works wirelessly or wired via USB Type-C |
Sony Burano 8K
The Sony BURANO 8K Digital Cinema Camera offers up to 8.6K video capture in a compact, full-frame form. Unique in-camera stabilization for both E- and PL-mount lenses, Fast Hybrid Autofocus, and an easily adjustable ND filter enhance single-user capture and seamless image matching, making the CineAlta BURANO camera ideal for use as your VENICE B or C camera.
| Lens Mount | |
| Sensor Resolution | |
| Image Sensor | |
| Image Stabilization | |
| ISO Sensitivity Range | |
| Internal Recording Modes | |
| Media/Memory Card Slot | |
| Video I/O | |
| Mobile App Compatible | |
| Battery Type |
| Lens Mount | |
| Lens Communication | |
| Sensor Resolution | |
| Image Sensor | |
| Image Stabilization | |
| Built-In ND Filter | |
| Internal Filter Holder | |
| Capture Type |
| Shutter Type | |
| Shutter Type | |
| Shutter Speed | |
| ISO Sensitivity Range | |
| Gain | |
| Advertised Dynamic Range | |
| White Balance |
| Internal Recording Modes | |
| Recording Sensor Crop | |
| Fast-/Slow-Motion Support | |
| Built-In Microphone | |
| Audio Recording | |
| IP Streaming |
| Media/Memory Card Slot | |
| Video I/O | |
| Audio I/O | |
| Power I/O | |
| Other I/O | |
| Wireless | |
| Mobile App Compatible | |
| Global Positioning (GPS, GLONASS, etc.) |
| Display Type | |
| Display Size | |
| Resolution |
| Type |
| Focus Type | |
| Focus Mode | |
| Autofocus Points |
| Operating Temperature | |
| Storage Temperature |
| Battery Type | |
| Power Consumption | |
| Shoe Mount | |
| Tripod Mounting Thread | |
| Accessory Mounting Thread | |
| Material of Construction | |
| Dimensions (W x H x D) | |
| Weight |
Sony VENICE 2 Digital Motion Picture Camera
Featuring an impressive 16-stop dynamic range, internal recording onto a high-speed ASX card, internal recording formats up to ProRes 4K 4444 and 422, and an interchangeable sensor with updated usability and body design, the 8K Sony VENICE 2 Digital Motion Picture Camera is a step up for DPs, camera assistants, colorists, VR, and VFX departments thanks to its high-resolution capture and filmlike imagery.
SPECS
Lens Mount: Sony E/ ARRI PL with Included Adapter
Sensor Resolution: Actual- 49.76 Megapixel (8640 x 5760)/ Effective: 49.76 Megapixel
Image Sensor: 36.2 x 24.1 mm (Full-Frame) CMOS
Image Stabilization: No
ISO Sensitivity Range: 800/ 3200
Internal Recording Modes: ProRes 422 HQ-ProRes 4444: 4096 x 2160 at 23.98/24.00/25/29.97/50/59.94 fps
3840 x 2160 at 23.98/24.00/25/29.97/50/59.94 fps
X-OCN LT/X-OCN ST/X-OCN XT: 8640 x 5760 from 1 to 29.97 fps/ 8192 x 4320 from 1 to 59.94 fps/ 7680 x 4320 from 1 to 59.94 fps/ 5792 x 4854 from 1 to 47.95 fps/ 5792 x 3056 from 1 to 59.94/66/72/75/88/90 fps/ 5452 x 3056 from 1 to 59.94/66/72/75/88/90 fps
External Recording Modes: No
Media/Memory Card Slot: Dual Slot: AXS/ Single Slot: SD/SDHC
Video I/O: 4 x BNC (12G-SDI) Output/ 1 x BNC (HD-SDI) Output/ 1 x HDMI (Unspecified Signal) Output
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
Red Komodo
Revolutionary for RED is the creation of an extremely compact all-in-one design with the KOMODO. This means you can simply pop in a CFast 2.0 card into its media slot and you are ready to roll with data rates up to 280 MB/s. A top 2.9″ 1440 x 1440 touchscreen makes it easy to configure and monitor your footage or you can use the RED Control system for using an iOS or Android device for preview and settings. This is possible through integrated 2.4/5 GHz Wi-Fi. Wired control is also possible via the USB Type-C port and optional adapters. The RED KOMODO 6K offers an exceptionally compact form factor that sacrifices nothing in terms of image quality. This base model includes the KOMODO 6K, a 45W AC power adapter, Mini World Travel Adapter Kit, and a Canon RF-to-EF mechanical adapter.
SPECS:
SENSOR: Komodo 19.9 MP super 35MM global shutter CMOS (27.03 MM X 14.26 MM (DIAGONAL: 30.56MM))
EFFECTIVE PIXELS: 6144 X 3240
DYNAMIC RANGE: 16+ STOPS
MOUNT: RF Mount
MAX DATA RATES: Up to 280 MB/S using Red Pro CFAST or other qualified CFAST 2.0 Media Cards
WEIGHT: 2.10 LBS (WITHOUT BODY CAP AND CFAST CARD)
REDCODE® RAW MAX FRAME RATES: 40 FPS AT 6K 17:9 (6144 X 3240)/ 50 FPS AT 6K 2.4:1 (6144 X 2592)/ 48 FPS AT 5K 17:9 (5120 X 2700)/ 60 FPS AT 4K 17:9 (4096 X 2160)/ 120 FPS AT 2K 17:9 (2048 X 1080)
PLAYBACK FRAME RATES (PROJECT TIME BASE): All Resolutions – 23.98, 24, 25, 29.97, 30, 50, 59.94, 60 FPS
AVAILABLE REDCODE SETTINGS: REDCODE HQ, MQ AND LQ AT 6K 17:9 (6144 X 3240) UP TO 40 FPS/ REDCODE HQ, MQ AND LQ AT 4K 17:9 (4096 X 2160) UP TO 60 FPS/ REDCODE HQ, MQ AND LQ AT 2K 17:9 (2048 X 1080) UP TO 120 FPS
REDCODE® RAW ACQUISITION FORMATS: 6K 17:9 (6144 X 3240), 2:1, 2.4:1, 16:9 AND ANAMORPHIC 2X, 1.8X, 1.6X, 1.5X, 1.3X, 1.25X/ 5K 17:9 (5120 X 2700)/ 4K 17:9 (4096 X 2160) AND 16:9/ 2K 17:9 (2048 X 1080)
AUDIO: INTEGRATED DUAL CHANNEL DIGITAL MONO MICROPHONES, UNCOMPRESSED, 24-BIT 48 KHZ
APPLE PRORES: 4K (4096 × 2160) AT PRORES 422 HQ AND PRORES 422 UP TO 60 FPS/ 2K (2048 × 1080) AT PRORES 422 HQ AND PRORES 422 UP TO 120 FPS
BATTERY TYPE: Gold Mount
SONY FX3
Sony’s FX3 Cinema Line camera brings the visions of passionate content creators to life. Cinematic expression is matched with reliable performance and streamlined operation to serve the needs of today’s creative community. Compact and lightweight, it’s easy to carry and handle.
Specs
Pixels:
Approx. 10.2 megapixels (effective) for movies, Approx. 12.1 megapixels (effective) for Still images, Approx. 12.9 megapixels (total)
Sensor Type:
35 mm full frame (35.6 x 23.8 mm), Exmor R CMOS sensor
Shutter Speed:
Movie: 1/8000 to 1/4 (1/3 steps), up to 1/60 in AUTO mode (up to 1/30 in Auto slow shutter mode) Still image: 1/8000 to 30 s, Bulb
File System:
FAT12, 16, 32, exFAT
Focus Features :
Eye AF ([Movie] Human (Right/Left Eye Select), ([Still image] Human (Right/Left Eye Select) / Animal), Face detection (Face Priority in AF, Face Priority in Multi Metering, Regist. Faces Priority), [Movie] AF Subj. Shift Sensitivity, [Movie] AF Transition Speed, [Still image] Focus Magnifier (35 mm full frame: 2.1x / 4.1x, APS-C: 1.5x / 3.0x)
Gamma Curve :
Off / PP1–PP10, Parameters: Black level, Gamma (Movie, Still, Cine1-4, ITU709, ITU709 [800%], S-Log2, S-Log3, HLG, HLG1-3), Black Gamma, Knee, Color Mode, Saturation, Color Phase, Color Depth, Detail, Copy, Reset
Media Type:
CFexpress Type A / SD card (x2), Simult. Rec, Sort, Auto Switch Media, Copy
Power:
[Movie] Approx. 7.3 W (with FE 28–70 mm F3.5–5.6 OSS lens attached), [Still image] Approx. 3.4 W (with FE 28–70 mm F3.5–5.6 OSS lens attached)
RAW Output:
HDMI: 4264 x 2408 (60p / 50p / 30p / 25p / 24p), 16 bit
Image Size:
Image size [3:2] 35 mm full frame L: 12M, M: 5.1M, S: 3.0M, APS-C L: 5.1M, M: 3.0M, S: 1.3M, Image size [4:3] 35 mm full frame L: 11M, M: 4.6M, S: 2.7M, APS-C L: 4.6M, M: 2.7M, S: 1.1M Image size, [16:9] 35 mm full frame L: 10M, M: 4.3M, S: 2.6M, APS-C L: 4.3M, M: 2.6M, S: 1.1M, Image size [1:1] 35 mm full frame L: 8M, M: 3.4M, S: 2.0M, APS-C L: 3.4M, M: 2.0M, S: 0.8M
Recording Format:
XAVC HS
[XAVC HS 4K] 59.94p/50p 200 Mbps/150 Mbps/100 Mbps/75 Mbps/45 Mbps, MPEG-H HEVC / H.265, 23.98p 100 Mbps/100 Mbps/50 Mbps/50 Mbps/30 Mbps, MPEG-H HEVC / H.265, 119.88p/100p 280 Mbps/200 Mbps, MPEG-H HEVC / H.265
XAVC S
[XAVC S 4K] 59.94p/50p 200 Mbps/150 Mbps, MPEG-4 AVC / H.264, 29.97p/25p 140 Mbps/100 Mbps/60 Mbps, MPEG-4 AVC / H.264, 23.98p 100 Mbps/100 Mbps/60 Mbps, MPEG-4 AVC / H.264, [XAVC S HD] 59.94p/50p 50 Mbps/50 Mbps/25 Mbps, MPEG-4 AVC / H.264, 29.97p/25p 50 Mbps/50 Mbps/16 Mbps, MPEG-4 AVC / H.264, 23.98p 50 Mbps/50 Mbps, MPEG-4 AVC / H.264, 119.88p/100p 100 Mbps/60 Mbps, MPEG-4 AVC / H.264
XAVC S-I
[XAVC S-I 4K] 59.94p/50p 600 Mbps/500 Mbps, MPEG-4 AVC / H.264, 29.97p/25p 300 Mbps/250 Mbps, MPEG-4 AVC / H.264, 23.98p 240 Mbps, MPEG-4 AVC / H.264, [XAVC S-I HD] 59.94p/50p 222 Mbps/185 Mbps, MPEG-4 AVC / H.264, 29.97p/25p 111 Mbps/93 Mbps, MPEG-4 AVC / H.264, 23.98p 100 Mbps/100 Mbps/60 Mbps, MPEG-4 AVC / H.264, 119.88p/100p 280 Mbps/200 Mbps, MPEG-4 AVC / H.264
Slow & Quick Motion:
XAVC HS 4K: [NTSC mode] 1fps, 2fps, 4fps, 8fps, 15fps, 30fps, 60fps, 120fps, [PAL mode] 1fps, 2fps, 3fps, 6fps, 12fps, 25fps, 50fps, 100fps
XAVC S 4K: [NTSC mode] 1fps, 2fps, 4fps, 8fps, 15fps, 30fps, 60fps, 120fps, [PAL mode] 1fps, 2fps, 3fps, 6fps, 12fps, 25fps, 50fps, 100fps, XAVC S HD: [NTSC mode] 1fps, 2fps, 4fps, 8fps, 15fps, 30fps, 60fps, 120fps, 240fps, [PAL mode] 1fps, 2fps, 3fps, 6fps, 12fps, 25fps, 50fps, 100fps, 200fps
XAVC S-I 4K: [NTSC mode] 1fps, 2fps, 4fps, 8fps, 15fps, 30fps, 60fps, 120fps, [PAL mode] 1fps, 2fps, 3fps, 6fps, 12fps, 25fps, 50fps, 100fps, XAVC S-I HD: [NTSC mode] 1fps, 2fps, 4fps, 8fps, 15fps, 30fps, 60fps, 120fps, 240fps, [PAL mode] 1fps, 2fps, 3fps, 6fps, 12fps, 25fps, 50fps, 100fps, 200fps
Size & Weight:
WEIGHT (MAIN UNIT ONLY) (approx.) – Approx. 1 lb 9.3 oz (715 g) (with battery and memory card included), Approx. 1 lb 6.6 oz (640 g) (body only)
Lens Mount:
E-mount
SONY FX6
The FX6 Cinema Line Camera puts revolutionary compactness and performance in the hands of creators, with its full-frame image sensor and breathtaking sensitivity. Leading-edge movie functions deliver game-changing performance and a library of cinematic looks, alongside pro interfaces and an electronic Variable ND Filter.
SPECS:
Lens Mount: Sony E Mount
Sensor Resolution Actual: 12.9 Megapixel Effective/ 10.2 Megapixel
Image Sensor: Full-Frame CMOS
Image Stabilization: Supplies Stabilization Metadata
ISO Sensitivity Range: 800 to 12,800 (Extended: 409,600)
Internal Recording Modes:
XAVC-I
DCI 4K (4096 x 2160) up to 59.94 fps [240 to 600 Mb/s VBR]
UHD 4K (3840 x 2160) up to 59.94/100/120 fps [240 to 600 Mb/s VBR]
1920 x 1080p up to 59.94/100/120/150/200/240 fps [89 to 223 Mb/s VBR]
XAVC-L
UHD 4K (3840 x 2160) up to 59.94/100/120 fps [100 to 150 Mb/s]
1920 x 1080p up to 59.94/100/120/150/200/240 fps [35 to 50 Mb/s]
External Recording Modes:
Raw 16-Bit via SDI/BNC
4096 x 2160 at 23.98/24.00/25/29.97/50/59.94 fps
3840 x 2160 at 23.98/24.00/25/29.97/50/59.94 fps
Raw 16-Bit via HDMI
4264 x 2408 at 23.98/25/29.97/50/59.94 fps
4240 x 2385 at 23.98/25/29.97/50/59.94 fps
Media/Memory Card Slot: Dual Slot: CFexpress Type A / SD
Video I/O: 1x BNC (12G-SDI) Output/ 1x HDMI 1.0 Output
RED V-RAPTOR 8K VV
Compact, fast, and full-frame—the black V-RAPTOR 8K VV Camera is an impressive introduction to RED DIGITAL CINEMA‘s new DSMC3 platform. Sized only slightly larger than the KOMODO but boasting a new sensor, the V-RAPTOR offers multi-format capture in 8K VV, 6K Super35, 4K, 3K Super16, and anamorphic options. This versatility enables you to adapt your format from project to project to suit your choice of a variety of pro cine or still photo lenses. The V-RAPTOR’s RF lens mount can be used with numerous lens adapters, and it has a locking ring that provides additional security for use with heavier lenses and steady, wide-open capture.
SPECS:
SENSOR: V-RAPTOR™ 8K VV 35.4 Megapixel CMOS (40.96 mm x 21.60 mm (Diagonal: 46.31 mm))
EFFECTIVE PIXELS: 8192 × 4320
DYNAMIC RANGE: 17+ stops
MOUNT: Canon RF mount
MAX DATA RATES: Up to 800 MB/s using RED branded or other qualified CFexpress media cards[1]
REDCODE® RAW MAX FRAME RATES: 120 fps at 8K 17:9 (8192 x 4320), 150 fps at 8K 2.4:1 (8192 x 3456)/ 140 fps at 7K 17:9 (7168 x 3780), 175 fps at 7K 2.4:1 (7168 x 3024)/ 160 fps at 6K 17:9 (6144 x 3240), 200 fps at 6K 2.4:1 (6144 x 2592)/ 192 fps at 5K 17:9 (5120 x 2700), 240 fps at 5K 2.4:1 (5120 x 2160)/ 240 fps at 4K 17:9 (4096 x 2160), 300 fps at 4K 2.4:1 (4096 x 1728)/ 320 fps at 3K 17:9 (3072 x 1620), 400 fps at 3K 2.4:1 (3072 x 1296)/ 480 fps at 2K 17:9 (2048 x 1080), 600 fps at 2K 2.4:1 (2048 x 864)
AVAILABLE REDCODE SETTINGS: REDCODE HQ, MQ and LQ at 8K 17:9 (8192 x 4320) up to 60 fps/ REDCODE LQ at 8K 17:9 (8192 x 4320) up to 120 fps/ REDCODE HQ, MQ and LQ at 6K 17:9 (6144 x 3240) up to 96 fps/ REDCODE MQ and LQ at 6K 17:9 (6144 x 3240) up to 160 fps/ REDCODE HQ, MQ and LQ at 4K 17:9 (4096 x 2160) up to 240 fps/ REDCODE HQ, MQ and LQ at 2K 17:9 (2048 x 1080) up to 480 fps
REDCODE® RAW ACQUISITION FORMATS: 8K 17:9 (8192 x 4320), 2:1, 2.4:1, 16:9, 1:1 and Anamorphic 2x, 1.8x, 1.6x, 1.5x, 1.3x, 1.25x/ 7K 17:9 (7168 x 3780), 2:1, 2.4:1, 16:9, 1:1 and Anamorphic 2x, 1.8x, 1.6x/ 6K 17:9 (6144 x 3240), 2:1, 2.4:1, 16:9, 1:1 and Anamorphic 1.5x, 1.3x, 1.25x/ 5K 17:9 (5120 x 2700), 2:1, 2.4:1, 16:9, 1:1/ 4K 17:9 (4096 x 2160), 2:1, 2.4:1, 16:9, 1:1/ 3K 17:9 (3072 x 1620), 2:1, 2.4:1, 16:9, 1:1/ 2K 17:9 (2048 x 1080), 2:1, 2.4:1, 16:9, 1:1
APPLE PRORES: Dedicated recording in ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, and ProRes 422 LT with resolutions up to 4K (4096×2160)/ Proxy recording available up to ProRes 422 HQ in 2K (2048 x 1080)
WEIGHT: 4.03 lbs (without body cap and CFexpress card)
DIMENSIONS: 6″ x 4.25″ x 4.25″ (L x W x H)
BATTERY TYPE: Gold Mount
OPERATING TEMPERATURE: 0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE: –20°C to 50°C (–4°F to 122°F)
AUDIO: Integrated dual channel digital mono microphones, uncompressed, 24-bit 48 kHz/ Integrated dual channel mic/line/+48V input via 5-pin Audio Port, uncompressed, 24-bit 48 kHz
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
SONY PXW-FX9
Whether you’re shooting documentaries, events, reality TV, education, or corporate productions, the PXW-FX9 XDCAM 6K Full-Frame Camera System from Sony has you covered with its powerful and flexible 4K interchangeable lens camera system. The PXW-FX9 features a full-frame, oversampled 6K Exmor R CMOS sensor that allows you to capture 4K images with cinematic depth of field. The camera’s E-mount is machined from stainless steel and allows you to use E-mount lenses.
• 4K recording oversampled by 6K resolution to deliver superb smoothness and detail
• Newly developed “Exmor R” 6K sensor with lower noise and 15+ stops of latitude, wide dynamic range, and high sensitivity
• 4K 4:2:2 10bit internal recording to XQD memory cards
• Cinematic color science with S-Cinetone™. Developed with the same expertise as Sony’s world-leading VENICE digital cinema camera. This advanced default look delivers pleasing skin tones and a softer tonal look
• Dual base ISO (ISO 800 / ISO 4000)
• Electronic Variable Neutral Density filter / Auto ND
• Fast Hybrid Autofocus System (Phase-detection AF + Contrast AF) with fast and intelligent AF response, high-speed subject tracking, and accurate and customizable AF settings
• Genlock and Timecode In / Out on the camera body
• Improved ergonomics and usability improvements from FS7M2
Sony Rialto
Unparalleled flexibility with uncompromised image quality
The VENICE Extension System (CBK-3610XS) enables cabled separation of the VENICE camera body and image sensor block by up to 5.5m with no degradation in image quality.
The kit consists of a front panel cover, image sensor block case and a 2.7m (9 ft) cable with an additional 2.7m (9 ft) extension cable. (VENICE camera is not included.)
The Extension System also has an HD-SDI output and a 24V output for powering accessories such as lens servo motors and monitoring. Multiple screw holes on all surfaces make it easy to affix additional accessories and fit with a wide variety of rigs. The Extension System is fully compatible with all existing and future VENICE cameras upgraded to V3 or higher firmware.