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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.
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.
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.
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.
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
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.
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.
PHANTOM FLEX 4K
The Phantom Flex4K delivers low noise, high resolution 4K imaging at super 35mm format. The full- size images are delivered via 9.4 Gpx throughput in the Cine Raw file format. With up to 1,000 fps in 4K the images are compatible with major color grading and video editing applications and support standard sync-sound frame rates.
Lens mount options increase the operator flexibility and are interchangeable between PL, Canon EF (with electronic control), and Nikon F. The ability to change mounts encourages shot variety and decreases workflow difficulty between shots.
The Flex4K features a complete on-camera control interface view a menu system. 100% un-tethered operation is possible through battery mounts and remote-control options.
9 Gpx/second.
Max speed at full resolution of 4096 x 2304 is 938 fps
At 4096 x 2160 max speed is 1000 fps
At 2048 x 1080 max speed is 1977 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
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.
SONY VENICE
Sony proudly introduces its next-generation motion picture camera system with forward-thinking full frame sensor, phenomenal color science and user-friendly operation. Usability and reliability of the camera is one of the major concerns for operators, especially in tough or time-critical filming conditions. With a user-friendly design, clear and simple menu navigation, and a highly durable, reliable construction, VENICE lets you simply concentrate on filming, and not the camera.
Imaging Device Pixel Count:
24.7M (total), 24.4M (effective)
Imaging Device Size:
36.2×24.1mm. 43.5mm (diagonal).
Imaging Device:
Full-Frame CMOS
ISO Sensitivity:
ISO500
Latitude:
15+ Stop
Lens Mount:
PL Mount
E-mount (lever lock type, without supplied PL lens mount adaptor)
Built-In ND Filters:
Clear, 0.3(1/2), 0.6(1/4), 0.9(1/8), 1.2(1/16), 1.5(1/32), 1.8(1/64), 2.1(1/128), 2.4(1/256)
Recording:
Recording Format (Video)
XAVC 4K Class480: 23.98p, 24p, 25p, 29.97p
XAVC 4K Class300: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
XAVC QFHD Class480: 23.98p, 25p, 29.97p
XAVC QFHD Class300: 23.98p, 25p, 29.97p, 50p, 59.94p
MPEG HD422(1920×1080): 23.98p, 24p, 25p, 29.97p, 50i, 59.94i
HD ProRes 422HQ*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 60i
HD ProRes 422*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i
HD ProRes 422 Proxy*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i
Recording Format (RAW/X-OCN) *required AXS-R7
RAW SQ:
4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
3.8K 16:9 (3840 x 2160): 23.98p, 25p, 29.97p, 50p, 59.94p
X-OCN ST/LT:
6K 3:2(6048 x 4032)*: 23.98p, 24p,
6K 2.39:1 (6048 x 2530)*: 23.98p, 24p, 25p, 29.97p
6K 1.85:1 (6048 x 3270)*: 23.98p, 24p, 25p, 29.97p
6K 17:9 (6048 x 3190)*: 23.98p, 24p, 25p, 29.97p
5.7K 16:9 (5672 x 3190)*: 23.98p, 25p, 29.97p
4K 6:5(4096×3432)*:23.98p, 24p, 25p, 29.97p
4K 4:3(4096×3024) :23.98p, 24p, 25p*, 29.97p*
4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
3.8K 16:9 (3840 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
Recording Format (Audio):
LPCM 4ch , 24-bit 48-kHz
DC Output:
12V: Hirose 4pin x1
24V: Fischer 3pin x2
SDI Output:
BNC×4, (12G, 3G, 1.5G-SDI)
HD MONI Output:
BNCx1 (1.5G-SDI)
HDMI Output:
Type A ×1
VF:
LEMO 26pin
Audio Input:
XLR-type 5pin (female) x1 (LINE/ AES/EBU / MIC / MIC+48V selectable)
Timecode Input:
BNC x1
Genlock Input:
BNC x1
AUX:
LEMO 5pin (female) x1 (Timecode Output)
Media type:
ExpressCard/34 slot×2
SD card slot ×1
Operating Temperature:
0 ～ 40℃