The Alexa XT (Xtended Technology) improves on the base Alexa model with in-camera ARRIRAW recording, internal ND filtration, 4:3 Super 35mm sensor, LDS PL mount, anamorphic de-squeeze and a nearly silent fan. The Alexa XT guarantees reliability, ergonomics and efficient workflows.
The brand new Alexa Mini is compact, efficient and lightweight, making it a versatile addition to the Alexa series. Combining the powerful image capture capability of the Alexa series in a super small body, the Alexa Mini is ideal for handheld, run-and-gun shoots as well as studio work.
The Alexa 4:3 Plus has similar functionality to the Alexa with some key additions: the ability to switch between 16:9 and 4:3 sensor modes, built-in licenses for high speed shooting, DN x HD recording and anamorphic de-squeeze. The full area of the sensor is used and a much higher image quality is retained.
The Amira is a versatile documentary-style camera that combines exceptional image quality and affordable CFast 2.0 workflows with an ergonomic design optimized for single-operator use and extended shoulder-mounted operation. Capable of in-camera grading with pre-loaded 3D LUTs and 200 FPS slow motion, the Amira is suitable for a great variety of production types.
The F55 offers unprecedented flexibility with internal recording codecs and the choice of HD, 2K, QFHD and 4K resolutions. The camera’s 16-bit Linear RAW 4K output enables it to register every nuance of color, contrast and detail.
The PXW FS7 XDCAM camera has an ergonomic grip design for easy handling and operability, making it ideal for one-man operation. The FS7 features a 4K Super 35mm Exmor CMOS sensor and support for shooting in 60p or Full HD at high frame rates up to 180 FPS.
The 6K resolution of the Dragon sensor delivers 19 megapixel RAW frame images – up to 9 times more pixels than 1080p HD. That means better VFX plates, reframing flexibility and less aliasing artifacts and moiré. The Dragon offers a native dynamic range of over 16.5+ stops and an improved signal-to-noise ratio.
The Epic captures up to 120 frames per second, each at full 14MP resolution. The Epic is a DSMC™ (Digital Still & Motion Camera), designed for ideal functionality in either situation. Epic also includes native dynamic range of over 13 stops and resolution that exceeds 35mm motion picture film.
The Cinema EOS C500 4K Digital Cinema Camera capitalizes on the ergonomic design of the C300 and offers a Super 35mm, 8.85-megapixel CMOS image sensor, DIGIC DV III Image Processor and an expansive range of recording and output options specifically for 4K and 2K image acquisition.
The EOS C500 provides cinema-quality image capture with features such as a Super 35mm CMOS sensor, Canon DIGIC DV III Image Processor and 50 Mbps 4:2:2 codec.
18mm, 21mm, 25mm, 29mm, 35mm, 40mm, 50mm, 65mm, 75mm, 100mm
18mm, 21mm, 25mm, 29mm, 35mm, 40mm, 50mm, 65mm, 75mm, 100mm, 135mm
16mm, 21mm, 25mm, 27mm, 32mm, 40mm, 50mm, 65mm, 75mm, 100mm, 135mm, 150mm
14mm, 16mm, 24mm, 32mm, 40mm, 50mm, 65mm, 85mm, 100mm, 135mm
18mm, 25mm, 35mm, 50mm, 85mmm
14mm, 16mm, 24mm, 32mm, 40mm, 50mm, 85mm, 100mm, 135mm
14mm, 18mm, 21mm, 25mm, 27mm, 35mm, 40mm, 50mm, 65mm, 75mm, 100mm, 135mm
18mm, 25mm, 32mm, 40mm, 50mm, 65mm, 75mm, 100mm, 135mm
18mm, 25mm, 32mm, 40mm 50mm, 75mm, 100mm
Optimo 24-290 T2.8
Optomo 28-340 T3.2
Optimo 17-80 T2.2
Optimo 15-40 T2.6
Optimo 28-76 T2.6
Optimo 45-120 T2.8
Optimo Rouge 16-42 T2.8
Optimo Rouge 30-80 T2.8
Optimo 25-250 T3.4
Cooke 20-100 T3
Fuji 24-300 T2.8
Fuji 19-90 T2.9
Arri Alura 18-80 T2.6
Arri Alura 45-250 T2.8
Arri Alura 30-80 T2.8
Tokina 11-16 T2.8
GL Optics 18-35 T1.8
24mm*, 32mm, 40mm, 50mm, 75mm, 100mm, 135mm*
35mm, 40mm, 50mm, 60mm, 75mm, 100mm, 135mm*
These lenses are an extremely sharp lens modeled in the vein of its spherical predecessor. Often times these lenses will need to be shimmed specifically to each camera body they interact with. They have almost zero distortion or breathing and hold amazing color rendition and skin tones throughout the entire set. With 15 iris blades, these lenses have great out-of-focus highlights and very pleasing bokeh. These lenses were designed with the idea in mind of shooting wide open and are capable of shooting at stop T1.9. They show no anamorphic mumps and are Arri LDS ready.
40mm, 50mm, 75mm, 100mm
35mm, 50mm, 75mm, 100mm
35mm, 50mm, 85mm
*Delivery fall 2015
Sony 17″ OLED Monitor
Sony 25″ OLED Monitor
Panasonic 17″ Monitor
TV Logic 5.5″/5.6″
TV Logic 7″
Small HD DP7
Small HD AC7
O’Connor 2575 Fluid Head
O’Connor 2060 Fluid Head
O’Connor 1030 DS Fluid Head
Lambda 3 Axis Head