Camera Rentals
Cameras
RED EPIC
RED EPIC
The name is not an overstatement. The much anticipated addition to the RED family is the answer to the professional’s wildest dreams and exists as the most sophisticated and capable camera ever engineered and built. In a package one third the size of a RED ONE, resides a 5K Mysterium-X™ sensor and a 27 layer ASIC, the most advanced processor of its type in the world, enabling EPIC to capture up to 120 frames per second, each frame at full 14MP resolution.
EPIC is engineered to be a DSMC™ (Digital Still & Motion Camera), a camera that excels in both worlds … by design. Providing native dynamic range of over 13 stops and resolution that exceeds 35 mm motion picture film, this is the camera of the epoch. Add to that RED’s newly developed HDRx™ extended dynamic range technology and EPIC boasts an amazing dynamic range of up to 18 stops. Purpose-built for perfect multi-camera synchronization, EPIC comes to market at a time when 3D capture requires the sophistication of a new generation of innovative technology. EPIC, very simply, is epic.
| SENSOR | 14 MEGAPIXEL MYSTERIUM-X™ |
|---|---|
| PIXEL ARRAY | 5120 (h) x 2700 (v) |
| S/N RATIO | 66db |
| DYNAMIC RANGE | 13.5 stops, up to 18 stops with HDRx™ |
| MAX IMAGE AREA | 5120 (h) x 2700 (v) |
| LENS COVERAGE | 27.7mm (h) x 14.6mm (v) x 31.4 mm (d) |
| DEPTH OF FIELD |
Equivalent to S35mm (Motion) / APS-H (Still) lenses Equivalent to 16mm (Motion) lens in 2K RAW |
| ACQUISITION FORMATS |
5K RAW (Full Frame, 2:1, 2.4:1 and Anamorphic 2:1) 4.5K RAW (2.4:1) 4K RAW (16:9, HD, 2:1 and Anamorphic 2:1) 3K RAW (16:9, 2:1 and Anamorphic 2:1) 2K RAW (16:9, 2:1 and Anamorphic 2:1) 1080p RGB (16:9) 720p RGB (16:9) |
| PROJECT FRAME RATES | 23.98, 24, 25, 29.97, 47.96, 48, 50, 59.94 fps, all resolutions |
| DELIVERY FORMATS* |
4K : DPX, TIFF, OpenEXR (RED RAY via optional encoder) 2K : DPX, TIFF, OpenEXR (RED RAY via optional encoder) 1080p RGB or 4:2:2, 720p 4:2:2 : Quicktime, JPEG Avid AAF, MXF. 1080p 4.2.0, 720p 4:2:0 : H.264, .MP4 |
| PROGRAM OUTPUT |
HD-SDI Clean Feed 2K RGB, 1080p RGB or 4:2:2, 720p 4:2:2 SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio |
| MONITOR OUTPUT |
HD-SDI and HDMI with Frame Guides and Look Around 2K RGB, 1080p RGB or 4:2:2, 720p RGB or 4:2:2 SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio |
| DIGITAL MEDIA | REDMAG (SSD) Module : (64, 128, 256GB Media) |
| REDCODE™ |
12 and 16-bit RAW : Compression choices of 18:1 to 3:1 1-120 fps 5K, 4.5K 1-150 fps 4K 1-200 fps 3K 1-300 fps 2K |
| AUDIO |
2 channel, uncompressed, 24 bit, 48KHz. Optional 4 channel, and AES / EBU digital audio. |
| MONITORING OPTIONS |
RED LCD 5" Touchscreen Display BOMB EVF™ High Definition Viewfinder |
| REMOTE CONTROL | Wireless, Ethernet, RS232, GPI Trigger |
| WEIGHT | 5lbs. Body only |
| CONSTRUCTION | Aluminum Alloy |
| TEMPERATURE RANGES |
Operating Range: 0˚C to +40˚C (32˚F to 104˚F) Storage Range: -20˚C to +50˚C (-4˚F to 122˚F) |
| * FROM REDCINE-X |
RED ONE MX
RED ONE MX
The camera that started a revolution in digital cinema. From its humble beginnings, rising from a smoke cloud of intrigue, labeled a scam and claimed to be impossible technology, the RED ONE has materialized as one of the most significant American inventions of the 21st Century. With over 5 times the resolution of an HD video camera, the RED ONE has earned its rightful place as the successor to 35mm film acquisition.
The RED ONE has been responsible for creating thousands of films, from independent to Hollywood blockbuster, as well as a growing impact on the capture of episodic television. In the short span of three years, RED has come to dominate the music video and television commercial landscape, as well. Wherever 35mm film once tread, the RED ONE has emerged, bringing with it the advantages of lower cost, lighter weight, same hour dailies, brilliant workflow and grainless, organic images.
| SENSOR | 14 MEGAPIXEL MYSTERIUM-X™ |
|---|---|
| PIXEL ARRAY | 5120 (h) x 2700 (v) |
| S/N RATIO | 66db |
| DYNAMIC RANGE | 13+ stops |
| MAX IMAGE AREA | 4480 (h) x 2304 (v) |
| LENS COVERAGE | 24.2mm (h) x 12.5mm (v) x 27.3 mm (d) |
| DEPTH OF FIELD |
Equivalent to S35mm (Motion) lens Equivalent to 16mm (Motion) lens in 2K RAW |
| ACQUISITION FORMATS |
4.5K RAW (2.4:1) 4K RAW (16:9, HD, 2:1, and Anamorphic 2:1) 3K RAW (16:9, 2:1, and Anamorphic 2:1) 2K RAW (16:9, 2:1, and Anamorphic 2:1) |
| PROJECT FRAME RATES |
23.98, 24, 25, 29.97 fps @ 4.5K, 4K plus 50, 59.94fps @ 3K, 2K |
| DELIVERY FORMATS * |
4K : DPX, TIFF, OpenEXR (RED RAY via optional encoder) 2K : DPX, TIFF, OpenEXR (RED RAY via optional encoder) 1080p RGB or 4:2:2, 720p 4:2:2 : Quicktime, JPEG Avid AAF, MXF. 1080p 4.2.0, 720p 4:2:0 : H.264, .MP4 |
| MONITOR OUTPUTS |
HD-SDI and HDMI with Frame Guides and Look Around 720p RGB or 4:2:2 SMPTE Timecode, HANC Metadata, 24-bit 48Khz Audio |
| DIGITAL MEDIA |
REDFLASH (CF) Module : (16GB Media) RED SSD™ (64GB, 128GB, 256GB Capacity) |
| REDCODE™ |
12-bit RAW : RC28, 36, 42 Quality Levels 1-30 fps 4.5K, 4K 1-60 fps 3K 1-120 fps 2K |
| AUDIO | 4 channel, uncompressed, 24 bit, 48KHz. |
| MONITORING OPTIONS |
RED LCD 5" Flat Panel Display RED PRO LCD 7" Flat Panel Display BOMB EVF™ High Definition Viewfinder |
| REMOTE CONTROL | USB-2, GPI Trigger |
| WEIGHT | 10lbs. Body |
| CONSTRUCTION | Aluminum Alloy |
| TEMPERATURE RANGES |
Operating Range: 0˚C to +40˚C (32˚F to 104˚F) Storage Range: -20˚C to +50˚C (-4˚F to 122˚F) |
| * FROM REDCINE-X |
ARRI ALEXA
ARRI ALEXA
ALEXA has been designed to function as both a motion picture camera and a broadcast camera. For TV production, the time and cost savings as well as the extraordinary simplicity of ALEXA workflows will transform budgets and schedules, while the cinematic image quality will stagger viewers. For features, the sheer variety of outputs, functions, lenses and accessories will enable filmmakers to realize their visions without ever feeling restricted by technology.
Whether your production is destined for the silver screen or the TV screen, ALEXA will empower you to tell your story in exactly the way you think it should be told, with pictures of breathtaking richness and detail.
PHANTOM
PHANTOM
If you are shooting TV commercials, music videos, documentaries, a motion picture, or monitoring a rocket launch, and need “a new look” to tell the story, the flexibility and virtually limitless control of the Phantom HD GOLD will provide you with unforgettable footage.
The Phantom HD GOLD allows you to select any frame rate from 1 to 1,000 fps in increments of one frame-per-second at HD resolution. Shift the frame rate a little and move the scene to a slightly future viewpoint. Or shift the frame rate a lot and move the scene to some long passing moment in time. With the Phantom HD GOLD camera’s shutter, variable to 1/500,000 second, and radically adjustable framing rates, you have seamless control of the duration, speed and time of a story element.
SONY F3
SONY F3
The newest member of Sony’s CineAlta lineup, the PMW-F3 inherits DNA from the F35, which has been used for years in high-end digital cinematography, as well as most of the features and file-based workflow capabilities of PMW-EX1R and EX3 XDCAM EX solid-state memory camcorders.The PMW-F3 is equipped with the newly developed Exmor™ Super 35 CMOS image sensor, PL lens mount, and SxS card for 1920 x 1080 full-HD recording.The PMW-F3 features future expandability, including RGB 4:4:4 baseband output with S-LOG gamma for external recording which means it can be used in an HDCAM-SR™ workflow. It also offers a 3D-LINK option, which allows two camcorders to be controlled simultaneously for 3D stereoscopic shooting.
CANON 5D MARK II
CANON 5D MARK II
Canon’s update to the wildly popular full frame EOS 5D is here, and it’s better than ever. The EOS 5D Mark II has a stunning 21.1-megapixel full-frame CMOS sensor with DIGIC 4 Image Processor, a vast ISO Range of 100-6400 (expandable to ISO L: 50, H1: 12800 and H2: 25600), plus EOS technologies like Auto Lighting Optimizer and Peripheral Illumination Correction. It supports Live View shooting, Live View HD videos, and more. It can shoot up to 3.9 fps, has 9 AF points plus 6 AF assist points, a new 98% coverage viewfinder, a 3.0-inch Clear View LCD (920,000 dots/VGA) and a rugged build. Full-frame shooters rejoice!
Type
Digital, single-lens reflex, AF/AE camera
Recording Media
CF Card Type I and II, UDMA-compliant CF cards, via external media (USBv.2.0 hard drive, via optional Wireless File Transmitter WFT-E4A)
Image Format
36.0mm x 24.0mm (35mm Full-frame)
Compatible Lenses
Canon EF lenses
Lens Mount
Canon EF mount
Image Sensor
Type
High-sensitivity, high-resolution, large single-plate CMOS sensor
Pixels
Effective pixels: Approx. 21.1 megapixels
Total Pixels
Total pixels: Approx. 22.0 megapixels
Canon 7D
Canon 7D
A Whole New Class of EOS. With a host of brand new features designed to enhance every facet of the photographic process, from still images to video, the new EOS 7D represents a whole new class of camera.
Made to be the tool of choice for serious photographers and semi-professionals, the EOS 7D features an all-new 18.0 Megapixel APS-C size CMOS sensor and Dual DIGIC 4 Image Processors, capturing tremendous images at up to ISO 12800 and speeds of up to 8 fps. The EOS 7D has a new all cross-type 19-point AF system with improved AI Servo II AF subject tracking and user-selectable AF area selection modes for sharp focus no matter the situation. The EOS 7D’s Intelligent Viewfinder, an entirely newly-designed technology, provides approximately 100% coverage and displays user-selected AF modes as well as a spot metering circle and on demand grid lines. New iFCL Metering with 63-zone dual-layer metering system uses both focus and color information to provide accurate exposure even in difficult lighting. The EOS 7D also captures Full HD video at 30p (29.97 fps), 24p (23.976 fps) and 25p with an array of manual controls, including manual exposure during movie shooting and ISO speed selection. The EOS 7D features a magnesium alloy body that is dust- and weather-resistant and shutter durability of up to 150,000 cycles. Compatible with over 60 EF and EF-S lenses as well as with EOS System accessories, the creative opportunities – not just with stills but also with video – are beyond amazement.
Type
Digital, AF/AE single-lens reflex camera with built-in flash
Recording Media
CF Card Type I and II, UDMA-compliant CF cards, via external media (USB v.2.0 hard drive, via optional Wireless File Transmitter WFT-E5A)
Image Format
22.3 x 14.9 mm (APS-C size)
Compatible Lenses
Canon EF lenses including EF-S lenses (35mm-equivalent focal length is approx. 1.6x the lens focal length)
Lens Mount
Canon EF mount
Image Sensor
Type
High-sensitivity, high-resolution, large single-plate CMOS sensor
Pixels
Effective pixels: Approx. 18.0 megapixels
Total Pixels
Approx. 19.0 megapixels
Aspect Ratio
3:2 (Horizontal: Vertical)
Canon 7D PL modified camera
Canon 7D PL modified camera
The EOS 7D takes DSLR video to new heights with Full HD capture featuring fully manual exposure control, and selectable cinematic frame rates for both NTSC and PAL standards. Now compatible with all PL-mounted cine lenses, the EOS 7D lets videographers take full advantage of the camera’s large CMOS sensor to achieve the dramatic frame composition they desire. At the heart of the EOS 7D are two key proprietary Canon technologies, Dual DIGIC 4 Imaging Processors and a large APS-C-sized CMOS sensor, helping to render stunning color reproduction, amazing depth of field and fine detail, even in low-light conditions.
The Canon EOS 7D allows for three video recording modes – Full HD and HD in a 16:9 aspect ratio and Standard Definition (SD) in a 4:3 aspect ratio, all at selectable frame rates. The EOS 7D Digital SLR camera will record Full HD at 1920 x 1080 pixels in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); 720p HD recording at 50p or 60p (59.94) and SD video at frame rates of 50p or 60p (59.94). The EOS 7D features a new dedicated button to initiate live view for both video and still shooting. Once engaged, the same dedicated button will start and stop video recording. Besides the camera provides users with the capability to use an external stereo microphone for professional audio effects or a built-in monaural microphone for convenience.
Lenses
Prime Lenses
Full set of Arri Ultra Primes
Full set of Arri Ultra Primes
Cover all the Angles – The Ultra Primes
Ultra Primes have the widest focal range of any prime lens set available to cover every cinematic need: from the unique Ultra Prime 8R extreme wide angle lens to the best telephoto lens designed specifically for motion pictures, the Ultra Prime 180 mm, giving you the flexibility to get the coverage you want.
Ultra Primes retain their excellent image quality even at close focus across the whole Super 35 frame. The Ultra Primes are lightweight standard speed lenses that are a perfect optical match to the high speed Master Primes.
Compact Prime.2
Compact Prime.2
The Compact Primes are a new set of high quality PL mount lenses for digital and film cameras. They are based on the award-winning optics of ZF still photography lenses, which ARRI and ZEISS have further optimized and built into completely new lens housings designed specifically for cinematography. Benefiting from the uncompromising standards of motion picture equipment manufacturing,the Compact Primes are an affordable set of primes that deliver high image quality as well as the ergonomics and robust construction demanded by the rigors of life on the set.
Zoom Lenses
Arri Alura
Arri Alura
The Next Generation of Zooms
ARRI and FUJINON have joined their extensive expertise to create a completely new family of modern cine zooms. Using the latest in optical design technology and innovative manufacturing techniques, the ARRI/FUJINON Alura Zooms combine the highest optical performance with an amazingly small size, weight and price.
The Alura Zooms’ color characteristics, as well as their handling, are matched to existing prime lenses in ARRI’s outstanding repertoire. With two new extenders (1.4x and 2x) developed specifically for FUJINON PL mount zooms, ARRI now offers the widest range of cine lenses for all professional production demands, including zooms, high speed primes, standard speed primes, extreme wide angle and telephoto primes, macro, extenders and diopters.
Angenieux Optimo DP Rouge
Angenieux Optimo DP Rouge
Optimo DP 16-42 with an aperture of T2.8 is a lightweight and compact PL mount zoom lens. He is designed for digital cameras. Optimo DP 16-42 delivers the superior zoom optics, functionality and ergonomics that DP’s demand at an economical price. The ideal match for the Optimo DP 30-80mm.
Optimo DP 30-80 with an aperture of T2.8 is a lightweight and compact PL mount zoom lens. OPTIMO DP 30-80 zoom lens is designed for digital cameras. Optimo DP 30-80 brings the very best of film to the new world of large format digital production. It is the perfect match for the Optimo DP 16-42mm
16-42MM
Focal Length: 16-42mm
Photometric Aperture: T2.8
Minimum Object Distance: 2' (.61m)
Image Coverage : S35 Full (31.1 mm diagonal)
Weight: approx. 4.2 lbs (1.9kg)
30-80MM
|
Comparative Focal Length |
30-80mm |
|
Aperture |
Photometric Aperture: T2.8 |
|
Zoom Range |
2.7x |
|
Minimum Object Distance (M.O.D.) |
2' (0.61 m) |
|
Coverage |
S35 Full (31.1mm diagonal) |
|
Weight |
Weight: approx. 4.2 lb (1.9 kg) |
Angenieux HR 25-250mm
Duclos 11-16mm
Duclos 11-16mm
Duclos Lenses has developed a conversion process for the Tokina 11-16mm ultra-wide angle lens. Most obvious is the PL mount that interfaces with any PL mount camera including the RED One. More subtle yet most important is the activated manual aperture control. Lubricated, geared, and marked, the new aperture ring allows precise control for the user. The outer shell of the lens has been replaced with black anodized aluminum. Internal components are refined and reenforced. The final product is a small, lightweight lens perfectly capable of holding its own agains the likes of other motion picture optics.
Max. Aperture: T2.8
Min. Aperture: T32
Angle of View: 104°-82°
Min. Focus Dist: 0.3m / 1ft
Image Circle: 38-32mm
S16
Optex S16 8mm Prime
Arri 11-110mm
Arri 11-110mm
This lens is a fast, compact zoom lens designed specifically to completely cover the Super 16 format throughout the entire zoom range. It perfectly matches the new, advanced ARRIFLEX 16SR 3 camera system. The high iris opening remains constant over the entire zoom range. The Vario-Sonnar has full macro functions. The ultra-precise flange focal distance guarantees maximum image sharpness – also during zooming.
The 11-110mm T2 Vario-Sonnar features Zeiss T* multi-layer coatings on all lens-to-air surfaces to optimize color saturation, enhance contrast and to reduce flare to a minimum. The neutral color correction of the lens, standard on all Zeiss lenses, guarantees the absolute interchangeability with all other Zeiss T* multi-layer coated lenses.
The Zeiss 11-1110mm T2 Vario-Sonnar zoom lens takes advantage of the 16SR 3′s new 54mm PL lens mount, and is also available with the standard 41mm ARRIFLEX bayonet mount.
It has integrated gear rings for zoom, focus and iris control, and is designed to utilize the new ARRI lens Control System (LCS) for full microprocessor-based remote lens operation.
The Vario-Sonnar works wirh all ARRIFLEX matte box systems, and its internal, linear focusing mechanism permits the use of square matte boxes which can be mounted directly onto the front of the lens.
Dimensions: 7.5" x 3.5"
T-stop Scale: 2.2, 2.8, 4, 5.6, 8, 8 & 16
Focusing Scale: 00 - 1.5 m (5ft)
Focal Length: 11, 16, 25, 35, 50, 80, 110 and Macro
Mounting Flange: 54mm PL Mount
Filter Attachment Diameter: 87mm
DSLR Lenses
DSLR Prime Lenses
DSLR Zoom Lenses
Matte Box & Follow Focus
Matte Box
DSLR Accessories
Camera Support
Fluid Head
Dutch Tilt Cartoni C40
Dutch Tilt Cartoni C40
This special accessory has been conceived to add a 3rd axis to a standard Fluid Head and allow the lateral movement called “Dutch angle”, enhancing special effects.
C40S DUTCH HEAD is designed to make exceptionally smooth side-tilt effects simple and straightforward to execute.
The DUTCH HEAD integrates the awardwinning CARTONI fluid module in progression from “0″ to 7 intensity. The counterbalance system features the 7 step spring mechanism.
The DUTCH HEAD interface directly with the quick release plate on any camera support head featuring the European style quick release plate or can be attached by 2 3/8″ screws. A special telescopic orientable pan bar completes the equipment.
Panther X15 Light Weight 100mm Fluid Head with Carbon Legs
Tripod Legs
Other Support
ET Mantis Handhold Rig
ET Mantis Handhold Rig
The MANTIS
The industry’s most configurable and innovative shoulder mounting solution for film and digital motion picture cameras.
Fully compatible with the RED One of today, as well as the Scarlett and Epic of tomorrow.
Element Technica’s new hand-held system combines innovative design with exceptional workmanship and materials.
Multi axis adjustment allows shoulder pad to conform to any shoulder
Two axis (rotational) adjustment shoulder pad
Fore/aft linear adjustment shoulder pad
Designed specifically for Arriflex style Hybrid bridge plates (435, Arricam, Moviecam, Phantom, etc.)
Utilizes conventional bicycle grips (use ours or bring your own) Telescopic and rotating handle extensions
Handles and extensions use Arriflex compatible rosettes
Mounting point for ViewFactor Origo remote start/stop button
Available as a system or a la carte
RED One owners will need the ET Arri-Style Hybrid Base from RED.com or similar Arri compatible bridge plate.
Monitoring
Transvideo
8in Cinema HD
8in Cinema HD
Featuring TRANSVIDEO’s proprietary technology with RealFrameRate processing (RFR™), the CineMonitorHD8 Evolution provides true monitoring of exising in-camera images with 1 -frame delay or less.
TRANSVIDEO’s processing technology displays crystal clear images without aliasing or motion-blurs. The monitor is usually configured with HD/SD SDI, HDMI and Analog inputs, with automatic recognition of all standards. It can also be ordered with only 2 x SDI and 1 x SDI reclock (see Recommendations bellow).
CineMonitorHD8 Evolution can be set in 2 operating modes either for outdoor viewing or color monitoring.
CineMonitorHDs reach new heights in manufacturing quality with aluminum housings fully sealed, state of the art optical glass protecting the screen and galvanic insulation.
Firmware and software updates are possible by the user with a USB key.
CineMonitorHD Evolution includes all Classic features plus advanced functions. All functions operate both in HD and SD.
Multiple Display Setting
The monitor is switchable between 16/9, Anamorphic (and 4:3 in SD). It also includes Fixed markers (TV safe, 4:3 and 14/9), Blue Check, Colorimetry & Gamma Adjustments, Display Mode (Color, Green or Black & White), Zoom & Reframe, Image Flips & Monitor Reverse.
Monitoring Functions
Necessary functions for HD monitoring are included: Luminance Waveform with user- programmable clipping levels, Histogram, Vectorscope, Overexposure Control as well as Full color Frameline & Matting Generator.
Advanced Functions
Also includes Line, Sweep & Multiple Parade Waveforms, Time-Code, Embedded Audio Monitoring, i/ Lenses, Voltage Monitoring, Focus Helper as well as Tri-color Tally.
An optional virtual Horizon movable on the display can also be ordered (see Recommendations bellow).
Large Monitors
Wireless
Transvideo Titan HD Wireless Transmitter & Adaptor
Transvideo Titan HD Wireless Transmitter & Adaptor
TitanHD works on the 5.8GHz ISM band that doesn’t require a broadcast license.
The transmitter is stacked between the camera and the V-Lock battery mount. Both the transmitter and receiver can be powered by battery or external DC.
Based on a 5GHz ISM band COFDM MiMo wireless system, TitanHD carries HD SDI 4:2:2 RGB 10-bit signal, in RGB or YPrPb color spaces, as well as in SD composite.
Signal strength and stability are excellent.
The transmitter is stacked between the camera and the V-Lock battery mount. Both the transmitter and receiver can be powered by battery or external DC.
Transmission Range
The transmission range varies depending on the topology of the location, performance remained excellent within an open field line of sight test from 200 feet(60 meters).
It can be reduced by walls or interferences with other systems.
Audio Transmission
TitanHD includes Audio Transmission where 2 channels are embedded in the SDI signal or 2 analog balanced inputs.
Several possibilities are available to carry metadata or to remote basic functions.
Cube Teradek Wireless
Cube Teradek Wireless
The Cube™ Family are the world’s first camera-top streaming HD video devices. The family includes six encoder models and two matching form-factor decoders. The Cube™ Encoder streams HD video over WiFi or wired Ethernet. The Cube™ Encoder creates its own wireless (ad hoc) network, and streams HD video directly to a Cube™ Decoder, a computer or laptop, a server, or a mobile device such as an iPad with no other networking equipment required. To extended your broadcast range, Cube™ Encoder can join an infrastructure network by using a wireless router and stream over a LAN or WAN. Experienced network users can use Cube™ to stream video over the Internet.
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HD-SDI H.264 SYSTEM INPUTS HD-SDI, SD-SDI: BNC SUPPORTED RESOLUTIONS 1080p/PsF @ 23.98/24Hz 1080i @ 50/59.94/60Hz 720p @ 50/59.94/60Hz 480i @ 50/59.94/60Hz |
HDMI H.264 SYSTEM INPUTS HDMI In SUPPORTED RESOLUTIONS 1080p @ 23.98/24/25Hz 1080i @ 50/59.94/60Hz 720p @ 50/59.94/60Hz 480p @ 50/59.94/60Hz] |
VIDEO CODEC Compression Algorithm: High Profile H.264 (L4.1) Bit Rate: 250 Kbps to 10 Mbps |
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PHYSICAL Dimensions: 2.5"W x 3.5"D x .9"H Weight: 7 oz. Nominal Power Consumption: 2.5W PoE: 802.3af Compliant Auxiliary Power Input: 9-24V DC |
NETWORK Ethernet: 10/100BASE-T Network Protocols: TCP/IP, UDP, HTTP, DHCP, NTP, SSL, IGMP Transport Protocols: RTP, RTSP, RTP over HTTP, MPEG-TS*, HTTP Live Steaming Feature-rich WebUI for configuration and control Point to Point (TCP or UDP), Multiple Unicast (UDP), or Multicast (UDP+IGMP)* |
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AUDIO Embedded Stereo Audio Compression: AAC-LC, MPEG Layer 2 |
INTERFACES USB 2.0: 1 Powered Port* WiFi: Internal 802.11n* |
Filters
4*5.6
4*5.6
ND3
ND6
ND9
ND1.2
ND1.8
Pola
CTB
Clear
IR1.2
IR1.5
Black Pro-Mist 1/2, 1/4, 1/8, 1, 2
HD Classic Soft 1/2, 1/4, 1
Specialty Items
Easy Rig
Easy Rig
Cinema 3 is our heavy duty model for 35 mm movie cameras. Equipped with the patented Easyrig System, Cinema 3 is specially designed for professional photographers working with handheld equipment with weights between 15 – 25 kg (33 – 55 lbs). Cinema 3 can be used with both video and motion picture cameras.
Cinema 3 is manufactured in Sweden and has been ergonomically tested with optimal results. Cinema 3 comes in two sizes, small and standard.
Cinema 3 gives you the advantages of both a handheld and tripod mounted camera; i.e. with the speed and mobility of the handheld camera you can still achieve steady pictures. It also has improved steadiness because of the integrated hip and back support.
Cinema 3 relieves your back and shoulders. The load is redistributed to the hips so that you can concentrate on the actual filming. You won’t suffer from a strained back or shoulders as you would from normal handheld shooting and you will be able to work for longer periods of time.
After you are finished filming, just fold your Cinema 3 and put it in the specially designed Petrol bag that it is delivered in.
Easyrig 3 cinema will be your best tool when you do movies, commercials and many other hand-held situations where stability is crucial and freedom to move is essential.
AJA KIPRO MINI
AJA KIPRO MINI
Ki Pro Mini is the smallest and simplest way of connecting production and post, anywhere shooting takes you. With a miniature form factor that makes for the smallest camera and recorder package available, Ki Pro Mini is powerful, supporting all four types of Apple ProRes 422 (including HQ, LT and Proxy). The newest member of the award winning Ki Pro family, Ki Pro Mini simplifies the link between production and post by unobtrusively fitting in small spaces and acquiring on the best codec for use with Apple Final Cut Studio, from any SDI or HDMI camera, regardless of format. With its high quality digital connectivity, you’ve got the perfect solution for portable on-set digital capture.
- Extreme Portability for any shooting environment
- 10-bit full raster recording to Apple ProRes 422 SD and HD formats
- Apple ProRes 422 (HQ)
Apple ProRes 422
Apple ProRes (LT)
Apple ProRes (Proxy) - Record Edit-Ready SD/HD files from any camera to Compact Flash (CF) cards
- Skip log and capture with instant mounting of native OSX media
- Professional connectivity through SD/HD SDI and HDMI I/O
AJA’s Ki Pro Mini was designed as a miniature field recorder for creating “ready- to-edit” professional digital video. Ki Pro Mini supports an Apple “file-based” workflow by recording standard Apple ProRes 422 QuickTime files on industry standard Compact Flash (CF) media. When removed, Compact Flash cards function as standard HFS drives when connected to a Mac computer via any standard off-the-shelf Compact Flash reader.
Ki Pro Mini’s multi-purpose mechanical design and small form factor allow flexibility in mounting to the camera or tripod using industry standard mounting plates or shoe adapters. An optional Ki Pro Mini mounting plate offers a wide variety of hole-patterns for mating either side of the unit with virtually any camera accessory bracket.
Like AJA’s famous Ki Pro, KONA and Io HD desktop products, Ki Pro Mini offers unparalleled I/O quality. Within its portable and rugged form factor, Ki Pro Mini offers broadcast quality SD/HD digital I/O including SDI, HD-SDI and HDMI, two channels of balanced analog audio (2 XLRs) with switch selectable line/mic levels, and LTC timecode input.
Control options are flexible, with front panel and web browser interfaces provided (Ethernet 10/100/1000 via an RJ45 connector).
Video Input and Output
- Digital:
- SD and HD-SDI (1xBNC), SMPTE-259/292/296
- HDMI
Audio Input
- Digital:
- 24-bit SDI embedded audio, 8 channel, 48kHz
- HDMI embedded, 8 channel
- Analog:
- 24-bit A/D, 2 channel balanced (2 XLR), 48kHz
- Input level: Line, Mic, Mic + phantom 48Vdc
Audio Output
- Digital:
- 24-bit SDI embedded audio, 8 channel, 48kHz
- HDMI embedded, 2 channel
Network
- 10/100/1000 Ethernet (RJ45)
- Embedded webserver for remote control
Panel User Interface
- 3-line character display with dedicated buttons
Timecode
- LTC timecode input and output via BNC
Control
- LANC Loop (2 LANC connectors)
Power
- 100-240 VAC (to supplied AC Adapter);
- 12Vdc to power connector input on bottom of chassis
Audio
Sony PCM-D50 Digital Recorder
Sony PCM-D50 Digital Recorder
The PCM-D50 recorder adopts many of its features and style from the highly acclaimed PCM-D1 model, including rugged construction and cool design. It’s the ideal choice for making live musical, nature sound and field recordings. The PCM-D50 is a 96 kHz/24-bit recorder fitted with two-position (X-Y or Wide) stereo microphones, 4 GB of internal flashmemory and a Memory Stick Pro-HG Duo™ slot for additional storage. Operating on four AA alkaline batteries, it provides 14 hours of record operation at 44.1kHz 16bit recording. Unique features such as a two-position stereo microphone, a prerecord buffer that records five seconds of audio before hitting the record button, digital pitch control, and A/B segment/ repeat offer great portable possibilities for songwriters, musicians and journalists.