our inventory

Digital Cinema Cameras

ARRI

The new ALEXA Mini LF is a perfect match to the original ALEXA LF.  Using the same sensor technology in a new compact form factor, the Mini LF provides filmmakers with up to 40fps recording in 4.5K Open Gate, or 60fps recording in 16:9 UHD and 2.39:1 Scope 4.5K.  The Mini LF also features a number of improvements over the original ALEXA Mini, including additional I/O ports, a Compact Capture Drive Bay, and the new MVF-2 Viewfinder.

Offers in-camera recording of ProRes 4K UHD (3840 x 2160 pixels) and ProRes 4K Cine (4096 x 2637 pixels). Like its XT predecessor, the ALEXA SXT retains the same Open Gate, 4:3 and 16:9 sensor modes, which can be recorded in ARRIRAW or ProRes. The SXT also introduces the new sensor mode, 6:5. ALEXA SXT cameras include three fully independent HD-SDI outputs.

SONY

Sony has officially released the Venice Rialto Extension System and we have just received the first units in the United States. The Rialto allows the front image block from the Sony Venice to be relocated to a much smaller housing, which is then tethered to the camera body using a 9-foot cable. This can be extended further using an additional 9-foot cable for a total of 18-feet. This allows the Venice to be used in much tighter spaces than previously capable with the normal body size.

Rental Includes:

  • The Camera Body Adapter w/ serial connection
  • The Image Block Adapter w/ 9-foot cable
  • The 9-foot extension cable

Key Features:

  • Allows the Sony Venice to be broken into two pieces so that the Image Block and Lens may be placed in tighter spaces or further from the body of the camera.
  • Offers 9 to 18 feet of extension range from the Image Block to the Camera Body
  • The Image Block Housing offers a power pass through of 12V or 24V as well as an HD-SDI Output
  • Allows full use of the Sony Venice and its features.
PHANTOM

RED

The RED Ranger is an all-in-one cinema camera solution from RED.  Designed using REDs 8K Monstro VV Sensor, the Ranger integrates a wide array of power and I/O options into a seamless package providing versatility without the need for heavy modification or third party accessories.  A larger intake fan offers the Ranger better thermal management without an increase is noise, and an integrated top plate now offers more mounting options that the previous DSMC2 line of cameras.  This camera is perfect for the high demand environment of large scale feature and television productions.

PANASONIC

VariCam 35 boasts the highest-quality images of the new VariCam Series. It features a dynamic range with 14+ stops of latitude and a wide color gamut, acquisition functions that support 4K/120fps uncompressed RAW recording with Codex V-RAW Recorder*. 

The VariCam 35 is equipped with the newly developed “V-Gamut” giving it a wider color gamut than that of film. The gamma curve has evolved to “V-Log”, further extending the dynamic range. It is capable of recording the 14+ stops of dynamic range offered by the VariCam 35, and enhances grading flexibility. The V-709 gamma provides a tone suitable for previewing on a monitor. 

 

*Codex V-RAW Recorder is a product of Codex.

PRODUCT HIGHLIGHTS

SensorSuper 35 mm 4K MOS Sensor
4K (4096 x 2160) and UHD (3840 x 2160)
resolution
Frame Rate4K/UHD: Maximum 100p/120p
2K/HD: Maximum 100p/120p
Base ISONative ISO: 800, 5000
800 Base: 200 to 4000
5000 Base: 1250 to 12800
Latitude14+ stops

Weighing just under six pounds (body-only), VariCam LT is ideal for handheld, Steadicam, jib, crane, gimbal and drone shooting applications, as well as all types of cinéma vérité filmmaking. The VariCam LT has a compact and lightweight magnesium body and offers same picture quality specifications as the larger VariCam 35 cinema camera.

The super 35mm image sensor, which is the same imager as VariCam 35, features wide dynamic range, an expansive color gamut, and high sensitivity for 4K image acquisition. 

The VariCam LT offers a host of new features including an EF lens mount, hot swappable batteries, IR shooting capability, a 23.98 PsF output, cinema-style file naming, and scene files.

One new feature that has been added to the VariCam LT is the EF lens*1 mount which offers a wide array of lens choices. The EF mount*1 can be removed by an end user and replaced with a PL mount (optional). This allows for even greater versatility in lens selection when shooting with the VariCam LT.

PRODUCT HIGHLIGHTS

SensorS35 mm 1MOS (same as V35)
Frame Rate4K/UHD: Maximum 60fps or 50 fps
2K/HD: Maximum 240fps or 200 fps
Base ISODual native ISO settings of 800 and 5000. The native 5000 ISO allows for clean shooting in very low light situations.
Latitude14+ stops
OTHER

Film Cameras

35mm MOS

Includes: Electronic shutter 11°-180°, forward and reverse operation, Arriglow, swingover viewfinder, integrated video system, sliding bridge plate w/rods and 2 power cables

Includes: Electronic shutter 11°-180°, forward and reverse operation, Arriglow, swingover viewfinder, integrated video system, sliding bridge plate w/rods and 2 power cables

Includes: Manual shutter 45°-180°, forward and reverse operation, swingover viewfinder, integrated video system, sliding bridge plate w/rods, shoulder pad and 2 power cables – Available in 3-perf

Includes: Cinematography Electronics crystal speed base, accessory block 2 lens light, sliding bridge plate w/rods, right hand grip and 2 power cables

Includes: Cinematography Electronics crystal speed base, sliding bridge plate w/rods, and 2 power cables

Includes: Sliding bridge plate and rods

35mm Sound

Includes: Frameglow, electronically adjustable shutter 0°-180°, Sliding bridge plate w/rods and 2 power cables – Available in 3-perf

Includes: Frameglow, electronically adjustable shutter 0°-180°, Sliding bridge plate w/rods and 2 power cables – Available in 3-perf

16mm

Includes: RGB Arriglow, manual variable shutter, PL Lens mount, integrated video system, integrated radio and lens motor drivers, split bridgeplate w/rods, right handgrip, shoulder pad and 2 power cables

Lenses

Full Frame Spherical Lenses

Angenieux’s new Optimo Primes offer filmmakers small lightweight full frame cinema primes made specifically to match Angenieux’s line of cinema zooms. The Optimo Primes feature a unique design that allows the iris assembly, an internal glass element, and a rear filter to be swapped out, providing filmmakers with a versatile tool for creating dynamic images. The lenses are fast ranging from T1.8 for most focal lengths to T2 and T2.2 for the 18mm and 200mm respectively. Each lens features Cooke i/Data and ARRI LDS for lens metadata capture.

Leitz has created a new set of large format prime lenses.  The Leitz Primes provide an image circle large enough to cover Vistavision and offer a super fast aperture of T1.8 until 180mm.  They’re uniformly sized and designed for ease of use with evenly spaced focus and iris gears with a robust design.  They also feature a rear net holder and offer threading from front filter attachment (M112x1.5mm filters).

The MasterBuilt Prime lenses were designed to produce images with vintage style, offering gradual focus fall off with great center sharpness.  Large format compatible, the lenses offer ultra-fast T1.4 apertures with evenly spaced focus and iris gearing in each lens.

Designed through a collaboration between Bradford Young, ASC and Neil Fanthom, the Blackwing7’s offer full frame/large format coverage and feature a robust design coupled with unique optical characteristics and customization options.  Three tuning options are available for the Blackwing7 lenses: A standard “S” tuning matching more traditional 20th century lenses. A medium “T” tuning providing a smoother image with slightly more flaring.  Finally there is an extreme “X” tuning option which offers a softer look with more extreme halation and aberration during flaring.

ZEISS engineered the Supreme Prime’s with consistency in mind. Each lens is color matched and features a lightweight ergonomic design produced with modern film sets in mind. With a T-Stop of 1.5 the Supreme Primes are remarkably fast as well. All lenses in the family are designed to cover the full format camera sensors of today.

These Zero Optik Nikkor Primes are based on vintage full frame Nikon still photography lenses, but have been rehoused with cinema style gearing on the iris and focus for use on todays modern film sets.

Uncoated Lenses

35mm Vintage Zoom Lenses
35mm Zoom Lenses
16mm Prime Lenses

Also available: Double Asphere for 6mm Century

Anamorphic Prime Lenses

Arri Master Anamorphic Flare Set available for the front and rear for 35mm, 40mm, 50mm, 60mm, 75mm, 100mm and 135mm lenses.

Key Features

  • Front anamorphic element design, delivering true anamorphic flares and optic effects.
  • All lenses offer uniformly located 0.8 pitched gears, a fast stop of T2, and a front diameter of 114mm for ease of use in the field.
  • Each lens exhibits minimal breathing when focusing, compared to other anamorphics in their class.
  • An image circle of 31mm provides greater than Super 35 sensor coverage.

Current Sensor Compatibility

  • Alexa 4:3 Anamorphic
  • Alexa Open Gate
  • RED Monstro 8K in 7K 6:5 Anamorphic (will NOT work in 8K 6:5 Anamorphic Mode)
  • RED Helium 8K 6:5 Anamorphic
  • RED Dragon 6K 6:5 Anamorphic
  • RED Gemini 5K 6:5 Anamorphic
  • Sony Venice 4K 4:3 Anamorphic
  • Sony Venice 4K 6:5 Anamorphic (a reduction of 5% is required to eliminate corner illumination fall off)
Lenses
35mm Lomo Anamorphic Prime T2.5
50mm Lomo Anamorphic Prime T2.4
75mm Lomo Anamorphic Prime T2.4
150mm Lomo Anamorphic Prime T3.6
300mm Lomo Anamorphic Prime T4.7
500mm Lomo Anamorphic Prime T6.9
Directors Finders

Full Frame Zoom Lenses

35mm Vintage Prime Lenses
35mm Prime Lenses

ARRI / ZEISS Master Diopter Kit available.

Cooke 5/i Prime Set T1.4

Cooke Soft Effects Attachment is available with the 65mm S4/i (effect from T2.0 to T4.0) and 75mm S4/i (effect from T2.0 to T5.6). 

Also available: Fisheye Attachment for 18mm Zeiss Super Speed

16mm Zoom Lenses
Anamorphic Zoom Lenses
Telephoto Lenses

The Leitz APO-Telyt-R Telephoto Lens Module System allows the user to change between multiple focal lengths using front and rear modules without the need for multiple individual large lenses.  The system is corrected for chromatic and spherical aberration using apochromatic lens elements and features a rear filter insert for Series 6 filters to be used.

Probes
Lens Accessories