The SOUND DEVICES PIX 240 EXTERNAL RECORDER provides the ability of QuickTime recording for video cameras with HDMI and HD-SDI inputs. It employs Apple ProRes or Avid DNxHD formats to record videos which offer good picture quality and processing efficiency.
The Canon DIGISUPER 95 - XJ95 X8.6B 8.6-820MM 1:1.7 COMPLETE is a super-telephoto lens with a 95x zoom range and a wide focal length of 8.6mm.
The TANGO 2 SWING HEAD allows the camera operator to quickly level the horizon, regardless of the weight of the camera and lens selected. It has a convenient third axis: whatever fluid or geared head is chosen, the panoramic movement remains horizontal and the tilt stays vertical.
The O'CONNOR 2575D FLUID HEAD has become the standard for film production. The head includes OConnor’s patented sinusoidal counterbalance system for true, accurate balance at any point in the tilt range.
The O'CONNOR 2560 FLUID HEAD is specifically designed for modern digital cameras. Weighing under 18 pounds, it can support camera payloads of up to 66 pounds with a 6" center of gravity above the platform.
The O'CONNOR 120EX FLUID HEAD is the only product on the market capable of balancing an impressive capacity range of 30 to 240 lbs. It achieves its maximum payload at a tilt range of ±60°.
The O'CONNOR 1040 FLUID HEAD w/ FLOWTECH CF LEGS combines lightweight design with exceptional stability. It features a stepless, ultra-smooth pan and tilt fluid drag system, custom-designed for precise control. The OConnor Sinusoidal Counterbalance system ensures true, accurate balance at any point within the tilt range.
The SACHTLER VIDEO 18 HEAD S2 100mm BALL has a sliding balance plate with a 4.72" sliding range, supporting cameras and rigs from 4 to 48.5 lbs. It features seven grades of pan and tilt drag, a zero setting for completely free movement, 16 steps of counterbalance, plus a Boost Button.
The SACHTLER VIDEO 25 PLUS HEAD 150mm BALL is a remarkably lightweight fluid head designed for studio and outside broadcast use. It comfortably supports payloads of up to 35 kg and features a seven-step drag system, ensuring smooth and precise shots at any drag level.
The SACHTLER CINE 30 HEAD 150mm BALL has a sideload platform that allows for simple and secure mounting of heavily accessorised camera setups, ensuring safety without compromising efficiency. It has a payload range that spans from 3 kg to 32 kg (7 to 71 lbs).
The MANFROTTO 502 HEAD features variable fluid drag system for pan and tilt movements. It has a maximum capacity of 10kg and features a Ø75mm half ball connection to ensure compatibility with most equipment today.
The ARRI HI-5 FF // C-FORCE MINI MOTOR KIT offers advanced wireless multi-axis camera and lens control via a large knob, instant reconnection, a high-contrast touchscreen LCD, powerful signal, and a modular, highly customizable design.
The ARRI WCU-4 WIRELESS FOLLOW FOCUS SYSTEM is a lightweight and ergonomic hand unit that provides precise 3-axis lens control. It features a clear lens data display, lens mapping to pre-marked focus rings, and advanced focus tracking capabilities.
The ARRI SXU-1 WIRELESS FOLLOW FOCUS SYSTEM is a simple, single-channel hand unit that can be set up to control focus, iris or zoom. It can be used alongside the Hi-5 and WCU-4 for seperate iris control.
The AJA KI PRO ULTA 12G DCI/UHD/HD RECORDER AND PLAYER is a multi-channel Apple ProRes® recorder offering up to 4-Channels of simultaneous HD recording, or in Single-Channel mode, a 4K/UltraHD/2K/HD Apple ProRes or Avid DNxHR® recorder and player.
The ARRI AMC-1 allows control of focus, iris, and zoom through its LBUS interface. It supports up to three daisy-chained cforce motors and is compatible with WCU-4, SXU-1, Master Grips, and cmotion units.
The ARRI UMC-4 enables remote control of focus, iris, and zoom while recording lens metadata for post-production and VFX. It supports up to three lens motors and is compatible with WCU-4, SXU-1, Master Grips, and ARRI zoom controls.
The ARRI Operator Control Unit OCU-1 enables camera operators to swiftly assume command of any lens function, even with lens motors engaged. Operators can instantly override and regain control of focus, zoom, and iris from the Hi-5 and WCU-4 with a simple button press.
The ARRI ZOOM MAIN UNIT ZMU-4 seamlessly transitions between wired and wireless configurations. The ZMU supports all the new radio module options available for the Hi-5 hand unit.
The ARRI FF-4 MANUAL FOLLOW FOCUS SYSTEM consists of a single-sided follow focus with one standard knob. It is designed with a 1:2 knob-to-gear ratio for smooth, accurate focus pulls on a variety of lenses.
The ARRI FF-5 MANUAL FOLLOW FOCUS SYSTEM consists of a single-sided follow focus with one standard knob. It is designed with a 2:1 knob-to-gear ratio for smooth, accurate focus pulls on cine-style lenses.
The CINETAPE V2 continuously calculates the distance between the camera's film plane and the subject. It features a 2-way wireless radio and Bluetooth compatibility.
The ARRI ALEXA 35 raises the bar with a new Super 35 Format 4.6K sensor and REVEAL color science.
The ARRI ALEXA MINI LF 4.5K is ARRI’s flagship large-format camera. Versatile and adaptable due to its compact size, low weight, and multiple recording formats, the Mini LF offers exceptional image quality for large format. It also features the exciting new REVEAL Color Science post workflow.
The SONY VENICE 6K is a professional cinema camera with a newly developed full-frame sensor, customizable features, and exceptional color science. It offers high frame rates, dual base ISO, and a user-friendly design.
The SONY VENICE + RIALTO EXTENSION SYSTEM enables cabled separation of the VENICE camera body and image sensor block. It provides a flexible design configuration within a single camera body, increasing its mobility without lessening the full-frame image quality.
The ARRI LCUBE 1 is a miniature multi-purpose signal converter that converts LBUS protocols to serial protocols and vice versa.
Available Focal Lengths for ARRI ULTRA PRIME:
12mm (T2) 14mm (T1.9) 16mm (T1.9) 20mm (T1.9) 24mm (T1.9) 28mm (T1.9) 32mm (T1.9) 40mm (T1.9) 50mm (T1.9) 65mm (T1.9) 85mm (T1.9) 100mm (T1.9) 135mm (T1.9)
For those who want the ultimate in image quality for tabletop cinematography, product shots, close-up inserts on feature films, or any other applications that require a macro lens, the ARRI MACRO 100mm T3 delivers images of breathtaking beauty.
The CENTURY/NIKKOR 8MM FISHEYE WIDE ANGLE T2.8 lens can be used creatively in other shooting scenarios. It's important to experiment and explore different compositions and subjects to make the most of this lens's unique perspective and distortion characteristics.
Available Focal Lengths for COOKE ANAMORPHIC/i 2X:
25mm (T2.3) 32mm (T2.3) 50mm (T2.3) 65mm Macro (T2.6) 75mm (T2.3) 100mm (T2.3)
Available Focal Lengths for COOKE ANAMORPHIC/i 2x SPECIAL FLAIR:
25mm (T2.3) 32mm (T2.3) 40mm (T2.3) 50mm (T2.3) 65mm Macro (T2.6) 75mm (T2.3) 100mm (T2.3) 135mm (T2.3) 180mm (T2.8)
Available Focal Lengths for ZEISS SUPREME:
18mm (T1.5) 21mm (T1.5) 25mm (T1.5) 29mm (T1.5) 35mm (T1.5) 50mm (T1.5) 65mm (T1.5) 85mm (T1.5) 100mm (T1.5) 135mm (T1.5) 150mm (T1.8)
The ZEISS 50mm MACRO T2.1 lens is a top-quality macro lens that provides excellent image quality and precise focusing for capturing detailed close-up shots.
Available Focal Lengths for ROKINON CINE DS:
8mm (T3.8) 10mm (T3.1) 12mm (T3.1) 14mm (T3.1) 16mm (T2.2) 20mm (T1.9) 24mm (T1.5) 35mm (T1.5) 50mm (T1.5) 85mm (T1.5) 100mm Macro (T3.1) 135mm (T2.2)
The ROKINON 24mm SHIFT & TILT F3.5 is designed for creative and technical photography applications, particularly architectural and perspective control photography. These lenses offer manual control over tilt and shift movements, allowing photographers to achieve specific visual results that may not be possible with standard lenses.
The BLACKMAGIC ATEM TELEVISION STUDIO HD SWITCHER // CHROMA KEY MIX features four 3G-SDI and four HDMI inputs so customers can connect a total of up to 8 different sources such as professional SDI broadcast cameras, consumer HDMI cameras, computers and even video game consoles.
The SONY FX9 6K revolutionizes full-frame cinematography by using advanced technology to improve on-the-go shooting. The full-frame electronic variable ND filter transforms possibilities for shooting in variable lightning conditions. The back-illuminated full-frame 6k sensor ensures that subtle details and textures are captured beyond those by conventional 4k sensors.
The CANON 10-18mm F/4.5-5.6 EF-S wide-angle zoom is designed for APS-C-format Canon EF-S-mount DSLRs and provides a 16-28.8mm equivalent focal length range.
With a compact design for solo shooters, travel applications, and ideal B cam footage, the SONY FX3 borrows from both the Cinema Line and Alpha series of cameras to create an optimized portable cinema camera. The FX3 features all the imaging attributes you'd expect from this class but sports a new lightweight, handheld form with a streamlined profile and a "cage-free" design offering the ability to secure various accessories directly to the camera body.
The CANON 10-22mm F3.5 wide-angle zoom is designed for APS-C-format EF-S-mount DSLRs and provides a 16-35.2mm equivalent focal length range.
The RED V-RAPTOR XL is an 8K digital cinema camera with high frame rates, fast sensor scan, RAW recording, and cloud integration.
The RED MONSTRO 8K 40.96 x 21.6mm sensor takes advantage of full-frame 35mm lenses, recording at rates up to 60 fps at full resolution. Higher frame rates, up to 300 fps, can be made available by windowing the sensor to lower resolutions.
The CANON 16-35mm F2.8 lens is an ultrawide lens for professional news, sports, and action shooting.
RED DSMC2 HELIUM 8K has a 35.4MP S35 CMOS sensor which allows for up to 8K-resolution black-and-white (monochrome) images. It has multiple capture rates including up to 60 fps 8K, 120 fps in 4K, and 240 fps. It provides versatile workflow options with REDCODE RAW, ProRes, and DNx recording.
CANON 24-70mm F2.8 with a standard focal length zoom range is a versatile, all-purpose lens for all types of photography ventures. From portraits and landscapes to travel and everyday photography.
The RED DSMC2 GEMINI 5K is a powerful, dual sensitivity camera that offers the ability to shoot in either low light or standard modes. THE DSMC2 GEMINI offers cleaner, less-noisy images in low-light conditions as well as improved performance in shadows.
The PANASONIC VARICAM 35 features a new sensor that captures over 14 stops of dynamic range, allowing it to handle high-contrast scenes with exceptional detail. The camera supports a wide range of codecs and formats, including Panasonic's AVC-ULTRA family of advanced codecs, Apple ProRes, and 3.5 Mbps proxy recordings.
The PANASONIC AG-HPX610 features a 2/3 type lens mount, enabling the use of industry standard lenses ensuring total flexibility. The AG-HPX610 features a MOS sensor that provides excellent image quality with high sensitivity and low noise.
The GoPro HERO10 BLACK is one of the most versatile cameras in the game, delivering all-out speed and ultimate ease. Powered by the revolutionary GP2 processor, the GoPro HERO10 BLACK shoots 5.3K video with higher frame rates, 23MP photos, enhanced low-light performance and game-changing HyperSmooth 4.0 video stabilization in all modes.
Bring your subjects closer while shooting sports or wildlife with the EF CANON 300mm F4 telephoto lens.
CANON 50mm STM F1.8 is a perfect lens portraits, action, and even night time photography.
This CANON 60mm MACRO F2.8 lens is an excellent multi-purpose lens that's equally at home shooting macro shots, portraits, or available-light photos.
CANON 70-200mm EF MOUNT L IS II USM F2.8 is a great lens for portrait and sport photography.
The CANON CN-E 18-80mm T4.4 Compact-Servo Lens combines the functionality of Canon's EF lenses with the features and performance of their CN-E lineup.
The CINEPED 2.0 ROTATIONAL SLIDER [3.5’] is great for any fast-paced production as it can deliver the quality, speed, and efficiency.
The FUJINON CABRIO 20-120mm is a well-performing cinema lens that functions well as an all-around documentary zoom. The lens is solidly built, with well-designed lens rings that operate smoothly.
The DECIMATOR D-MON-6s // 6x1 MULTIVIEW can be used as either a one to six-channel Multiviewer or as a six-to-one input multiplexer. It supports six independent SDI inputs with active loop-through outputs, or you can view all six inputs on one optional monitor.
The DECIMATOR MD-CROSS V2 features both HDMI and 3G-SDI inputs, capable of cross-converting either signal to the other. It includes a built-in scaler and frame rate converter, allowing seamless conversion of the input signal to your desired output standard.
The DJI FOCUS 1-CHANNEL WIRELESS FIZ uses brushless motors for unheard of levels of precision and accuracy. The brushless motor puts just ±0.02° of accuracy in your hands so that turning the remote is just like turning the lens itself. It also features high torque and a fast reaction speed so you can keep your subject in focus no matter how it moves.
The EASYRIG VARIO 5 is a body-worn support system that is adjustable to support camera rigs weighing 11 to 38 lb.
The EASYRIG MINIMAX is designed for productions requiring extensive handheld camerawork with cameras weighing 4.4 to 15.4 lb.
The EASYRIG VARIO 5 w/ "STABIL" ARM is an adjustable, body-worn support system for camera rigs weighing 11 to 38 lb.
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