WHAT'S NEW

Ronin has been the industry standard for camera stabilization for over a decade. The latest from DJI features enhanced operation efficiency, native vertical shooting, and an expanded accessory ecosystem that make the DJI RS 4 Pro a powerful tool for all levels of video production. The gimbal only weighs around 2.74 lb and sports a load capacity of 10 lb capable of supporting your compact camera build. We will offer the RS4 Pro in 3 tiers: Basic, Production, and Cinema based on the needs of your production.

Stop going in circles with old technology, the Prodigy uses pressurized air traveling at over 300 mph to instantly clear the frame for a clear shot. The special piece of glass is optically clear with no effect on image quality or exposure and has excellent impact resistance. With perfect vision, you’ll never miss a moment. From live events, sports, documentaries, and feature films – capture anything in any weather. The Prodigy can handle the toughest of conditions from rain, snow, saltwater, dust & debris. Never let bad weather or challenging wet shooting conditions stop you from getting the shot ever again!

Dive into the optical versatility of the Voigtlander Zoomar 36-82mm zoom lens – a masterpiece of engineering that unveils a spectrum of creative possibilities. Originally introduced in 1959 with groundbreaking innovation, this lens marries precision with adaptability. Crafted for discerning cinematographers, it offers a seamless zoom range from 36mm to 82mm, delivering crisp details and dynamic framing. The lens stands as a testament to Voigtlander’s commitment to optical excellence, ensuring each frame is a canvas for cinematic storytelling. With its robust construction and optical finesse, the Voigtlander Zoomar 36-82mm zoom lens is a versatile tool in the hands of filmmakers seeking unparalleled image quality and creative flexibility. Rehoused by GL Optics this lens is a true marriage of vintage optics and 21st-century mechanics.

With MKII IronGlass started from scratch! Every element of mechanics and MKI body was changed to achieve the next level of performance, precision, and reliability! The new design now has the universal position of gears across the set, T-stop markings, Reverse Direction Focus Scale, a 15 aperture blade iris for every lens and much more.

At the heart of it all, we now have what we call a “hybrid focus system”, which is a combination of a new & refined helicoid combined with technology generally found in CAM-driven focus systems. The result is a very reliable, rugged focus system that feels like a CAM-driven focus ring, even on lenses with weighty optical blocks such as Helios 40-2 and Tair-11A. Combined with an internal focus design that no longer limits the clip-on Matt Box weight, these lenses are now an absolute joy to use, which is what MKII rehousing is all about. Our goal was to make these beautiful optics capable of handling even the most demanding filming environments, and with MKII, we finally achieved this goal!

Introducing the New Atlas Mercury Series 1.5x Full-Frame Anamorphic Lenses. Mercury Series is Atlas’ brand new family of anamorphic lenses, designed to further connect cinematographers, directors, and filmmakers everywhere to the images they create.

Atlas pushed the boundaries of the Mercury Series in optical and product design, balancing vintage character with modern sensor performance and designing these lenses to support every cinematographer in their lifelong pursuit of expressing their image-craft. This is a lens made for making movies, with an undeniably cinematic quality the second you attach it to a camera.

Each Mercury lens provides the oval bokeh, pleasant barrel distortion, fast T2.2 stop and shallow depth of field of the Atlas Orion 2x anamorphic primes but in a housing that is about half the size and weight of most pro anamorphic primes. The more compact size makes these the perfect anamorphic lens for gimbal or drone work, as well as when shooting in tight quarters.

The EZ-3 68-250mm-FF & 45-165mm-S35 cinema zoom’s relatively compact size and weight enables you to use the zoom with a wide range of cine-style cameras. This flexible 3.7x ratio zoom with the S35 or FF/VV format of your choice makes this one of the most versatile cinema zooms on the market. The ARRI PL mount can be changed to Sony E or Canon EF mounts, further expanding the EZ-3 zoom’s versatility.

This lens features industry-standard 0.8 MOD focus, iris, and zoom gears for compatibility with follow focus units and lens control motors as well as the previous EZ1 & 2 zooms. The 114mm front diameter enables you to work with a wide variety of rod-supported or clip-on matte boxes.

The FX3’s compact design is perfect for Gimbal, Drone or Run and Gun shooting as well as being the perfect B-Cam to any of Sony’s FX series. 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.

VENICE 2 features the new 8.6K sensor which can capture images up to a maximum resolution of 8640 x 5760, and is designed specifically for the demands and performance of high-end cinematography. With 16 stops of dynamic range, dual ISO of 800 and 3200 and the ability to internally record 16-bit X-OCN RAW as well as various ProRes 4K, the Venice 2 truly represents the new state of the art from Sony.

The ARRI ALEXA 35 is a 4K Super 35 camera that elevates digital cinematography to unprecedented heights. ARRI’s first new sensor in 12 years builds on the evolution of the ALEXA family over that period, delivering 2.5 stops more dynamic range, better low light performance, and richer colors. The new REVEAL Color Science takes full advantage of the sensor’s image quality, while ARRI Textures enhance in-camera creativity. Easy operation, robust build quality, new accessories, and a complete new mechanical support system round out the ALEXA 35 platform.

The CINE RT SYSTEM re-imagines camera-mounted rangefinder systems and uses cutting-edge computing solutions to provide camera assistants with innovative user modes and functions. Precision clocking and high sampling rates ensure continuous accurate measurements, while proprietary algorithms offer an exceptional balance of sensitivity and stability.

Relentlessly tested by working focus pullers, the CINE RT SYSTEM has been honed to deliver optimal utility and functionality in the field. The CINE RT SYSTEM is a complete ultrasonic measuring ecosystem, designed and hand-built in Vancouver, Canada by industry professionals who understand the demands of camera assisting in contemporary motion picture and television production.

The new ARRI Hi-5 is the most sophisticated hand unit on the market, providing reliable wireless camera and multi-axis lens control. Weatherproof and solidly built, it features an exceptional radio link via swappable module, a high contrast touch screen LCD, smart focus rings, full Focusbug integration, and endless customization options.

Compatible with all ARRI cameras, as well as select RED, Sony, and Canon camera systems.

Cine 24 brings 4K monitoring everywhere. 1350nits of sustained brightness enables clear viewing in bright daylight environments, which eliminates the need for a sun hood or viewing tent. Small4K™ Video Processing Architecture offers a total 4K Input / Output workflow with 4x 12G-SDI hardware and PageOS 4 Quad-View* for multiple 4K-input viewing. Lightweight for faster setup & teardown, this monitor is the all-around solution as a director’s monitor or for production & broadcast video villages. Cine 24 is SmallHD’s ultimate production workhorse.

Product Highlights

• 23.8in/60cm IPS LCD
• 1350nits
• 3840×2160 Resolution
• 100% DCI-P3 Color
• Weight: 16.5lbs / 7.5kg (with handle & feet)
• Power: Hot-swappable dual inputs: 1x 3-pin XLR, 1x Dual-GM Battery Plate

With improved digital features, a 27MP image sensor, and Wi-Fi capabilities, the GoPro HERO11 Black is the ultimate action camera to capture dynamic POV video up to 5.3K at 60FPS, 4K at 120FPS, and 2.7K at 240FPS. 10-bit color and HyperSmooth 5.0 digital stabilization ensure your footage remains high-quality and features horizon lock technology to ensure your videos are lined up properly regardless of how dynamic the action is. The camera can withstand depths up to 33′ on its own (no additional housing required). A water-repelling lens cover eliminates lens flare to make photos and video crystal clear.

This limited edition 6-lens set made from Atlas’ private optical reserve, will be limited to 100 sets ever made. The Silver Edition lenses maintain the modern, mechanically reliable performance that sets the Orion Series apart from vintage anamorphic lenses, all while celebrating aspects of the silver screen cinema era.

Precision-adjusted air space tunings paired with bold Silver Edition coatings result in expressive, reactive, yet chromatically refined anamorphic flares unlike any lens before. Orion SE’s dynamically reactive neutral flare characteristic takes on the color of your light source and provides more flexibility in expressing your desired look.

Air spacings between elements have been optimized to provide a different focus fall-off (through-focus) characteristic from standard Orion Series lenses. Fast T2 aperture, crisp flat-field performance when stopped down to a T2.8 or more, and unified iris/focus position across all Orion Series, all in a modern and mechanically dependable design.

Shooting in large format is like painting on a bigger canvas. Different stories call for different tools, and cinematographers are increasingly turning to larger formats for certain productions. It might be to enhance the cinematic feel, or capture the detail of landscapes, or enhance background separation for close-ups that pop out of the screen. Whatever the creative reason, working with a sensor that is twice the size of Super 35 brings new storytelling opportunities.

Featuring a sensor slightly larger than full frame, the ALEXA Mini LF records native 4.5K with ARRI’s best overall image quality. This allows filmmakers to explore their own take on the large-format look, with improvements on the ALEXA sensor’s famously natural colorimetry, pleasing skin tones, low noise, and suitability for High Dynamic Range (HDR) and Wide Color Gamut (WCG) workflows.

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.

The camera’s full-frame 6K sensor provides superb recording in DCI 4K* Ultra HD and HD resolutions. Powerful image processing with debayering and oversampling ensures image quality beyond the limits of conventional Super 35 mm sensors. The back-illuminated CMOS image sensor also uses Sony’s Exmor R technology for improved sensitivity and noise reduction. Compared to a 4K Super 35 mm sensor, the FX9’s 6K sensor has over twice the surface area while providing a wider angle of view and shallower depth of field.

The FX9 offers an exceptional 15+ stops of dynamic range—beyond the normal range of human perception—allowing for unprecedented creative freedom in color grading and post. Camera operators can concentrate on framing the scene they want while relying upon the FX9 to capture every nuance and detail using either 4K 4:2:2 10-bit internal recording or 16-bit RAW external recording.