North American Camera | What’s New
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What’s New

Arri Alexa LF

Featuring a sensor slightly larger than full frame, the ALEXA LF camera records native 4.5K with ARRI’s best overall image quality. This allows filmmakers to explore the immersive large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and stunning capability for HDR workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, encompass all on-set workflow requirements.

Edelkrone Headplus/Slide Module V2 System

Now time-lapse and motion control shooting is easier and more efficient than ever. From the easy to use Android or iOS app, set all your parameters in no time, to create the stunning effects you want. Smooth silent operation also makes it extremely useful for interviews or other audio-critical situations.

Teradek Ctrl.1 Wireless Focus

Featuring an ergonomic single-channel hand unit, with lens mapping and a 5000′ range, this is about to become the new affordable go-to for ALL professional camera systems. Features SmallHD monitor integration!

Atlas Orion Anamorphics

Offering a “Vintage” look, without all the problems of vintage glass, these amazing new 2x anamorphic primes offer amazing speed at T2, the 40mm, 65mm and 100mm feature a unified 114mm barrel design and modern mechanics suitable for all current production needs.

 Canon Cinema EOS C700 S35

Canon has gained a reputation over the years for having “REALLY NICE SENSORS”. Put Canon’s mastery of image processing into a cinema-grade production-ready form factor and you get the EOS C700 Cinema Camera. This version of the C700 comes with Canon’s EF lens mount with a positive-locking mechanism, minimizing play found in traditional spring-loaded bayonet-style mounts. Beyond the lens mount is the first stop in the C700’s imaging pipeline, the 4.5K CMOS image sensor. With a physical resolution exceeding that of DCI 4K and a dynamic range of approximately 15 stops, the C700 is ready for today’s 4K and HDR productions

 Tesla Knight Dolly

Custom manufactured in Milwaukee, Wisconsin the Tesla Knight Dolly is a rugged, versatile dolly system, that can handle 75mm, 100mm and Mitchell based fluid head systems. Easily mounts to the 5′ ultra-smooth stainless steel track on Apple Boxes, C-Stands or right on the ground, The system is also designed to perform angled track moves to simulate a jib arm.The best part is that the dolly and all it’s components pack neatly into a Pelican case for easy travel.

 Zeiss CP.3 XD Primes

Ranging from 15 mm to 135 mm, the ten focal lengths available in the ZEISS Compact Prime
CP.3 XD series cover all applications from wide-angle to telephoto. The ZEISS CP.3 XD lenses
feature advanced lens coatings, painted lens rims and special light traps within the barrel to
eliminate unwelcome veiling glare and flares. The result is higher contrast, richer blacks, and
more saturated colors. The ZEISS eXtended Data is a unique technology which is based on the
i* Technology and provides information about the lens’ distortion and shading characteristics in
real time. With the ZEISS CP.3 XD lenses, even small productions on a limited budget gain
access to the advanced techniques common in state-of-the-art, big budget films, commercials
and television shows.

• Clean and crisp ZEISS look which matches perfectly with other ZEISS cinema lenses
• Color matching and covering full frame across the full range of focal lengths from 15 to
135 mm
• Special lens coatings support high-dynamic range projects
• Interchangeable lens mounts available: PL, EF, E

 Angenieux EZ-1 & 2

The Angénieux Type EZ-1 and EZ-2 for S35mm cameras is a professional cinema zoom lens. Its focal range and aperture are set to 30-90mm T2 on the EZ-1 and 15-40mm T2 on the EZ-2. By exchanging the rear lens group, the EZ-1 becomes a 45-135mm T3 for FF/VistaVision format, and the EZ-2 becomes a 22-60mm T3 for FF/VistaVision. Available in PL, EF and E lens mounts and weighing only 4.7 lb. the lens features a precise and ergonomic focus ring with scale rotation of 300 degrees and luminescent FTZ markings for easy reading in the dark.

 SmallHD 703 UltraBright

This 7” 1920 x 1080 LCD provides a massive 2200 NITS of screen brightness making it possible to clearly view the image outdoors. This high brightness also makes it possible to preview HDR content. A unibody aluminum exterior keeps the monitor durable yet lightweight while also acting as a heatsink for the internal electronics. The LCD panel itself is protected by a layer of optically-bonded Gorilla Glass, notable for its transparency and toughness. Featuring the PageBuilder OS you can customize this monitor with a wide variety of tools to suit your shooting needs.


Compact, lightweight and self-contained, the ARRI ALEXA Mini is a versatile additional tool in the ALEXA camera range. Crews will find that the ALEXA Mini perfectly complements their ALEXA shooting kit, eliminating the complications of working with third-party cameras for specialized shots and keeping everything within a single system that is trusted all over the world.

SmallHD 1703-P3X Monitor

Designed and built by people who have actually been on a working set, the 1703 P3X builds on the success of the rugged 17″ 1703 monitor systems, with the added improvements of vastly improved color rendering and a greater viewing angle. Featuring true 10-bit color depth that can differentiate between 1024 levels of brightness, per channel, for smooth gradients essential for critical image analysis. While the LED backlight provides 900 cd/m² of brightness for viewing in daylight or brightly lit conditions, a special 100 cd/m² “studio mode” provides accurate brightness levels for light-controlled post-production environments.

 Canon EOS C300 Mark II

The EOS C300 Mark II Digital Cinema Camera is an evolutionary 2nd generation Cinema EOS 4K camera system with a wide range of new and improved features including 4K/2K/Full HD internal and external recording (including 4K RAW output) and a new 10-bit Canon Log 2 Gamma. This powerful new camera also features an expanded dynamic range of 15 stops, improved Dual Pixel CMOS Autofocus, innovative focus assist engineering and CFast recording technology.
Canon 8.85 Megapixel Super 35mm CMOS Sensor
Dual DiG!C DV 5 Image Processors
Internal CFast 4K Recording Technology
Canon Log Gamma 2/ACES/REC. 2020 Support
Dual Pixel CMOS AF (Auto Focus) Technology
Canon XF-AVC Codec
Slow and Fast Motion Recording
Multiple Recording HD/2K/4K Modes
Fully Compatible with New and Existing EF-mount Lenses
Versatile and Refined Ergonomics
Ultra-High Resolution OLED EVF with Adjustable Viewing Angle

Canon EOS 5D MarkIV

The EOS 5D Mark IV camera builds on the powerful legacy of the 5D series, offering amazing refinements in image quality, performance and versatility. Canon’s commitment to imaging excellence is the soul of the EOS 5D Mark IV. Wedding and portrait photographers, nature and landscape shooters, as well as creative videographers will appreciate the brilliance and power that the EOS 5D Mark IV delivers. Superb image quality is achieved with Canon’s all-new 30.4 Megapixel full-frame sensor, and highly-detailed 4K video is captured with ease. Focus accuracy has been improved with a refined 61-point AF system and Canon’s revolutionary Dual Pixel CMOS AF for quick, smooth AF for both video and Live View shooting. Fast operation is enhanced with Canon’s DIGIC 6+ Image Processor, which provides continuous shooting at up to 7.0 fps*. Built-in Wi-Fi®**, GPS*** and an easy-to-navigate touch-panel LCD allow the camera to become an extension of you.

 Cooke S4/i Mini Primes

The MiniS4/i Primes (T2.8 to T22 aperture) incorporate everything that today’s filmmakers ask for: smaller, lighter-weight lenses that offer the same resolution, optical quality and reliability as the S4/i lenses at T2.8 speed. With the speed of the new digital cameras, T2.8 is the new, economical T2.0. The Mini S4/i’s are interchangeable with the S4/i and 5/i lenses for shooting film and digital images up to and beyond a 4K resolution.

  EyeDirect MKII

Have you ever tried to interview someone, and have them maintain eye contact with the camera, only to have their eyes wander around ruining the shot? No more with EyeDirect MKII, the ingenious system that allows the interviewer’s face to be projected directly over the lens, allowing your subject to keep natural eye contact. Other than being easier to set up than a basic Teleprompter, the best part is it requires NO power! It’s a simple series of glass and mirrors that make the magic happen.