ARRI Alexa Mini LF
EOS C500 MKII
Teradek Bolt 3000XT
InfiniProbe TS-160 ROBUSTO Probe Lens System
Litepanels Astra 6X Traveler Bi-Color Trio 3-Light Kit
SmallHD Cine 7 Touchscreen On-Camera Monitor
Canon CINE-SERVO 17-120mm
Teradek RT CTRL.3
Edelkrone Headplus/Slide Module V2 System
Teradek Ctrl.1 Wireless Focus
Ikan PT4700-SDI-17 Teleprompter
Tesla Knight Dolly
Zeiss CP.3 XD Primes
Angénieux Type EZ-1&2
17″ SmallHD 1703-P3X
Cooke S4/i Mini Primes
ARRI Alexa Mini LF
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.
Transmit up to 1080p60 video from either an SDI or HDMI source. The zero-latency transmitter/receiver pair features 3000′ line-of-sight transmission distance when used together. You can send and receive visually lossless 3G-video signals from a Bolt 3000 transmitter with zero latency. The transmitter features cross conversion, so you take an SDI signal in and loop out either an SDI or HDMI signal to your on-camera monitor.
The receiver includes built-in cross conversion and Teradek’s proprietary software utilities including a manual frequency selection tool, 3D LUT engine, and a 5 GHz spectrum analyzer to keep an eye on interference in your area.
The receiver also features both SDI and HDMI outputs, and the system supports digital SD and HD signals. Although the inputs and outputs support a variety of HD signals, in both 50 and 60 Hz standards, as well as 480i and 576i. However, 480p and 576p are only supported via HDMI. You can transmit up to three other receiver models such as the Bolt 2000, Sidekick II, or Bolt 703, and the transmitter can support up to four receivers. The built-in AES 128-bit encryption helps to keep your transmitted video safe from prying eyes.
Add the Teradek Array Antenna for improved performance all around.
With input coming from some of the most honored cinematographers in the world, we set about bringing the TS-160 up to their more demanding OPTICAL and MECHANIC
The Astra 6X Bi-Color panel builds on the popularity of the Astra 1×1 Family, the next generation of LED panels from the lighting professionals who revolutionized the lighting industry. The innovative Astra family of LED panels were years in the making, with every design element of these next-generation panels being meticulously crafted. Following the Litepanels tradition of a one square foot form factor, the Astra series is designed with select premium quality, high CRI, surface mount LEDs and paired with custom optics that provides the Astra 6X series with high color quality that’s perfect for lighting talent. The Astra 6X has an impressive output that rates among the highest of LED panels. It is now 50% brighter than the first generation Astra and 6 times brighter than the original 1×1.
The lightweight SmallHD Cine 7 Touchscreen On-Camera Monitor provides professional monitoring in a sharp 7″ display suitable for outdoor use. The Cine 7 can be connected directly to any ARRI or RED DSMC2 camera to control all major functionality of the camera via the on-screen touch controls. The Cine 7 supports up to UHD 4K HDMI output as well as various HD and SD formats via one full-size HDMI input, one HDMI output, one 3G-SDI input, and one 3G-SDI selectable input/output. The monitor also supports cross conversion from HDMI to SDI and from SDI to HDMI.The Cine 7 features a bright 1800 NIT LCD touchscreen with 3D LUT compatibility.
The Canon CINE-SERVO 17-120mm T2.95-3.9 Super35 4k-ready lens offers a high magnification range of 7-times, coupled with an extremely versatile focal length that is continuously variable from 17mm to 120 mm. Its compact size and light weight include the same type of removable drive unit found on conventional broadcast-use ENG lenses, with ergonomics that provide a familiar feel for ENG cameramen as well as Cinematographers. The compact, lightweight design (only 6.4 lbs.) using Canon optical elements, features an 11-blade aperture diaphragm which ensures an artistic and beautiful representation of out-of-focus areas (or “Bokeh”). Available in PL or EF mounts.
CTRL.3 is a feature-rich 3-axis wireless controller with lens mapping and data storage. Paired with any SmallHD monitor running OS3, CTRL.3 displays critical lens data as overlays directly on the monitor, allowing camera assistants to pull focus and keep eyes on the image. Also includes Bluetooth for remote configuration via the RT iOS App.
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.
Ikan’s professional teleprompter series is designed for a quick and easy setup to work efficiently in outside broadcast applications or professional studios. The lightweight aluminum teleprompter has multiple 3/8-16″ and 1/4-20″ for mounting to a pedestal. The high quality 70/30 made in America teleprompter glass provides the perfect balance of reflection and pass-through without distorting the image. With 1000 nits the prompting image will always be crisp and visible whether you’re under the sun or studio lighting. This professional teleprompter includes three different camera mount bases ranging from DSLR to full-sized Digital Cinema.
- 1000 nit High Bright 17″ Monitor
- High-Quality American Made 70/30 Beam Splitter Glass
- Screen Readable from up to 20′
- Multiple Camera Mounting Options
- Easy Balancing with Adjustable Base
- SDI Input Makes “Interrotron” Easier
- Monitor Supports Image Flip
- SDI, HDMI, and VGA Inputs
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.
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
- Special lens coatings support high-dynamic range projects
- Interchangeable lens mounts available: PL, EF, E
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.
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.
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.
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.