The MONSTRO VV 8K is arguably the best camera on the planet right now.
The full-frame sensor boasts up to 17 stops of dynamic range and can record the full image circle of full-frame 35mm lenses. You can also use Super 35mm lenses with a windowed capture area for high frame rate recording. Sitting in front of the full-frame sensor is an interchangeable PL mount. This way, you can use industry-standard cinema lenses right out of the box, or exchange the mount to use alternative photo and video lenses.
REDCODE RAW is the format of choice for DSMC2 cameras. RED’s versatile raw codec uses wavelet compression to reduce data rates while maintaining a visually lossless image rendering. This efficient codec can be edited on many available NLE software programs without transcoding. Though if you prefer a proxy workflow, ProRes or DNx files can be recorded simultaneously to the MINI-MAG media. Lowering the recording resolution allows the sensor to capture higher frame rates for dramatic slow-motion footage. Our DSMC2 cameras use sensor windowing to record slow motion in lower resolutions, requiring wider or smaller-format lenses to compensate for the additional crop.
Recording rates range from 12 fps and up, including 24/25/30/48/50/60 fps and higher.
With superior image quality and best-in-class resolution, RED EPIC-W with HELIUM 8K S35 sensor allows content creators everywhere to deliver ultra-detailed still and motion images.
EPIC-W’s 35 million pixels capture subtle features and tiny nuances that can’t be seen at lower resolutions. At 35.4 megapixels, that’s 4x more resolution than 4K—and over 17x more resolution than HD.
Like the WEAPON 8K S35, EPIC-W combines advanced color science with incredible dynamic range. The result is cinema quality imagery with vivid colors plus detailed shadows and highlights to produce the most realistic images imaginable.
- HELIUM 35.4 Megapixel CMOS
- 8K 2.4:1 resolution up to 30 fps
- 16.5+ stops of dynamic range
- 275 MB/s data speeds
- REDCODE RAW + Apple ProRes or Avid DNxHR/HD
The RED DRAGON™ sensor has vastly improved dynamic range and low-light capabilities.
With the RED DRAGON™, skin tones are softer, primary colors are more vibrant, and subtle color variations are discernibly remarkable. EPIC DRAGON cameras capture images that are true to life, with colors that can only be described as “brilliant.”
HIGHER DYNAMIC RANGE
The RED DRAGON offers a dynamic range that was once thought impossible for a digital sensor. Such wide latitude provides cinematographers and photographers alike with the ability to take on challenging lighting conditions without the need for excessive filtration. Improved low-light capabilities let you shoot at ISO 2000 and still produce a clean image fit for theaters or publication. Dilated exposure and improved sensitivity make it easier to take on the unpredictable and capture the unbelievable.
The RED SCARLET-W DRAGON 5K BRAIN harnesses the RAW performance, advanced color science, and dynamic range of the RED DRAGON sensor.
Capable of shooting motion and stills in 5K 2.4:1 at up to 60 frames per second (fps), or 5K FF 17:9 at 50 fps, SCARLET-W offers 13.8 megapixels of resolution. As part of RED’s latest generation DSMC2 line, SCARLET-W also features numerous enhancements, including simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHR/HD recording, integrated smart connectors for cable-free peripheral attachment, and faster read/write speeds for lower compression—all in a small and lightweight form factor. SCARLET-W is compatible with all of your DSMC2 accessories.
One of the major improvements featured with the SCARLET-W is the integration of the new DSMC2® intelligent OLPF system, making it easier than ever to optimize footage for your shooting environment by quickly swapping out the optical low pass filter.
Designed and engineered to meet RED’s exacting standards for superior image quality, the RED RAVEN camera can capture high-resolution motion and stills in 4.5K Full Format at up to 120 frames per second (fps)—or 2K Full Format at up to 240 fps.
The RED RAVEN 4.5K Digital Cinema Camera with EF Mount brings RED’s famous DRAGON sensor to a much smaller body, enabling seamless functionality on gimbals as well as a main camera. You can even record REDCODE RAW and Apple ProRes (max 2K resolution) simultaneously. Each 120GB Mini Mag can record REDCODE for 14 minutes of 4.5K @ 24fps 2:1, 57 minutes of 4.5K @ 24fps 11:1, 29 minutes of 4.5K @ 60fps 14:1, or 17 minutes of 4.5K @ 120fps 15:1.
The RED ONE was RED Digital Cinema’s first production camera. Using an S35mm image plane, the RED ONE displays a natural depth of field from 2K to over 4K resolutions.
The first RED ONEs were outfitted with the 12-megapixel MYSTERIUM sensor capable of capturing up to 120 frames per second at 2K resolution and 30 frames per second at 4K resolution. The only possible acquisition format is REDCODE RAW. The cameras were initially sold with a CF card slot that later could be replaced with a REDMAG module.
The second generation, RED ONE MYSTERIUM-X has a 14-megapixel MYSTERIUM-X sensor. It captures up to 120 frames per second at 2K resolution and up to 30 frames per second at 4K resolution. With the upgraded sensor, the RED ONE MYSTERIUM-X offers a more dynamic range, higher sensitivity, and enhanced color management tools than the RED ONE MYSTERIUM.
The Canon 7D’s all-new CMOS sensor records high definition video at a maximum resolution of 1,920 x 1,080 pixels with a 16:9 aspect ratio — what’s sometimes referred to as “Full HD”, or 1080i/1080p.
Both NTSC modes of 23.976 or 29.97 frames/second and PAL modes of 23.976 or 25 frames/second are available at full resolution. The full resolution can be downsampled in-camera to produce 1,280 x 720 (720p) resolution movies, with the NTSC mode using 59.94 frames/second, and the PAL mode offering 50 frames/second.
Finally, a standard definition 4:3 aspect ratio mode captures 640×480 pixel (VGA) movies, again with 59.94 frames/second in NTSC or 50 frames/second in PAL. The numerous different frame rates match various broadcast television formats etc., removing the need to transcode to the intended output frame rate after capture
Fujifilm X-T3 is a versatile mirrorless camera characterized by its high-speed performance, more-than-capable imaging, and multimedia flexibility.
Revolving around a newly developed image sensor and processor, both high-resolution stills and 4K video can be recorded while an apt autofocus system delivers quick and accurate focusing performance. The sensor, a 26.1MP APS-C-format X-Trans CMOS 4, features a back-illuminated design, to promote greater image quality throughout the sensitivity range, along with an expansive 2.16m-point phase-detection autofocus system for quick, precise AF performance and subject tracking. Complementing the imaging and focusing is the X-Processor 4, which uses four CPUs for faster image processing as well as continuous shooting up to 11 fps with a mechanical shutter, 30 fps shooting at a 1.25x crop and electronic shutter, and internal 4K60p 10-bit video recording.
Capture 360 spherical VR videos and stills in 8K and 3D.
Put on an optional VR headset and watch everything as you capture it. Moreover, you can live-stream your footage as you capture it, using less bandwidth thanks to H. 265 compression and cube map projection techniques.
The Insta360 Pro is built with six 200° fisheye lenses and offers adjustable shutter speed, but you have complete control over how many lenses the camera shoots with. You can select from just three to all six and control which subjects take center stage in the image. The camera also records audio with four built-in mics and additionally supports an external mic.
This durable, versatile action camera is jam-packed with advanced technology that lets you spend less time worrying about equipment and more time living the action.
The Osmo Action camera with 1/2.3″ CMOS Sensor, 12MP, wide-angle 145° that allows you to shoot 4K HDR videos. A vivid front screen lets you frame yourself effortlessly in any setting, while the back screen delivers a crystal-clear, hyper-responsive display.
More Dynamic Detail with HDR Video
Dramatically enhance the dynamic range of your footage when recording with HDR video. This shooting mode delivers natural transitions between light and dark areas, capturing rich details that are often lost in environments with complex lighting
HERO captures the same immersive footage that’s made GoPro one of the best-selling cameras in the world.
With gorgeous 1080p30 and 720p60 video, and user-friendly modes like QuikCapture, SuperView and Auto Low Light, it’s easier than ever to get the shot and achieve professional-quality results every time.
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. When quality matters, the EOS 5D Mark IV helps deliver results to inspire even the most discerning image-maker.
A transformative triple‑camera system that adds tons of capability without complexity.
Combine cutting-edge technology with the legendary simplicity of iPhone. Get beautiful images in drastically lower light. Shoot the highest quality video in smartphone.
- 13mm focal length
- 5-element lens
- 120 degree field of view
- 4x more scene
- 12MP sensor
A smart (bi-directional) control system where Infrared remote, wireless DMX and App work together to enable big wireless event lighting installation that can be set up, monitored, and adjusted in a fast and convenient way.
- App Control (UHF)
- Wireless DMX (2.4GHz)
- IR Remote Control
The Kino Flo Celeb 200 DMX LED fixture features the cool, energy-efficient qualities that lighting professionals have come to expect from Kino Flo.
The Celeb boasts technical innovations that make it an ideal professional imaging tool such as a dial-in variable color temperature control, full-range dimming and programmable 2,700K to 5,500K presets. Light levels do not change when selecting Kelvin settings.
Like the vaunted, award-winning line of portable Kino Flos, the Celeb 200 reproduces color faithfully on HD or film in the studio or on location. The Celeb’s 100W of soft, lustrous white light doesn’t flicker or shift color temperature when dimmed.
The trim, lightweight DMX fixture operates on universal AC power (100-240 VAC) and needs only one amp to produce more lumens than a 750W tungsten soft light. The Celeb 200 can also be powered by 24 VDC battery.
The ARRI 300 Plus Fresnel is a 4 lb, 9.17 x 8.7 x 6.3″, 300 W fixture with a versatile 3″ Fresnel lens. With a spot-to-flood range of 15° to 49°, it allows you to pinpoint hard light on your subject or wash it in a soft, wide field of light with a simple twist of a knob.
The inclusion of a 4-way barndoor permits further control of the beam, allowing you to direct the light where you want it and keep it from areas that you don’t. The 300 Plus Fresnel accepts optional 120-240 VAC lamps such as the FSL or FKW that are 0-100% adjustable with an external dimmer. The 300 Plus Fresnel’s yoke has an integrated 5/8″ receiver for mounting on stands or accessories with a 5/8″ stud or spigot.
From lighting actors to lighting environments, the versatility of Quasar LED Tubes is only limited by your imagination.
Stack lamps into large arrays to form LED panels of tremendous size and proportion. Light backings with unprecedented energy efficiency. String overhead above diffusions for the perfect sky. Retrofit your Kino package to high output, dimmer compatible LED units. No matter the task, Quasar Science Linear Lamps are up to the challenge.
A ring light is a circular light that fits around a camera’s lens or is large enough to shoot through it.
A ring light provides illumination with little shadow because the origin of the light is very close to the optical axis of the lens. It is commonly described as the glamour, or beauty, light.
The Arri 1K Fresnel is one of Arri’s most popular and requested lighting instruments.
The ARRI Fresnel series is ideal for use where compact, lightweight tungsten Fresnel spotlights are required. Arri Fresnels are the perfect solution in small studios where grid height is a problem. The classic ARRI construction of corrosion-resistant extruded and die-cast aluminium maximises body strength while maintaining the lightweight of an ideal location fixture. Despite the small size, short focal length lenses with wider angles give more light output and better light distribution over the full beam area.
The Litepanels Gemini family delivers the industry’s widest range of dynamic lighting options in a compact form factor.
A true soft light with outstanding power and performance, Gemini 1×1 features over 16.7 million colors, and 11 cinematic lighting effects instantly available at the touch of a button as well as full-spectrum white light from 2,700K to 10,000K CCT. The most popular industry-standard gels are built-in with the ability to use either Tungsten or Daylight source. The Gemini 1×1 Soft provides DPs, lighting designers and gaffers with a no-compromise solution that has incredible value, all in one compact and lightweight fixture.
With an outstanding TLCI of 94 and CRI rating of 97, Gemini 1×1 Soft creates the industry’s most accurate soft light. The quality of light is consistent, with no color shift or flicker at any frame rate or shutter angle and throughout the full dimming range from 100-0%. Create and save your own custom lighting settings for instant recall with six user-defined presets, easily save presets to a USB drive to quickly install to other Gemini fixtures.
Litepanels’ Astra 3X Bi-Color LED Panel is a lightweight and compact fixture that delivers the brightest and most color-accurate white light in your studio or on location.
Adjustable from 3200K to 5600K, Astra 6X Bi-Color adapts to fit your lighting needs. Astra panels provide industry-leading reliability with automatic flicker-free performance at any frame rate or shutter angle, and at any intensity level. The ultra-low power draw of just 55W makes Astra 3X Bi-Color an ideal portable powerhouse. With a CRI/TLCI of 98, color rendition is perfect for flattering skin tones, and wrapping your subjects with unrivaled, beautiful light.
The lightweight and portable Cineo Matchbox makes available all the advantages of our professional Remote Phosphor studio line in a budget-friendly, battery-powered package that is perfect for the shooter on the move.
At 3.25” x 5.25” x 1.5” and 15 oz, the Matchbox outputs a stunning amount of high-quality light at a variety of interchangeable color temperatures. Producing 1000 lumens across a 160º spread, it out-performs any other lighting source of its class. It is the most elegant solution available for on-board camera lighting.
A wide range of input power allows the user to run Matchbox on any voltage from 6-26VDC over a 2.1×5.5 coax connector. Also available are battery sleds for your Sony NP-F style batteries as well as connection over industry-standard D-Tap ports. Matchbox integrates a 0-100% flicker-free dimmer for onboard control. The fixture can also work in conjunction with Cineo inline dimmers for Matchstix or DMX for more sophisticated lighting design and control. The bottom of the fixture includes a standard 1/4”x20 threaded tap which allows for limitless mounting adaptations to cameras, light stands, and rails.
Rokinon’s Xeen 24mm T1. 5 Lens for Canon EF Mount is built specifically for use as a cinema lens.
It features an internal focus design so that the lens does not change size while focusing, this minimizes the appearance of breathing when changing focus. Each lens in the set is multi-coated for good contrast, glare prevention, and are color matched to a factory standard, allowing you to assemble a set over time with minimal color shift. This 24mm lens provides what is considered a wide-angle of view on full-frame cameras, and a tighter angle of view on smaller formats.
The lens features dual-sided focus scales marked in feet, with dual-sided iris scales. The 11-bladed iris provides a rounded aperture for natural-looking highlights and Bokeh. The lens is a manual focus and iris lens and does not have autofocus or auto iris capability. It incorporates cinema-style focus and iris gears that share the same position across the lenses in the Xeen set. The common 114mm front diameter allows for quick lens changes when using a matte box and focus accessories. The focus ring rotates 200° from close focus to infinity; this gives you a high degree of precision when adjusting focus.
Rokinon’s Xeen 35mm T1.5 Lens for Canon EF Mount is built specifically for use as a cinema lens.
It features an internal focus design so that the lens does not change size while focusing, minimizing the appearance of breathing when changing focus. Each lens in the set is multi-coated for good contrast, glare prevention, and color match to a factory standard, allowing you to assemble a set over time with minimal color shift. This 35mm lens provides what is considered a somewhat wide angle of view on full-frame cameras, and a tighter angle of view on smaller formats.
The lens features dual-sided focus scales marked in feet, with dual-sided iris scales. The 11-bladed iris provides a rounded aperture for natural-looking highlights and bokeh. The lens is a manual focus and iris lens and does not have autofocus or auto iris capability. It incorporates cinema-style focus and iris gears that share the same position across the lenses in the Xeen set. The common 114mm front diameter allows for quick lens changes when using a matte box and focus accessories. The focus ring rotates 200° from close focus to infinity. This gives you a high degree of precision when adjusting focus.
Designed specifically for cinema
- Features an aluminum body for increased durability, a tripod mount, large & easy to read markings, and a long focus throw (200 Degree)
- Unified focus, aperture gear and T-stop scale positions among all Xeen by Rokinon lenses
- Xeen by Rokinon lenses all have a 11 bladed diaphragm & unified 114mm front diameters for use with standard matte boxes
- Angle of view 28.4⁰ on full frame cameras; 18.7⁰ on APS-C cameras; 19.0⁰ on Super 35 cameras & 14.4⁰ on MFT cameras
- weighs only 2.7 lbs.
Rokinon’s Xeen 50mm T1.5 Lens for Canon EF Mount is built specifically for use as a cinema lens.
- This is a 50mm lens that has an image circle that covers a full-frame sensor. When mounted on a camera with a full-frame sensor it provides what is considered a normal angle of view, being neither telephoto or wide-angle.
- The lens features metal construction to withstand the rigors of daily production, and comes with a support foot that can help take strain off your camera’s lens port.
- Dual calibrated right and left side focus and T-stop scales allow your focus puller to work from either side of the lens, without having to flip the lens in the mount.
- Each lens in the Xeen series share common focus and iris gear ring positions, which speeds up lens changes as accessories such as follow focus units or iris motors don’t have to be re-positioned.
- The common 114mm front diameter allows for quick lens changes as you don’t have to swap out anti-reflection donuts or adapters to use the same matte box.
- “Clickless” aperture ring for smooth iris pulls.
- A minimum focusing distance of 18″ allows you to get up close to your subject.
The Canon EF 70-200mm f/2.8 L USM is a professional quality, fast-aperture telephoto zoom lens popular with wildlife and sports photographers, as well as those shooting wedding and portraiture.
- high performance, L-series telephoto zoom lens
- constant f/2.8 maximum aperture
- Four UD lens elements
- 1.5m minimum focusing
- Water and dust resistant
- Eight-bladed aperture
- Ring-type USM AF motor
The Tokina 11-16mm f/2.8 AT-X 116 Pro DX Autofocus Lens for Nikon DX-Format DSLRs is an ultra wide angle, short zoom range lens specifically designed for use with select Nikon DX-format digital SLR cameras.
The slightly shorter zoom range of this lens over the popular and award winning 12-24mm lens makes it possible to maintain optical quality even at wide-open apertures. This lens features a fast constant aperture of f/2.8, and provides a focal length equivalent to 16.5-24mm in 35mm format.
As part of the AT-X line, this lens is designed to provide excellent optical quality, and offers advanced features like the WR (Water Resistant) front element, its One-touch Focus Clutch Mechanism, that allows the photographer to switch between AF and MF simply by snapping the focus ring forward for AF and back toward the camera to focus manually. Also, it has a 9-bladed aperture for smooth out of focus areas.
The Rokinon 14mm Cine Lens is made especially for DSLR video enthusiasts, videographers, and cinematographers.
It features the same outstanding image quality as the standard Rokinon 14mm F3.1 lens but has the added benefits of de-clicked apertures and follow focus compatibility. De-clicked apertures mean that there are no hard clicks when changing apertures and the aperture can be manually set to a very specific number (like f/3.8, f/5.2). The lens has also been constructed so that it can be easily attached to follow focus systems which are widely used by videographers.
Designed as a reference lens for the M-mount system, the black Summilux-M 50mm f/1.4 ASPH. from Leica is a versatile normal-length prime characterized by its bright maximum aperture and sophisticated optical design.
Comprising eight elements in five groups, the lens features one aspherical element to reduce spherical aberrations and both anomalous partial dispersion and high refractive index glasses are used to control color fringing and chromatic aberrations for improved clarity. Additionally, a floating elements system is used to maintain consistent image quality throughout the focusing range, down to 2.3′. Additionally, the lens features a built-in extendable lens hood and is threaded to accept 46mm screw-in filters.
The Helios 44mm produces an unusual “swirly” bokeh effect to the out-of-focus background.
The bokeh “circles” become more elliptical in shape as you move away from the center of the photo. This optical phenomenon gives images rendered by these vintage lenses a distinct character, which has created a cult following among fine art photographers.
The Canon 50mm f/1.2 L Aspherical Floating-Element lens is the most optically advanced 50mm manual-focus lens ever sold anywhere.
It’s got more technology in it than anything from Nikon or LEICA, who have never put aspheric and floating elements in any of their 50mm f/1.2 lenses.
This 50/1.2L works on all Canon FD-mount cameras, from early cameras like the FTb of 1971 up to the newest AE-1 Program and New F-1 and T90 of the 1980s.
The Sigma 18-35mm T2 Cine High-Speed Zoom Lens with a Canon EF mount and with focus scales marked in feet provides an image circle that covers Super 35mm-sized sensors.
It features a maximum T-stop of 2, and the aperture does not ramp over the zoom range. It shares common lens gear positions with the other lens in the Sigma High-Speed Zoom lineup, which makes for rapid lens changes.
The 9-bladed iris provides round out-of-focus highlights for a natural-looking bokeh. The lens barrel features 180° of rotation from close focus to infinity, the zoom barrel rotates 160°, and the clickless iris ring features 60° of rotation. All three lens control rings are geared with cine-standard 0.8 Mod gears, and the focus scale is marked in feet. The front of the lens is 95mm in diameter with a removable 1/4″-20 support foot that helps support the lens with the aid of a 1/4″-20 rod-mounted lens support (not included).
The Sigma 50-100mm T2 Cine High-Speed Zoom Lens (Feet) with a Canon EF mount provides an image circle that covers Super 35mm-sized sensors.
It features a maximum T-stop of 2, and the aperture does not ramp over the zoom range. It shares common lens gear positions with the other lens in the Sigma High Speed Zoom lineup, which makes for rapid lens changes.
The 9-bladed iris provides round out of focus highlights for a natural-looking bokeh. The lens barrel features 180° of rotation from close focus to infinity, and the zoom barrel rotates 160°, and the clickless iris ring features 60° of rotation. All three lens control rings are geared with cine-standard 0.8 Mod gears and the focus scale is marked in feet. The front of the lens is 95mm in diameter with a removable 1/4″-20 support foot that helps support the lens with the aid of a 1/4″-20 rod-mounted lens support (not included).
The Mavic 2 Pro from DJI is a drone that balances power, portability, and professional-quality visuals with the inclusion of a 20MP Hasselblad L1D-20c gimbal camera.
It’s equipped with omnidirectional obstacle sensing that provides object avoidance with sensors on all sides of the Mavic 2 Pro. The Mavic 2 Pro supports a 10-bit Dlog-M color profile that yields higher dynamic range for more flexibility in the grading room. The system records over 1 billion colors (compared to the 16 million colors from traditional 8-bit color coding technologies) and retains more in-depth details in both highlights and shadows.
Powered by a 1/2.3-inch 12-megapixel sensor with up to 4x zoom, including a 2x optical zoom (24–48 mm), 4 the Mavic 2 Zoom is all about dynamic perspectives.
Capture everything from wide-angle to mid-range shots for even more creative options. Compared to a 24mm wide-angle lens, the 48mm telephoto lens compresses your perspective, enhancing the parallax effect for a classic cinematic look. When shooting Full HD video, 4x lossless zoom (including 2x optical zoom) gives you a closer view of faraway subjects, making unique scenes more accessible to capture at a distance. This option also helps you maintain a safer distance from buildings, vehicles, animals, and people.
Hybrid autofocus on the Mavic 2 Zoom combines phase and contrast detection for higher focus accuracy with an increased focus speed of up to 40% more than before. The autofocus tracking system makes subjects appear clear and sharp when zooming in and out. The Dolly Zoom is a new QuickShot for the Mavic 2 Zoom, offering an otherworldly perspective in a fully-integrated drone. Dolly Zoom automatically adjusts focus when flying, adding an intense, warping visual effect to your video.
Designed to be powerful while lightweight, flexible while providing the stability you need, the Inspire 1 is DJI’s most advanced complete package. All of the latest aerial technology is packed into one simple, ready-to-fly system, putting you in the sky within minutes.
Carbon fiber arms give you the strength to maneuver in the air and they transform, moving out of the camera’s way at the flick of a switch. With a full 360⁰ unobstructed view, you now have the freedom to capture shots independent of the direction you are flying.
A fully integrated intelligent battery powers your Inspire 1 and virtually manages itself. When in flight, your remaining battery power is shown live, letting you know how long you can continue to fly. Advanced algorithms calculate the distance of your aircraft and estimated time to return home, letting you know when it’s time to fly back.
This is the “brain” of the entire system, receiving thousands of bits of data every second, and translating that data into action as you fly. The Main Controller tells every part of your Inspire 1 what to do, calculates environmental conditions in real-time, and ensures that the aircraft responds to your control commands instantly.
THE PROOFING GALLERY
During the proofing process, we will deliver a large gallery of photography for you to choose your favorites. The proofing gallery consists of every photo we shot during the media day. This process gives you a complete understanding of the type of media at your disposal. Our clients love this process as it allows them to pick their favorites and develop their own narrative.
Most of our clients diversify their image selection, choosing photos that not only deliver on their immediate and longterm business goals but also show the involvement of the production process.
Today, audiences want to be involved in the storytelling as much as they want to enjoy the final product. They want to see your hard work and learn from it. Because of this, we also offer a secondary service wherein we photograph and record behind the scenes happenings for you to share with your followers. This is extremely effective on social media and, in the long run, will provide you with the media needed to tell a more involved brand story.