16 | PRODUCTION GEAR LIST Services

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.

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.

RED Komodo 6k Camera

RED's Komodo Camera offers the outstanding quality the company is known for in a compact pacakge. The cube-shaped camera measures under 4" on each side, and houses a Super 35 sensor capable of capturing 6144×3240 6K Redcode RAW video. It also has phase-detection autofocus, touchscreen controls, an integrated Canon RF mount, and CFast 2.0 storage.

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 640x480 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

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.

The Zoom H6 portable handheld recorder features a sleek black finish and a single mic capsule, making ideal for bands, multi-instrumentalists, and podcasters who don't immediately need the extras.

You can hold it in your hand, attach it to a mic stand or tripod, or mount it to a camera. With its X/Y stereo microphone capsule, six versatile mic/line inputs, and up to 6-track recording, the H6 All Black is both user-friendly and easily expandable.

From the intuitive, tactile controls to the plentiful battery life and powerful audio processing functions, the H6 All Black is well equipped for producing pristine audio for complete musical arrangements, independent films, and panel podcasts. It can supply phantom or plug-in power for condenser mics, or accept direct connections from synths, keyboards, drum machines, or +4 dB line-level mixers. No matter the source, selectable auto-recording and pre-recording ensure that you'll never miss the start of a take, and stereo safety track recording provides duplicate tracks at a lower level to avoid distortion.

The Zoom F8 Multi-Track Field Recorder is designed for professional and enthusiast recording applications on set and in the field, including music, filmmaking, and electronics news gathering (ENG).

Designed to be carried by a shoulder strap or in a bag, the unit features eight analog input channels with lockable XLR/TRS combo jacks that provide +75 dB maximum input gain, and support for +4 dB inputs with an EIN of -127 dBu or less. It can record up to 10 tracks simultaneously (channels 1-8 plus a stereo mix), or up to eight channels when recording at the A/D converter's maximum 24-bit 192 kHz

Designed to provide big Hollywood sound on an indie budget, Zoom F4 is a 6-input / 8-track professional field recorder featuring super-low-noise preamps and timecode with pinpoint accuracy.

The unit provides recording and playback resolutions up to 24-bit/192 kHz with impressive audio specs including an extremely low noise floor (-127 dBu EIN) and high gain (up to +75 dB), with +4 dB line-level inputs. The on-board temperature-compensated crystal oscillator (TCXO) generates timecode at 0.2 ppm accuracy and supports all standard drop-frame and non-drop formats, as well as jam sync for external devices.

The Schoeps CMC6 microphone preamp is your gateway to exceptional audio capture and unparalleled versatility.

Specifically designed for use with Schoeps Colette series modular capsules, this balanced output stage boasts +12 to +48V phantom power supply, ensuring optimal performance in any recording scenario. With a transformer-less output stage, you can count on pristine audio reproduction and a noise-free recording experience that exceeds expectations.

The Schoeps CMC6-U features a standard balanced 3-pin XLR connection, making it compatible with a wide range of microphone inputs and preamplifiers. Experience the freedom to use very long cables without compromising audio quality, as this microphone preamp is expertly protected against RFI (radio frequency interference). Whether you're recording in the studio or out in the field, the Schoeps CMC6 microphone preamp delivers uncompromising audio excellence, raising the bar for your professional audio capture needs.

The Sennheiser 416 is a short shotgun interference tube mic for film, radio, and television, especially for outside applications.

With outstanding directivity and a compact design, this microphone excels in capturing crisp audio with high consonant articulation and superior feedback rejection. The Sennheiser 416 proves to be the ultimate all-round microphone, perfect for film, radio, and television productions, especially in demanding outside broadcast applications.

Embrace the power of the Sennheiser 416's interference tube principle, which offers increased directivity, ensuring precise audio capture even in challenging environments. Experience remarkably low inherent self-noise, providing pristine sound quality with every recording. Boasting high sensitivity and a transformerless, fully floating balanced output, this microphone delivers professional-grade results that elevate your audio projects to the next level.

Zaxcom is well known for the high-quality sound of its pure-digital wireless mic systems.

While there are some competing brands with digital systems on the fringes that may eventually need to be considered, Zaxcom is currently the only significant player.

The range of the Zaxcom TRX742 system is well within the needs of most productions, and when the goal is to have the wireless boom sound as much like a hard-wired mic as possible, Zaxcom is the clear leader. While the Zaxcom TRX742 plug-on transmitter can turn any mic that has a 3-pin or 5-pin XLR connector into a wireless simply by plugging it on, the most challenging use for a wireless system is the boom mic for dramatic dialog. So this review will be limited to the wireless boom.

Zaxcom has added versatility to the TRX742 transmitter with changeable XLR input adapters, which Zaxcom calls “cones”. There is a 3-pin cone for standard microphones (48V phantom), a 5-pin cone for stereo microphones (48V phantom), and 3-pin digital cones for both AES-3 and AES-42 microphones (10V phantom).

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 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 2.1x5.5 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.

The Astera light tubes were developed with the motion picture, television, and broadcasting industries in mind.

Color temperature, color rendering index (CRI), and maximum lumen output may all be adjusted on the tube itself, and the light can be customized in terms of hue, saturation, and brightness. The Titan Tube can now also work with wired DMX thanks to a new power/data combo cord.

This kit has a Helios 40.7" RGB Tube, a floor-mounted stand for vertical mounting, two eyebolts for hanging by wire or cable, and two metal holders for attaching to truss. The Astera light tube has a wide 120° beam spread, making it perfect for casting a soft, direct light on your topic as an accent light or design element in any environment.

The TitanTube was created with a focus on customization and vivid color. The tube's white light spectrum is very broad, spanning from 1750 to 20,000K, so it can be used to mimic any existing lighting scheme or to freely explore your own imagination.

The China Ball L is an excellent and low-cost option for creating overhead lighting like that found in restaurants.

It was designed to emit a uniformly diffuse glow in all directions. The ball is made of paper, and it is held in place by a metal frame that is 3/16 inches in diameter and threaded into the socket.

The China Ball S is an excellent and low-cost option for creating overhead lighting like that found in restaurants.

It was designed to emit a uniformly diffuse glow in all directions. The ball is made of paper, and it is held in place by a metal frame that is threaded into the socket.

The Arri 300 light is a silver/blue 300 W fixture that weighs 4 lbs. and is 9.17 x 8.7 x 6.3". It has a spot-to-flood range of 15° to 49°, so you can use it to cast a focused beam of light on your subject or to flood it with a softer, wider beam of light.

In addition, the beam can be steered and shielded from unwanted areas with the help of 4-way barndoors, which can be purchased separately. The optional FSL or FKW 120-240 VAC lamps are dimmable from 0 to 100% and can be used with the 300 Plus Fresnel anywhere in the world.

The Arri 1k Light now offers a range of Fresnels for use in both studio and site lighting, with over 30 additional improvements thanks to the combination of expert input and technological developments.

The most notable enhancements are the decreased weight, decreased size, and increased light output. This fixture has a 13°, 3' broad beam at 532 fc at a distance of 13.2' when a 1000W bulb (sold separately) is used. A 94.5 fc beam, 57° broad and 14 feet in diameter, will be cast from the same distance while the floodlight is in use.

The Quasar Light is a 15W linear LED tube with a common T8 bulb shape.

This 5600K daylight-balanced linear LED light can be turned down without losing its brightness.

The Baby Quasar Light is a 15W linear LED tube with a common T8 bulb shape.

This 5600K daylight-balanced linear LED light can be turned down without losing its brightness.

The Kino Flo light has a CRI of 95, a color temperature range of 2700-6500K, and a magenta/green hue control to accommodate varying camera and lighting spectral curves.

No color shift occurs when dimming, and there is no flickering. All of these features can be controlled either manually onboard the Diva-Lite 20 (which measures 25 x 13 x 6 inches) or via DMX512.

The Gemini 2x1 is a high-quality cinematic lighting fixture that is also lightweight and easy to use.

It has a light output of 23,000 lux at 9.8 feet and a color temperature range of 2700 to 10,000K, allowing it to properly mimic both tungsten and daylight light sources. The light output can be turned down from 100% to 0% without flickering, and the high CRI (95) and full green (+/-) color correction settings make sure that the colors are accurate. A built-in HSI color mode and the ability to mix the whole RGBWW color gamut allow for precise regulation of hue, saturation, and luminosity for each and every color.

The Aputure 600D is a strong COB LED fixture that features a 55° Hyper Reflector with output that is similar to a 1200W HMI.

The precise fixture's 5600K color temperature and high CRI/TLCI rating of 96 make it well-suited for outdoor shooting or for use in environments with other daylight-balanced lights, such as HMIs. Adjustments can be made on the fixture itself or remotely from up to 328 feet away. This is helpful for lights that are high up or hard to reach in other ways.

The Aputure 300D is an upgraded version of the original LS C300d, with 20% greater output, improved functionality, and higher-level connectivity than its predecessor.

The efficient reflector on the Aputure utilizes only 350W of power to generate a 5500K color temperature and 3500 lux of light at a distance of 9.8 feet. In addition to being energy efficient, this light has a CRI/TLCI of 96, which means that the colors will be rendered accurately.

The Aputure Accent Smart Bulb can be adjusted from 2000 to 10,000K, allowing it to mix in with any surrounding lighting or complement existing lighting. 

The light's outstanding CRI/TLCI rating of 95/96 attests to its cutting-edge color accuracy. Millions of colors are at a creator's disposal in the RGB mode, and they can be altered in hue, saturation, and strength. It also has a rechargeable battery that can be used for 70 minutes per charge.

The Rosco .9 ND Gel is a component of a larger set of European color filters for use in cinema and television production.

There are a wide variety of colors and materials available in E-Color, allowing for a wide range of color effects, including those involving diffusion, reflection, and modification. These filters are produced to the highest standards using the latest dye formulations and bonding technology. Rosco guarantees the best in dependability and efficiency.

The Rosco. 6 ND Gel is a component of a larger set of European color filters for use in cinema and television production.

There are a wide variety of colors and materials available in E-Color, allowing for a wide range of color effects, including those involving diffusion, reflection, and modification. These filters are produced to the highest standards using the latest dye formulations and bonding technology. Rosco guarantees the best in dependability and efficiency.

The .5 CTO Gel Set is designed for the Hilio D12 LED light.

You can choose from a full, half, quarter, or eighth power CTO gel, as well as a half white diffusion gel. These helps adjust a daylight-balanced fixture to mimic a tungsten-balanced light source, resulting in a warmer appearance. Light will be slightly mellowed by the diffusion. The convenient gel bag that comes with each pack makes transport a breeze.

The Opal White Diffusion is ideal for creating gentle lighting effects. It blocks 3/4 of the light and lets in 60% of the total.

Softening the edges of a spotlight beam without changing its overall form, the Opal White Diffusion is a moderately modest diffuser. It lets in 71% of the available light and blocks out 1/2 stop.

The .75 Stop Half White Diffusion diffuses light evenly over the subject while softening the contrast between highlights and shadows.

With a transmission rating of 60%, this model has a modest diffusion effect, equivalent to a 3/4 stop reduction. The filter is sturdy and convenient to use on set or in the field because it is made with a polyester foundation.

The Snap Bag Softbox is designed to fit nicely over the head of the lamp and secures with a touch-fastening strap.

The softbox helps soften your light, making it more uniform and gentler, perfect for lighting portraits or setting the mood in a room.

The Snap Bag Octa Bank 7’ is an octagonal bag compatible with the Rabbit Ears frame mount (available separately).

It has a 7-foot diameter, and its accessories—a front diffuser, baffle, and storage bag—are all included.

The Rabbit ears for SnapBag Octa Bank 7' is an octagonal bag that can be attached to a frame with "Rabbit Ears" (available separately). It has a diameter of 7 feet, and it comes with a front diffuser, baffle, and a storage bag.

Instead of carrying around a bunch of speed rings, you can just use the Rabbit-Ears mounting method for your Snapbag softboxes.

The Boom Arm 40 'is designed to hold a microphone in place using a desk clamp.

The microphone boom arm can be moved in various directions. Appropriate for use in studios, on air, and in podcasts. Made of sturdy aluminum alloy, this desk clamp features a convenient "C" design. It adjusts to desks as thin as 2 inches. If you prefer to work at a desk, you can secure the base stand in place and then move it to the ideal position for you. Its high-quality steel construction ensures years of reliable use. Adjustment is smooth and noiseless thanks to internal springs.

The Boom Arm Big with Four-Way Geared Control can precisely place light fixtures weighing up to 13.2 pounds at maximum extension of the telescoping arm thanks to its steel and aluminum construction, which strikes a balance between strength and weight, and its black finish, which reduces reflections.

There is a Junior pin on the Big Boom so that it may be used with Junior or Combo stands. Additionally, the boom end is equipped with both a Junior and Baby pin receiver, allowing for the use of a wide range of light fittings.

The Big Boom's pan, tilt, rotation, and extension can all be accurately adjusted thanks to its gear-driven articulation along four axes.

Strobe lights in the studio are like the flash on a camera, only stronger.

There are many options available, such as single or multiple strobe lights powered by either mains or batteries. Different lighting effects, colors, and patterns can be produced with the help of a variety of accessories that can be used to operate the strobe lights.

Similar to the way a camera's flash works, strobes emit a strong beam of light. The main differences between them and standard flashlights are their increased brightness, shorter bursts of light, and rapid recharging time. Even though many versions have an output that can be changed to make the light less bright for close-ups, the power is what determines how far away the item can be used.

The halogen lamp is a type of incandescent lamp that uses halogen gas to increase both the amount of light it gives off and how long it is expected to last.

When compared to traditional incandescent bulbs, their efficiency, light output, and expected lifespan are all above average. Except for the halogen cycle, a halogen lamp works exactly the same as an incandescent lamp.

The Aputure Lantern is a soft light fixture that can be used with LED or strobe lights to illuminate a wide area.

You can put it on a horizontal surface or hang it from the ceiling with a boom to make the room brighter, soften harsh shadows, and make it easier to use more targeted lighting.

The Chimera soft box is made for a hotlight, but it can be used with a flash as well.

The silver interior, made from cloth designed to withstand the heat of a continuous light source, is great for tasks where the light needs to be diffused as much as possible. This soft box has a "lip" around the outside that can be used to limit the amount of light that escapes.

The Fotodiox Soft Box is easy to set up and take down.

The softbox is a classic modifier used in both the studio and on location, and this particular model has a heat-resistant build and sealable venting to accommodate a wide range of lighting sources. It has a silver interior to increase light output and an inner baffle and a front diffuser to disperse light evenly.

The Lantern Lock for 24" China Ball is designed to work with the 24" Lantern lock System.

With a maximum recommended power of 1000 watts, the lantern lock for the 24" China Ball can accommodate lamps of various sizes.

The Impact Luxbanx Softbox is an adaptable light modifier that works with strobes, LEDs, and fluorescents.

Thanks to its heat-resistant, textured silver interior, it can also be used with quartz lights of up to 1000W. The softbox includes four vents that extend forward to allow hot air to escape. If you take off the front and inner diffusers, the Luxbanx Duo becomes a big reflector with maximum light and contrast.

The Socket Assembly for China Ball features a medium and is rated at 660 watts.

The plug end is a regular Edison type seen in most homes, and is compatible with ordinary household light bulbs with a medium base. This socket assembly is commonly used with China balls.

The 40W bulb is a great way to get the benefits of modern energy-saving LED technology.

Its light output is comparable to that of a conventional incandescent bulb, yet it consumes only 3.8 watts of electricity, saving up to 91% on energy costs. You can enjoy full brightness immediately after turning the light on.

The Edison bulb is made of high-grade materials and features a protective amber glass covering.

This vintage Edison bulb is gorgeous and elegant, perfect for setting a cozy mood. The light output is consistent throughout the life of these 60-watt Edison bulbs. Because they can be turned down, these Edison lights are very useful because they let you set the right mood for any occasion.

This high-quality halogen light bulb will provide excellent lighting for your setting.

It has a medium base, so it can be used with most fixtures. This 43W bulb gives off a warm white light, making it ideal for use in a variety of applications.

The Blacklight Bulb is ideal for use in a variety of settings.

This high-intensity blacklight bulb with intense ultraviolet (UV) light makes some colors appear almost fluorescent. It has a medium base, a long lifespan, and is simple to set up. Positioning is simple with any standard lighting fixture.

The Impact Halogen Lamp Bulb is common in many types of studio, film, and video production lighting.

Its average lifespan is 2000 hours, and its color temperature is 3000 K. It can handle up to 250W and has a Miniature Candelabra Screw (E11) base, making it ideal for use in a wide variety of lighting applications.

The Redlight Bulb 120V has an intermediate base, emits a magnificent red light, and is the perfect fit for many innovative lighting settings.

These lights can last up to 50,000 hours, which means they don't need much maintenance. Despite their low wattage, their remarkable efficiency ensures that they provide ample illumination.

The Red Flood Light Bulb is perfect for backlighting.

Thanks to its low power consumption and wide beam angle, this bulb excels at performing the duties of both flood and safety lighting. Several of these, would look great in illuminating landscaping or giving off a festive vibe.

The Spiral Red Colored Bulb 120v delivers a beautiful, vivid color.

Their energy efficiency is substantially higher than that of incandescent and halogen bulbs. This compact fluorescent lightbulb (CFL) has many advantages over traditional incandescent bulbs. It is easy to install and works with standard American screw-base light bulbs. It is aesthetically pleasing thanks to its half-spiral design, and its strong construction guarantees years of reliable service.

The light dimmer lets you change the brightness of the lights in any room and set the mood you want at any time.

Dimmer switches can be used with almost any lamp, toggle, or light that has a switch plate to control how bright the light is in a room.

The Proline Plus 19" HB Teleprompter from Prompter has a reversing monitor, 60/40 beamsplitter glass, and a 23' reading range.

In terms of camcorders, the teleprompter is compatible with pretty much everything from MiniDV to ENG. A camera can be attached to the teleprompter's aluminum extrusion frame without the need for counterweights. The 60/40 glass can be adjusted in height and angle to perfectly center the camera for the presenter and fold flat for easy transport and storage. The camera rail can be taken off, which lets the unit fit into the soft case that comes with it. You can attach the camera to the prompter and then to the tripod in the standard fashion, or you can use the FreeStanding kit to attach the camera to the tripod and the prompter to a stand in front of the camera.

The Aputure Amaran H198C On-Camera LED Light is a bi-color, high-CRI on-camera LED light with 198 LEDs.

At 3.3 feet, the light emits 420–435 lux with a beam angle of 60 degrees. On the back of the device is a stepless dimmer dial for fine-tuning the light's brightness, and a kelvin wheel for fine-tuning the color temperature of the light. There are extension slots on all four sides of the lamp, allowing for up to nine H198C panels to be connected together to provide a bigger light source.

Our C-Stands are constructed of metal and consists of a collapsible base, two riser columns, and a baby pin on top.

Includes a gobo head and a gobo arm, also known as a grip head and grip arm, which provide the ability to articulate a light modifier without moving the stand itself. The legs of C-stands are designed to be nested, so many stands can be placed around a light source.

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.

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.

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.

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 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 Canon EF-s 24mm f/2.8 STM is a tiny and super-sharp normal to wide lens for Canon's APS-C cameras.

This lens makes an excellent replacement for any 18-55mm zoom, saving size and weight and adding a fast f/2.8 speed for use in dim light and making your viewfinder brighter. It's tiny and has fantastic performance.

The 24/2.8 STM uses a new kind of autofocus motor, called STM (stepper motor) for quieter AF, and is especially intended for use while shooting video with a DSLR. This motor makes only the lightest humming sound as it focuses.

There is immediate manual-focus override simply by turning the front ring. It's done electronically, and unlike almost all other electronically-focussed lenses, this Canon manual-focus system works great. It's the smoothest, lightest manual focus system ever.

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 Canon 50mm f/1.4 uses a conventional optical design for its class, with 7 elements in 6 groups, two of which are made from high-refraction glass.

Focusing is achieved by an ultrasonic motor system, with full-time manual override; however, unlike Canon's other mid-range primes, this is of the micro-USM type. Canon claims the lens produces a 'beautiful, natural blur of the background', an important attribute for a fast lens capable of a high degree of subject isolation. The company is also keen to point out that the lens's color balance is virtually identical to the ISO recommended reference values.

Headlining Features:

50mm focal length; fast F1.4 maximum aperture
Micro-type USM autofocus with full-time manual override

The Canon EF 100mm f/2.8L IS USM Macro Lens combines excellent image quality with a useful focal length, a relatively small/light body, fast/quiet AF with 1:1 (1x) macro capabilities - and HIS (Hybrid Image Stabilization).

The Canon EF 100mm f/2.8L IS USM Macro Lens' AF is powered by Canon's excellent Ring USM (Ultrasonic Motor). AF is internal, fast, quiet and accurate. FTM focusing is provided. The focus ring is nicely placed and sized, and is very smooth with no play. The flush-mounted focus ring is especially useful when fine-tuning manual focus.

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.

Benefits:

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 Rokinon Cine 24mm T1.5 lens produces a 84.1° coverage when used with full-frame cameras.

Hybrid aspherical lenses render sharply defined images with a minimum of distortion and chromatic aberrations, with a minimum focus distance of just under 10" from the lens. A removable petal shaped lens hood provides flare protection when shooting without a matte box, the lenses threaded front accepts a 77mm filter ring.

The Canon Rokinon 35mm T1.5 Cine AS UMC Lens was developed primarily for film and video applications.

The cine version of Rokinon's 35mm lens features industry-standard gearing for the focus and aperture ring, and the aperture ring has been de-clicked for smooth iris pulls. The aperture and focus scales have also been relocated to the side of the lens, where it is easier for focus pullers to read them.

This lens is compatible with full-frame sensors and can also be used on APS-C-sized sensors, where the 35mm-equivalent focal length will be 56mm. The optical construction incorporates two high refractive index elements and one aspherical element to reduce chromatic aberrations and distortion to produce sharper imagery. Additionally, a UMC coating has been applied to lens elements to minimize lens flare and ghosting for more contrast-rich images.

The 50mm T1.5 AS UMC Cine DS Lens for Canon EF Mount from Rokinon is a fast manual focus prime lens.

It provides a very fast maximum aperture of T1.5 for effective low light capture and shallow depth of field control and an 8 blade iris for attractive bokeh. Optimized for cinema and video applications, the focus and aperture control rings are outfitted with industry standard gearing, which provides an interface for working with a traditional follow focus. The aperture control ring has also been de-clicked, which enables smooth iris pulls. In addition, bright aperture and distance markings are printed on the lens barrel facing laterally to facilitate easier control by a focus puller.

The 50mm has a minimum focus distance of 1.5'. Internal focusing minimizes the effects of lens breathing, which ensures a more consistent angle-of-view when adjusting focus. The lens is composed of 9 elements in 6 groups, including one aspherical element and one hybrid aspherical element to reduce aberrations. In addition, a lens multi-coating helps to improve light transmission reducing flare and ghosting. The filter thread diameter is 77mm.

The Rokinon 85mm T1.5 Cine Lens produces a slightly telephoto angle-of-view on full-frame sensors.

It features a very fast maximum aperture of T1.5 and an 8 blade iris, for shallow depth of field with attractive bokeh. The focus and aperture control rings are outfitted with industry standard gearing, which provides an interface for working with a traditional follow focus. The aperture control ring has also been "de-clicked", which facilitates smooth iris pulls.

The 85mm has a minimum focus distance of 3.6'. Internal focusing minimizes the effects of lens breathing, which ensures a more consistent angle-of-view when adjusting focus. The lens is composed of 9 elements in 7 groups, including one aspherical element to reduce spherical aberrations. In addition, multi-coated elements help improve light transmission.

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 Lomo 40-162mm T4.9 lens is designed as an 80mm base lens with a telescopic system of variable magnification.

The lens is purposed for professional 35mm film movie cameras with a 16x22mm frame size. Native mount is OCT-18 for turret version of Konvas camera (this particular lens has add-on OCT-19 mount for Konvas-2M that can be removed to revert the lens to OCT-18).

The focal length range is from 40 to 162mm. The relative aperture value is constant f/3.8 throughout the range. The lens is suitable for any kind of shots - outdoor, indoor, documentary, sports etc.

Specifications:

Focal length - from 40 to 162 mm
Relative aperture - f/3.8
Angular field of view - from 40° to 10°
Aperture values range - from f/3.8 to f/20.5
Flange focal distance - 57.00 mm
Front focal distance - minus 27.22 mm
Back focal distance - 64.76 mm
Light transmission - 75%

Lomo 50mm T1.2 is the ultimate in vintage funkiness.

This Soviet-era lens has a classic, simple, optical design that was produced during the Cold War throughout the 1980s. Limited lens coatings produce colorful flares with intricate details, and renders the fine sharpness with a gentle look that removes that clinical, digital edge. The bokeh is pleasing and has an “old world” appearance. If you are in search of a new retro look, Lomos will take you there like no other lens.

These lenses have been modernized with PL mounts and standard focus gears. They cannot be used with clip-on matte boxes.