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.
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 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
These are multitrack recorders: the F4 has four XLR/quarter-inch combo jacks, the F8 has eight, allowing connection of multiple microphones (or other audio sources) simultaneously.
The F4 and F8, Zoom has moved decisively into the realm of truly professional recorders. They’ve improved the sound quality and added professional details such as:
- balanced line-level outputs
- time code inputs and outputs
- hirose power connections
- multiple memory-card slots
- flexible internal routing of audio signals.
The Schoeps CMC6-U microphone preamp is a balanced output stage and +12 to +48V phantom power supply for the Schoeps Colette series modular capsules. The transformer-less output stage ensures low-noise and pristine audio reproduction throughout.
The CMC6-U is terminated with a standard balanced 3-pin XLR connection for use with standard microphone inputs and preamplifiers. It can be used with very long cables and is well-protected against RFI (radio frequency interference.
The MKH 416 is a short gun interference tube microphone. Its excellent directivity and compact design, high consonant articulation and feedback rejection make the MKH 416 a superb all-round microphone for film, radio and television, especially for outside broadcast applications.
- increased directivity due to interference tube principle
- very low inherent self-noise
- high sensitivity
- transformerless and fully floating balanced output
- rugged, suitable for adverse climate conditions
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).
Sanken has introduced the COS-11D, which overcomes RFI (radio frequency interference) from the digital transmitter.
In today’s wireless transmission systems the microphone must remain unaffected by new forms of digital transmitter signals. They present new challenges in the area of emission protection. In many cases, noise levels increase and the S/N ratio is deteriorated by the interference of digital transmitters. Sanken has designed the COS-11D specifically to diminish the instances where interference is an issue. The COS-11D is an omnidirectional lavalier microphone. This microphone has been fitted with the TA5 Universal locking connection for Lectrosonics transmitters.
K-Tek has always considered the boom pole to be an extension of the audio professional’s arm.
It is essential that a good boom pole has a natural design that simply extends the reach of the microphone, quietly and lightly towards the sound or voice being recorded.
The ME 67 is a long gun microphone head designed for use with the K6 and K6P powering modules.
A highly directional microphone, it can be used where the microphone must be placed at a distance from the sound source. Matt black, anodised, scratch-resistant finish.
- Lobar pick-up pattern
- Highly directional
- Very low inherent self-noise
- High sensitivity factor
- Wide frequency response
- Pick-up pattern: lobar
- Sensitivity in free field, no load (1kHz): 50 mV/Pa +- 2,5 dB
- Nominal impedance: 200 Ohm (K6)
- Min. terminating impedance: 1000 Ohm (K6)
- Equivalent noise level: 10 dB
- Equivalent noise level weighted as per CCIR 468-3: 21 dB
- Dimensions: d 22,5 x 343 mm
- Weight: 100 g
The Sennheiser ME66 shotgun microphone is the audio equivalent of a tack-sharp zoom lens on your camera.
With high sensitivity and low on-board self-noise, it’s designed to give you realistic, full-bandwidth frequency response from audio sources that might not be particularly close to you. A super-cardioid pickup pattern means you won’t be hearing any noise interference from directions off-axis from where you point the mic. The K6 powering module is designed to power the mic from an internal “AA” battery or external 12-48V phantom power, like that provided by many camcorders and mixers. It terminates in a 3-pin XLR jack for easy professional-level connections.
Fast. Flexible. Professional.
The characteristics of the Sennheiser G3 Lavalier Mic make the ew 112-p G3 the perfect fit for every ambitious reporting team seeking both portability and great sound quality. The nearly invisible clip-on Omni-directional microphone transmits its signal via a bodypack transmitter with mute function and a portable, battery-powered adaptive-diversity receiver. The receiver and transmitter are lightweight and easy to operate, yet rugged and packed with features.
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.
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.
3-ton Grip Truck completely stocked with everything you’ll need for your production.
Take advantage of our neatly organized office on wheels that comes with extension cords, sandbags, clips, input/output cables and much more.
Only available for gear rentals in South Florida.
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.
Modern Studio 4×4 Magic Cloth Diffusion Fabric w/Bag
The Modern Studio 4×4 Magic Cloth Diffusion Fabric is a great diffuser of point source lights. A neutral diffusion does not alter color temperature.
This easy-to-use kit is designed to prepare you for the unexpected when on set.
Featuring an 8×8′ Scrim modular anodized aluminum frame, positive-locking connectors provide extra support on a windy afternoon or a long day of shooting. Includes frame tubes that break down quickly and easily for travel and storage. An 8×8′ 3/4-stop diffuser softens available or studio lighting without changing any color temperatures, while the double-laminated 8×8′ reversible silver/white bounce fabric reflects light to add highlights to and illuminate your subject.
This portable system breaks down easily, proving to be ideal for photographers and filmmakers who travel often.
This easy-to-use kit is designed to prepare you for the unexpected when on set.
Featuring a 12×12′ Scrim modular anodized aluminum frame, positive-locking connectors provide extra support on a windy afternoon or a long day of shooting. Includes frame tubes that break down quickly and easily for travel and storage. A 12×12′ 3/4-stop diffuser softens available or studio lighting without changing any color temperatures, while the double-laminated 8×8′ reversible silver/white bounce fabric reflects light to add highlights to and illuminate your subject.
This portable system breaks down easily, proving to be ideal for photographers and filmmakers who travel often.
- Cordura Nylon
- Rugged and Durable Assembly
- Double-Zipper Design
- Water and Weather Resistant
The world’s first live production switchers for broadcast, professional, and AV users.
12G-SDI for Ultra HD to 2160p60
The ATEM Television Studio Pro 4K features 8 standards converted 12G-SDI inputs so you can connect to both HD and Ultra HD sources. Each input also features a corresponding 12G-SDI output that can be used for camera return feeds with embedded control data, and mix minus is available on each 12G‑SDI output.
Full Input Standard Conversion
Each 12G-SDI input features an independent Teranex low latency standards converter allowing inputs to be any combination of HD or Ultra HD television formats. The switcher will convert inputs to the switcher’s standard, and combined with input re-sync, this means you can simply plug in and it just works!
ATEM Advanced Chroma Key
The all-new ATEM Advanced Chroma Key is the next generation keyer that enables incredibly clean green screen keying in real-time for seamless multi-layer compositing. You get lots of key controls including on-screen image sample, edge, flare, foreground color correction, separate spill controls, and more!
Fairlight Audio Mixer
The ATEM Television Studio Pro 4K model now has a new incredibly powerful Fairlight audio mixer that includes pro audio features such as 6 band parametric EQ, compressor, limiter, expander/noise gate, pan, audio channel split to dual mono, stereo simulator on analog and mic inputs and an audio delay on analog inputs.
Blackmagic Web Presenter makes any SDI or HDMI video source appear as a USB webcam for higher quality web streaming using software such as Skype or streaming platforms such as YouTube Live, Facebook Live, Twitch.tv, Periscope and more!
Blackmagic Web Presenter includes 12G-SDI and HDMI inputs, an XLR microphone input, HiFi audio input, and Teranex quality down conversion for converting any SD, HD or Ultra HD video source to 720p for easy, low data rate, high-quality streaming. Plus, Blackmagic Web Presenter can even live switch programs using its built in 2 input production switcher if you add the optional Teranex Mini Smart Panel!
OBS Studio is an open-source software suite for recording and live streaming.
Written in C, C++ and Qt, OBS provides real-time source and device capture, scene composition, encoding, recording, and broadcasting. Transmission of data is primarily done via the Real Time Messaging Protocol (RTMP) and can be sent to any RTMP supporting destination, including many presets for streaming websites such as YouTube, Twitch, Instagram and Facebook.
Restream is a powerful and effective multi-streaming service that allows you to broadcast your live content to more than 30 streaming platforms simultaneously.
Stream to YouTube, Facebook, Twitter, Twitch, and other popular platforms all at once, from one account. There is no limit on the number of platforms you can stream to!
- Rokinon Xeen 24mm T1.5
- Rokinon Xeen 35mm T1.5
- Rokinon Xeen 50mm T1.5
- Rokinon Xeen 85mm T1.5
- Sigma Cine 18-35 T2
- Sigma Cine 50-100 T2
- Tokina 11-16mm T 2.8
- Canon 24mm f/2.8 STM
- Canon 50mm f/1.2 FD
- Canon 50mm f/1.4
- Canon 100mm f/2.8 Macro USM
- Canon 70-200mm T2.8
- Rokinon Cine 14mm 3.5
- Rokinon Cine 24mm T1.5
- Rokinon Cine 35mm T1.5
- Rokinon Cine 50mm T1.5
- Rokinon Cine 85mm T1.5
- Leica 50mm F1.4
- Helios 44mm F1.5
- Sigma 80-400mm f/4.5-5.6 APO
- Lomo 40-162mm T4.9
- Lomo 50mm T1.2
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.
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.
- 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.
- 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 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.
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 Sigma APO 80-400mm f4.5-5.6 EX DG OS Lens for Sigma Digital SLR Cameras is a telephoto zoom lens with an F4 aperture throughout the entire zoom range.
It also has performance features that are perfect for digital and 35mm SLR cameras. Two SLD (Special Low Dispersion) glass elements are used in the front lens group and two in the rear lens group for superior correction of chromatic aberration. Because its length does not change during focusing or zooming, the lens is easy to hold and use. The Hyper Sonic Motor (HSM) makes fast AF speeds and quiet shooting a reality, and it is also capable of full-time manual focus.
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.
- 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.
The Mac Pro “16-Core” is powered by a single 3.2 GHz Sixteen Core Xeon W (3245) processor with Turbo Boost up to 4.4 GHz and 38 MB of cache.
In its default configuration, connectivity includes two USB 3 ports (on a pre-installed Apple I/O card), four Thunderbolt 3 ports (two on the Apple I/O card and two on the top of the case), two HDMI 2.0 ports (on the video card), two 10Gb Ethernet ports and a 3.5 mm headphone jack with headset support in addition to 802.11ac Wi-Fi and Bluetooth 5.0. Of course, additional connectivity can be added with PCIe expansion cards.
With the default AMD Radeon Pro 580X graphics processor, this Mac Pro supports as many as six 4K displays, two 5K displays, or two 6K Apple Pro Display XDR displays.
- 96GB Ram
- 2 AMD Radeon Pro Vega II Duo 32GB
- 6k Pro XDR Display