- Arri Alexa Mini LF
- 8k Red Monstro VV
- RED Epic-W 8k
- 6k Red Epic Dragon
- 5k Red Scarlet Dragon
- 4.5k Red Raven
- 4.5k Red One
- Red Komodo 6k
- 1080 Canon 7Ds
- 4k Fugi XT3
- 8k Insta 360 Pro
- 4k Osmo Action
- Go Pro Hero
- Canon 5D Mark IV
- RED Monstro 8k
- RED Dragon 6k
- RED Komodo 6k
- RED Outrigger handle
- RED Top handle
- RED DSMC2 Touch 7" LCD Monitor
- RED DSMC2 Touch 7" Ultra Bright LCD Monitor
- Osmo Action
- Tilta Side handle for RED Komodo
- Bright Tangerine Matte Box for RED Komodo
- 8ft Speed Rail
- Door way Dolly
- Kessler Slider
- Kessler Crane
- O'Connor Matte Box
- Cartoni Tripod
- Manfrotto Tripod
- Steadicam Air 25 Monopod
- Manfrotto Monopod
- SmallHD 2400 Series Monitor
- Movi 10
- Movi Pro
- Follow Focus Case
- Armor Man
- Red DSMC Battery Belt Clip
- Hoodman Drone Pad
- 8ft HDMI Cable
- Blackmagic Design Video Assist 5" Monitor
- NUCLEUS WLC-T03M
- NUCLEUS M
- NUCLEUS Wireless Lens Controller
- DSMC AC Power Adapter 7-pin LEMO to Power
- RedRock microRemote Basestation
- RedRock Micro Finger Wheel Controller
- RedRock microRemote Torque Motor
- SmallHD Director's Monitor - 7" 701 Lite HD HDMI LCD Monitor
- SmallHD Monitor 5.5"
- SmallRig Left Side Wooden Grip with Arri Rosette
- TERADEK Bolt 300 TX
- TERADEK Bolt 300 RX
- WOODEN CAMERA Cage for 7 Inch SmallHD Monitor
- Rencher BreakerBatt
- Canon EF 100mm f/2.8 Macro USM Lens
- Canon EF 70-200mm f/2.8L IS III USM Lens
- PL Mount LOMO 50mm Lens
- PL Mount LOMO 90mm Lens
- Rokinon Xeen 24mm T1.5 Cine Lens for Canon EF-Mount
- Rokinon 35mm T1.5 Cine AS UMC Lens for Canon EF Mount
- Rokinon 50mm T1.5 AS UMC Cine DS Lens
- Rokinon Xeen 85mm T1.5 Cine Lens
- Sigma Lens 18-35
- Sigma 35mm f/1.4 Lens
- SIGMA 50-100 T2.0 High Speed Zoom Lens
- SIGMA 80-400mm 4.5/5.6 Lens
- Tokina 28mm FD Lens
- Tokina 40mm T1.5 Cinema Vista Prime Lens EF Mount
- Tokina 50mm T1.5 Cinema Vista Prime Lens EF Mount
- Tokina 85mm T1.5 Cinema Vista Prime Lens EF Mount
- Hypercore NEO 150 V-Mount Battery
- Sony BP-L90A V-Mount Battery
- LITH LM-155S(R) V-Mount Battery
- GDU 98WH MINI V-Mount Battery
- RED Digital Cinema REDVOLT 37Wh 2500mAh 14.8V Battery
- RED Digital Cinema REDVOLT-V 43 Wh Battery
- RED Digital Cinema RED Brick Charger
- WATSON PRO VM 95 NE V-Mount Battery
- Miady 97Wh V-Mount Battery
- Kastar Canon BP-980G Battery
- Kastar Canon BP-980 Dual Battery Charger
- Sony NP-F970 Battery
- 77mm FX Prism Lens
- 77mm UV Protector
- 82mm UV Protector
- Schneider 4 x 5.65" Digicon 1/4 Glass Filter
- 4x5.65 Blue Flare FX
- Tiffen 4 x 5.65" Polarizer
- Tiffen 4 x 5.6" Black Pro-Mist 1 Filter
- Tiffen 4 x 5.6" Black Pro-Mist 1/2 Filter
- Tiffen 4 x 5.6" Black Pro-Mist 2 Filter
- Tiffen 4 x 5.6" Black Pro-Mist 1/2 Filter
- Tiffen 4 x 5.6" Black Pro-Mist 1/8 Filter
- Tiffen 4 x 5.6" ND 0.3 Filter
- Tiffen 4 x 5.6" ND 0.6 Filter
- Tiffen 4 x 5.6" ND 1.2 Filter
- Tiffen 4 x 5.6" ND 0.9 Filter
The Arri Alexa Mini LF is not all just tech specs and numbers, it has the ability to produce stunning and moving cinema.
Storytelling comes a lot easier when you have the visuals to back it up, and the Mini LF has come through for C&I in its own original productions, and for its clients.
In a rental world where Arri Alexa LF cameras are mostly the province of those who shoot commercials and episodic television, the C&I Studios team believes that the Mini LF is also an essential camera for feature films.
“The Arri Alexa Mini LF meets all standard on-set requirements for professional productions, and it gives every frame a very cinematic feel that is unrivaled in the industry.”
- The Mandalorian
- The Eternals
- Judas and the Black Messiah
- Space Jam 2: A New Legacy
- Ted Lasso
- Stranger Things
- and many more
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.
- Zoom H6
- Zoom F8
- Zoom F4
- Schoeps CMC6 Microphone
- Sennheiser 416 Microphone
- Zaxcom Wireless Transmitters & Receivers
- Sanken COS-11D Lavalier Microphones
- K-Tek Boom Poles
- Sennheiser ME67
- Sennheiser ME 66
- Sennheiser G3 Lavalier Mics
- Zoom F8 Multi-Track Field Recorder
- SONY MDR-7506 PROF Folding Headphone L
- Schoeps Colette Series Supercardioid Microphone Set
- Sennheiser MKH416-P48U3 Short Shotgun Mic
- Sennheiser Shotgun Mount MZS 20-1
- Sennheiser Windmuff MZH 70-1
- Auray Boom Pole Holder
- Tentacle Sync E Timecode Generator with Bluetooth
- 9' K-Tek Klassic Boompole with Internal XLR Cable
- Auray SHM-SD1 Shock mount
- Sterling Audio 4 Channel Professional Headphone Amplifier
- Zaxcom TRXLA3.5 Transmitter
- Zaxcom QRX235 4-Channel Receiver
- Sennheiser ew 100-ENG G3 Wireless Transmitter / Receiver
- Sennheiser ew 100-ENG G2 Wireless Receiver / Receiver
- Denecke TS-C Compact Time Code Slate
- Whirlwind IMP 2 Standard Direct Box
- Comtek PR-216 Receiver
- Comtek M-216 Transmitter
- Sony Headphones
- Kudo Grip Head
- Bluefin 2 Antenna
- Triple Mic Bar
- 20ft XLR Cable
- K-Tek Boom Pole
- 1/4" Cable
- 1/8" cable
Ideal for guitarists, bassists, and vocalists looking to produce studio-quality tracks on a single travel-friendly device, the black Zoom H4n Portable Handheld Recorder with Onboard Stereo Microphone Capsule and versatile mic/line/instrument inputs lets you record up to four tracks of high-resolution audio in the palm of your hand.
Plug in your favorite guitar and microphone, and enjoy unlimited overdubbing, amp simulation, and a slew of effects to develop your tracks into a polished mix. From plentiful battery life to powerful audio processing functions, it can supply phantom or plug-in power for condenser mics, or accepts direct connections from instruments such as a guitar, bass, or keyboard. No matter the source, selectable auto-recording and prerecording ensure that you’ll never miss the start of a take.
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-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.
- Astera LEDs
- Kino Flo Celebs
- Arri 300s
- Quasar LED Tubes
- Ring Light
- Arri 1k
- Litepanels' Gemini
- Litepanels' Astra
- Cineo Matchbox
- Astera light tubes
- China Ball L
- China Ball S
- Arri 300 Light
- Arri 1k Light
- Quasar Light
- Baby Quasar Light
- Kino Flo Light
- Gemini 2x1
- Aputure 600D
- Aputure 300D
- Aputure Accent Smart Bulb
- Rosco .9 ND Gel
- Rosco .6 ND Gel
- .5 CTO Gel
- Opal White Diffusion
- .75 Stop Half White diffusion
- Snap Bag SoftBox
- Snap Bag Octa Bank 7'
- Rabbit ears for Snap Bag Octa Bank 7'
- Boom Arm 40"
- Boom Arm Big
- Strobe Light
- Halogen Lamp
- Aputure Lantern
- Chimera Soft Box
- Fotodiox Soft Box
- Lantern Lock for 24" China Ball
- Impact Luxbanx Softbox
- Socket Assembly for China Ball
- 40W Bulb
- Edison Bulb
- 43W Bulb
- Blacklight Bulb
- Impact Halogen Lamp Bulb
- Redlight Bulb 120v
- Red Flood Light Bulb
- Spiral Red Colored Bulb 120v
- Light Dimmer
- Prompter People Proline Plus 19" HB Teleprompter with 19" Reversing Monitor
- Aputure Amaran H198C On-Camera LED Light
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 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 2×1 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.
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.
GRIP & Electric
- 3-Ton Grip Truck
- C Stands
- 4x4 Magic Cloth
- 8x8 Scrim
- 12x12 Scrim
- 12x12 Picture Frame
- 12x12 Silk
- 8x8 Silk
- 12x12 Magic Cloth
- 8x8 Magic Cloth
- 8x8 Negative Scrim Jim
- 8x8 Green Screen
- 12x12 Green Screen
- 6ft Frame
- 8ft Frame
- Baby C-Stand
- Impact Stand w/ Wheels
- Baby Combo Stand
- Combo Stand
- Combo Stand wheeled
- Low Boy Combo Stand
- Master/Light Stand
- Scrim Jim by Westcott
- 18x24 Silk
- 18x24 Magic Cloth
- 18x25 Negative
- 24x36 Negative
- 24x36 Scrim Green Single Stop
- 24x36 Scrim Red Double Stop
- 4x4 Floppy
- 4x4 Magic Cloth
- 4x4 Ultra Bounce
- 4x4 Bounce Board
- 8x8 Magic Cloth
- 8x8 Ultra Bounce
- Inovativ 52 EVO cart
- Magliner Cart
- Grip Bag
- Husky Case
- Cube Tap
- Stinger w/ cube taps 24ft
- Stinger 5ft
- Stinger 6ft
- Stinger 10ft
- Stinger 20ft
- Stinger 25ft
- Stinger 50ft
- Stinger 100ft
- TETHER TOOLS D-Tap to USB/AC 14.8V Power Supply Black (2.5ft)
- TiltaMax Battery Charger
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 12×12 Picture Frame is made out of heavy-duty, 30mm-thick tubes that slide and latch together to form a secure frame for silks, scrims, and other fabrics. You can change the size of the frame by removing or adding tubes. The item also features an Ear Type 2 frame attachment for stand mounting.
The 12×12 Silk is the fabric that is attached to the Butterfly/Overhead frame, and is also referred to as “Rags.”
Scims to diminish light, silk to spread light, and solids to eliminate light were the sole materials utilized for many years. However, there are now more options for diffusers (Grid Cloths, Black Silks, etc.) and huge reflectors for both sunlight and artificial light to choose from, such as the 12×12 silk.
The 12×12 Silk is the fabric that is attached to the Butterfly/Overhead frame. It softens and diffuses direct light while also introducing a substantial quantity of ambient light. This lightweight fabric provides a very slight diffusion, just enough to soften the edge. Built-in ties allow for usage with the 8×8 foldable frame or attaching to other fixtures.
The 12×12 Magic Cloth is a soft diffusion material comparable to softbox cloth. The Magic Cloth is finished with webbing and grommets, as well as elastic loops in the corners, and is ideal for butterflies and overheads. It produces a very diffused, neutral light. This dispersion is extremely efficient with point sources and is also an excellent choice for diffusing LED light.
The 8×8 Magic Cloth is a soft diffusion material comparable to softbox cloth. The Magic Cloth is finished with webbing and grommets, as well as elastic loops in the corners, and is ideal for butterflies and overheads. It produces a very diffused, neutral light. This dispersion is extremely efficient with point sources and is also an excellent choice for diffusing LED light.
This 8×8 Negative Scrim Jim includes all of the frame tubes and connectors needed to build your own 8 x 8’ frame for connecting fabrics to construct diffusion panels, flags, as well as other light control tools. This kit comprises eight 46-inch tubes, four 2-inch straight connectors, and four 2-dimensional frame connectors. Each tube is made of anodized aluminum alloy, has riveted heavy-duty hook-and-loop tape on two sides for attaching textiles, and has a 3/8” diameter “-16 threaded mount for use on supports. Individual tube segments are joined together using the provided self-locking connectors to form a flat 2D frame.
The 8 x 8’ Green Screen is a must-have for anyone who shoots digital or video photography. Using the ergonomic nylon ties situated in each corner, this convenient background for digital and video recording can be quickly installed or removed. The background is created from a tough polyester fabric that is dye-lot controlled.
The vivid color of the cloth makes it ideal for a wide range of photographs, including portraits, product photography, and general commercial photography.
The 12 x 12′ Green Screen is an absolute necessity for anyone involved in digital or video photography. The ergonomic nylon ties that are situated in each corner of this convenient background make it possible to quickly install or remove it from use as a background when recording digital or video content. The vivid and colorful color of the cloth makes it ideal for a wide range of background applications.
The 6ft frame is used to illuminate a large subject or area. When using the Fast Frame system, there is no need to assemble softboxes or worry about speed rings devoted to individual lights. The metal frame quickly locks into place and can be supported upright or overhead with optional light supports and grip heads. Another alternative is to utilize it overhead, like a butterfly, to soften the contrast of bright light or the sun.
The 8 x 8 ‘Butterfly Frame Kit includes everything you need to build a frame for nets or silks that can be used overhead to reduce the contrast of bright light sources or match the intensity of the ambient light. The set comprises 1.18-inch heavy-duty bolts, “aluminum tubes, frame supporters, corners, nuts, and bolts.”
The Baby C-stand is a great tool for articulating the object it supports, with its gripping heads and arms. The Baby C-Stands are easy to set up, come in a variety of heights, and some even have detachable columns.
C-stands are heavier than standard light stands, and their leg design also focuses that weight at the base.
The C-Stand has a sliding leg, grip head, and arm, but its most unique feature is its third leg, which is also known as the “lazy” leg or the “Rocky Mountain” leg. The leg can be adjusted anywhere on the riser to help stabilize the stand, work around obstacles such as stairs, or fit into small places. The stand has a maximum weight capacity of 22 lbs. and climbs to a height of 10.5 ft. The broad T-handles also make it easy to hold on to.
- Even uneven ground is no match for the top leg’s independent sliding adjustment!
- It’s possible to mount gobos, reflectors, and other small lighting equipment easily thanks to the Grip Head & Arm!
The Impact Stand with wheels is a sturdy 9.5’ Steel Roller Stand II with a Low Base and Braking Wheels, along with chrome-plated steel and aluminum alloy support with a low base for added stability, including braking wheels and two risers with locking T-handles. The stand’s 39.5-inch wide platform can hold up to 27 pounds, with an industry-standard 5/8” stud for lights with matching receivers, a folded length of 47”, and a footprint for maximum stability. When folded, the Steel Roller can stand upright thanks to an extended cast at the end of each leg. This is a very useful feature when working in confined spaces.
The Baby Combo Stand is a black heavy-duty light stand that has a leg leveler and an adjustable extension that lengthens it for use on uneven terrain and surfaces such as stairs. There are three risers on this stand, and the tallest one is 14.7 ft. The A1035B is equipped with a 5/8” baby top stud and a 1 1/8” female junior receiver.
The Combo Stand is a double riser stand that features a 43-inch wide platform. Stability is provided by a large footprint and lengthy legs. It reaches a maximum height of 11.3 feet and can hold up to 90 pounds of weight. The 1 1/8” receiver on the combo stand allows it to accommodate larger Junior lights, while the retractable 5/8” Baby pin supports smaller fixtures. The “Rocky Mountain Leg” is a unique feature of the stand that allows it to be balanced and stable on uneven ground.
The Combo Stand Wheeled is a heavy-duty chrome-plated steel stand with a combo head and wheels that can support up to 55 pounds of gear. The stand can reach a maximum height of 48.5 inches and folds down to 28”. It has a small base and a 30” footprint, brake wheels, and two risers for added stability. It becomes 28 inches long in terms of size when the legs are folded up. This makes it easier to store and carry around.
- The heavy-duty steel and aluminum construction can support gear weighing up to 55 lbs.
- The ergonomic, large handles on the steel twin risers make it simple to secure them.
- The wheels on the stand make it simple to transport your gear from one location to another. And they can be locked securely once in place.
The Low Boy Combo Stand climbs to a maximum of 6.4 ‘and can support up to 72 lbs. of gear. With a total width of 31”, maximum stability is provided by the large footprint and the independent Rocky Mountain leg that expands on uneven ground. The Low Boy Double Combo stand also features a 1 1/8” junior receiver and a 5/8” retractable pin.
The Master/Light Stand is an air-cushioned light stand, manufactured by Manfrotto. Each of the four aluminum light stands in this set has three risers and a black anodized finish, and they can reach a maximum height of 12 feet (4 m). Each stand has a QSS (Quick Stack System) that allows the three stands to be stacked and fastened together when closed for storage or transportation.
- Setting-up is fast and simple. It only takes a few minutes.
- It has aluminum collars with locks, along with a double-braced leg base, which provides additional strength and stability.
The Scrim Jim by Westcott is compatible with 4 x 4’ Scrim Jim Cine frames and boasts a heavy-duty touch fastener lining for easy setup and practical travel, allowing you to soften ambient and artificial light sources. This diffusion is made of nylon and silk fibers and does not alter the color temperature of light sources, ensuring that skin tones appear realistic. With its modular design, this fabric can be used both in the studio and for external applications.
This simple diffuser cloth works well with both artificial and natural light sources. It can be used from above to soften harsh sunlight or in front of a main light source to spread light in a wide area.
The 18×24 silk is used to regulate or modify light falling on specific sections of the subject. The piano wire woven into the fabric on the frame’s fourth side is held in place by slots in the frame’s two upright arms, which are open on both ends. This fabric-covered frame comes with an inbuilt mounting pin, and it has the ability to diffuse and soften harsh direct light. Additionally, it adds a large amount of background bounce to the mix. Material identification is made simple, and the frame edge is safeguarded with long-lasting color-coded polypropylene webbing.
The 18 x 24 Magic Cloth is a soft diffusion material comparable to the cloth used on softboxes. It features webbing and grommets, as well as elastic loops in the corners, making it ideal for butterflies and overheads.
The 18×25 negative is made to store and maintain prints and negatives from moisture, dirt, and other external contaminants that could destroy the materials. The FoldFlap sleeve opens from the side, allowing prints or negatives to be inserted and retrieved from the sleeve. The sleeve’s self-locking lip secures the material inside. The optically clear 3-mil polyester sleeve can be handled and examined without fear of fingerprints or smudges being left on it. The sleeves have passed the PAT test, making them ideal for long-term storage.
The 24×36 negative is developed exclusively for the Flextight Photo and Flextight 343 scanners and works with unmounted transparencies and negatives. Another feature is its 24x35mm scanning area.
The 24×36 scrim green single stop is made of spring steel. With a 3/8″ pin and support, the scrim can be hung from the C-stand handle when not in use. The piano wire woven into the fabric on the frame’s fourth side is held in place by slots in the frame’s two upright arms, which are open on both ends. Open Ends are utilized to control or alter the light that falls on specific parts of the set or subject. They can be used to soften or dim light without leaving a visible edge.
The 24×36 scrim red double stop is lightweight and sturdy. Scrims and flags can cut or soften light and are made with a steel spring tube and unique materials. The included mounting pin makes it simple to connect scrims and flags to grip heads and arms for precise positioning.
The 4×4 Floppy is used to completely obstruct the light that is hitting the subject or on a part of the subject. The flag features a pin that fits into a grip head and is fashioned from a deep black fabric stretched over a metal frame. This Floppy features a pipe pocket and a touch-fastener loop for a snug fit around your stand.
The 4×4 Magic Cloth is excellent for diffusing light coming from a single source. It is a thicker diffuser designed to match commercial lightboxes. The light quality is consistent with that of the lightbox, which makes your lighting setup easier to regulate. It is an excellent all-around diffusion. It has a bright white color with an even distribution. It has a stainless steel frame with a soft diffusing material permanently woven in and a pin for attaching a grip head to a C-stand.
The 4×4 Ultra Bounce is two-sided. The white front provides a gentle, consistent bounce without any hot spots. While the non-reflective, flat reverse black side is ideal for negative fill. It is suitable for both indoor and outdoor use.
The 4×4 Bounce Board is used to reflect light back onto the source. With its diffused reflection properties, it produces a softer and less detailed soft light source.
The 8×8 Magic Cloth is comparable to the soft diffuser used in softboxes. The Magic Cloth features webbing and grommets, as well as elastic loops in the corners, making it ideal for butterflies and overheads.
The 8×8 Ultra Bounce is a lightweight, waterproof cloth with a white side that can reflect light and a black side that can either absorb light or block it. It is designed to attach to a frame. For bounce, the white photographic surface is used, while the black side is used to prevent ambient bounce.
The Inovativ 52 EVO Cart is ideal for transporting your filmmaking gear on set, in the studio, or on location. It can also be used as a mobile workstation by data management personnel. Multiple monitors, laptops, and cameras can all fit on the cart. This allows the on-set operator to assist the photographer in managing data more efficiently.
The internal main frame is rigid and stable, and the cart is built with 5052 and 6061 aluminum and stainless-steel hardware. All machined parts are type II and III anodized, and the top and bottom shelves are black powder-coated. An adjustable lip on the top shelf can be used as a workstation for your computer keyboard, or you can leave it in place to prevent equipment from falling off the shelf. The top shelf also has three built-in threaded rail plates, each with twenty-two 3/8″-16 and ten 1/4″-20 threaded holes to mount different accessories. There are optional drawers that can be attached to the cart’s upper and lower shelves. The cart comes equipped with a Corner Cam Lock System, which allows you to disassemble the cart and fold it down to a 7.5″ tall trunk with all the parts and wheels inside. No assembly tools are required.
The cart has 10″ EVO air-filled wheels. Each wheel has a sealed bearing housing that makes the ride smooth, gives it the best performance on different terrains, and protects it from the weather.
- No assembly tools are required.
- 5052 and 6061 aluminums, anodized and powder-coated in black, type II and III, respectively.
- A drop-down lip on the top shelf can be used as a keyboard workstation.
- Three built-in threaded rail plates on the top shelf each have 22 (3/8-16) and 10 (1/4″-20) threaded holes, which can be used to attach various accessories.
- 10″ EVO air-filled wheels
The Magliner Cart is a film and television industry-specific equipment handling cart. It’s made of steel and can carry up to 1,000 pounds. Besides having an 18-inch upper shelf, an 18-inch lower shelf, and a 30-inch-HD nose, it also has 8-inch pneumatic wheels with brakes, a custom toe plate, and a reinforced nose and frame. The cart also comes pre-drilled.
The Grip Bag is a great way to transport your grip gear. The main compartment is padded and spacious, with touch-fastening dividers for organizing gear. A piggin’ string is included for spooling tape. The large front accessory pocket and full-length rear zip pocket will be appreciated by users. Top handles and a padded, suede-leather shoulder strap are included, so you can either carry the bag or wear it on your back. The bag is made of 1000D Cordura nylon, which is extremely durable.
- It features a variety of pockets for grip gear storage.
- Main Compartment with Plenty of Room
- Padded Dividers with Touch-Fasteners
- Spooling Tape with Piggin’ String
- A Large Front Accessory Compartment
- Rear Zippered Pocket of the Full Length
- It is made of durable 1000D Cordura nylon.
The Husky Case is great for moving materials around the studio, production facility, or office. It is made out of lightweight and durable structural foam that won’t rust or chip over time. This heavy-duty workhorse has a 500 lb. capacity, making it easy to transport most items.
The Husky Case has an interconnecting system that allows you to customize how you transport your tools and accessories. The system consists of three pieces: a rolling cart, a toolbox, and a small parts organizer. The base of the rolling cart is large enough to carry power tools, and it has rolling wheels and a sturdy handle. This cart is easy to move around your studio, production facility, or office thanks to its large handle and wheels. This tool cart is easy to put together because it comes with bolts and pre-installed speed nuts.
The Cube Tap connects to a standard 3-way grounded household outlet and provides three 3-way grounded outlets. You won’t have to go looking for a new place to plug in your stingers anymore. This 3 to 1 GF Cube Tap 1382B allows you to connect multiple pieces of lighting equipment into a single, simple plug. The Cube Tap 3 to 1 is compact, and would be a great addition to your toolkit.
- A single plug serves as three different outlets.
- It saves space.
- It fits easily into a gear bag.
The Cube Tap connects to a standard 3-way grounded household outlet and provides three 3-way grounded outlets. No more looking for a new outlet to plug your stingers into. This 3 to 1 Cube Tap allows you to plug in numerous pieces of lighting equipment into a single, compact connection, which saves you room.
The Stinger 5ft Cables deliver excellent sound quality and accurate channel separation. These 2-Channel RCA Interconnects, like all Stinger products, have audiophile-grade performance and extraordinary durability. Interconnects from the Stinger series can be the difference between a great sounding system and one plagued by fluctuating signal strength or alternator noise. The Stinger is a great option for those who care about sound quality and noise reduction.
The Stinger 6ft cables deliver excellent sound quality and accurate channel separation. These 2-Channel RCA Interconnects, like all Stinger products, have audiophile-grade performance and extraordinary durability. Interconnects from the Stinger series can be the difference between a great sounding system and one plagued by fluctuating signal strength or alternator noise. The Stinger is a great option for those who care about sound quality and noise reduction.
The Stinger 10ft Cables deliver excellent sound quality and accurate channel separation. These 2-Channel RCA Interconnects, like all Stinger products, have audiophile-grade performance and extraordinary durability. Interconnects from the Stinger series can be the difference between a great sounding system and one plagued by fluctuating signal strength or alternator noise. The Stinger is a great option for those who care about sound quality and noise reduction.
The Stinger 20ft cables provide excellent sound quality and complete channel separation. These 2-Channel RCA Interconnects are made with audiophile-grade performance and high durability in mind, just like all other Stinger products. The lengths of these RCAs range from 3 to 20 feet, and they’ll improve the sound quality of whatever system they’re connected to.
There are three conductors per channel in the 20-foot Stinger model. The silver-plated copper conductors in the Continuous Connection Construction (C3 Tech) ensure a tight bass response and crystal-clear highs. It’s straightforward to install thanks to the channel identifiers, flexible protective jacket, and locking split-tip connectors. Stinger’s new RCA cables are designed to withstand the rigors of daily use.
Durability and safety have established industry standards for our heavy-duty extension cables (also known as stingers). For optimal pliability, we only employ soft-drawn, bunch-stranded copper conductors. Large strain reliefs are sculpted onto the ends of our heavy-duty plugs, preventing them from pulling away from the body.
Our heavy-duty extension cords have set the industry standard in terms of long-term durability and high levels of protection. For optimal pliability, we only employ soft-drawn, bunch-stranded copper conductors. Large strain reliefs are sculpted onto the ends of our heavy-duty plugs, preventing them from pulling away from the body. Insulating and jacketing substances are used in the production in order to keep them warm during the winter months.
The Stinger 100ft is made of true gauge, oxygen-free copper. High density while remaining exceptionally flexible. The wire is easy to install and delivers excellent performance thanks to its Hyper-Twist design. The outer jacket is made of a very flexible material that houses nine individually encased wires. The internal conductors are color-coded in accordance with EIA standards.
Keep Your Gear Powered and Ready in Any Shooting Environment
The Tether Tools d-tap to USB/AC 14.8V power supply is designed to power up your gadgets no matter where you are in the world. These portable power supplies are designed to plug into US AC outlets and have four USB Type-A 2.1A outputs. Using Tether Tools’ ONsite Aero V-Mount, the ONsite D-Tap to AC Power Supply and Tether Tools’ ONsite D-Tap Battery with V-Mount work together to incorporate Tether Table Aero’s laptop mounting system. Additionally, this streamlined mounting system connects the power supply to the Tether Table Aero, allowing you to charge a laptop while keeping it safe and secure throughout long sessions.
Key features include:
- Multiple Inlets and Outlets: With two AC outputs and four USB ports, the ONsite D-Tap to AC Power Supply from Tether Tools can be powered by any D-Tap battery, including the V-Mount and Gold Mount Batteries from Tether Tools.
- Keep Your Devices Charged: With this power source, you’ll be able to keep your equipment charged in a wide range of conditions thanks to its versatility.
- It’s TSA-friendly: Tether Tools has developed this power supply to be portable and easily available when on the road. It’s even better because it’s been designed to avoid any TSA restrictions.
Running out of power on set for a photographer or filmmaker isn’t an option in today’s time-sensitive and demanding world. The ONsite D-Tap to AC Power Supply provides a robust and interchangeable power solution that keeps your gear powered and ready in any shooting environment.
The ONsite Power Solution is an ultra-portable, long-lasting, and versatile power solution anchored by the ONsite D-Tap to AC Power Supply. A first of its kind product, the D-Tap to AC Power Supply pairs with any battery with a D-Tap connector (including V-Mount and Gold Mount Batteries) to create two AC outputs and four powered USB ports.
The ONsite D-Tap to AC Power Supply and ONsite D-Tap Battery with V-Mount can also seamlessly integrate with Tether Tools’ Tether Table Aero Laptop Mounting System with the help of the new ONsite Aero V-Mount. The streamlined mounting solution secures the power solution to the Tether Table Aero, powering a laptop during long shoots while keeping a safe and secure work environment.
The Tiltamax battery charger can recharge one to four batteries used in the Nucleus-M wireless lens control system’s handset and handles. The charger can be charged by AC, USB (5V), or 12V from a car. The charger has LED status lights and spring-loading for a secure battery fit when used with 18650 lithium-ion batteries and several other types of batteries as well.
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
- Impact Sandbag
- Sandbag L
- Sandbag M
- Sandbag S
- Apple Box Full
- Apple Box Half
- Apple Box Quarter
- Apple Box Pancake
- 20ft HDMI Cable
- 10ft HDMI Cable
- 5ft HDMI Cable
- 1 Ft HDMI Cable
- Small live rig
- Hurricane Haze Machine 4D
- Hurricane Haze Machine 1D
- Tennis Balls
- Gaffer Grip Clamp
- Spring Clamp
- Medium A Clamp
- 50ft Tie Down Rope
- Maffer Clamp
- Vise Grip with Short Stem
- Vise Grip with Long Stem
- Skateboard Wheels for Dolly Sled
- 1" Roll Black Gaff
- 1" Roll White Gaff
- 1/2" Roll Fluorescent Green Gaff
- 1" Roll Duct Tape