Ürünler

Red Komodo 6K

SENSOR TYPEKOMODO® 19.9 MP SUPER 35MM GLOBAL SHUTTER CMOS
EFFECTIVE PIXELS6144 X 3240
SENSOR SIZE27.03 MM X 14.26 MM (DIAGONAL: 30.56MM)
DYNAMIC RANGE16+ STOPS
MOUNT TYPEACCEPTS CANON RF MOUNT-BASED LENS ADAPTORS FOR DIVERSE LENS CHOICES
SUPPORTS CANON EF WITH FULL ELECTRONIC COMMUNICATION VIA COMPATIBLE CANON RF MOUNT ADAPTERS, AND SUPPORTS MECHANICALLY OPERATED RF LENSES (ELECTRONIC CONTROL OF CANON RF LENSES NOT SUPPORTED AT THIS TIME) [1]
MAX DATA RATESUP TO 280 MB/S USING RED PRO CFAST OR OTHER QUALIFIED CFAST 2.0 MEDIA CARDS
REDCODE® RAW MAX FRAME RATES40 FPS AT 6K 17:9 (6144 X 3240)
50 FPS AT 6K 2.4:1 (6144 X 2592)
48 FPS AT 5K 17:9 (5120 X 2700)
60 FPS AT 4K 17:9 (4096 X 2160)
120 FPS AT 2K 17:9 (2048 X 1080)
PLAYBACK FRAME RATES (PROJECT TIME BASE)23.98, 24, 25, 29.97, 30, 50, 59.94, 60 FPS, ALL RESOLUTIONS
BEST AVAILABLE REDCODE® SETTINGSREDCODE HQ, MQ AND LQ AT 6K 17:9 (6144 X 3240) UP TO 40 FPS
REDCODE HQ, MQ AND LQ AT 4K 17:9 (4096 X 2160) UP TO 60 FPS
REDCODE HQ, MQ AND LQ AT 2K 17:9 (2048 X 1080) UP TO 120 FPS
REDCODE® RAW
ACQUISITION FORMATS2
6K 17:9 (6144 X 3240), 2.4:1 AND 16:9
5K 17:9 (5120 X 2700)
4K 17:9 (4096 X 2160)
2K 17:9 (2048 X 1080)
APPLE PRORES4K (4096 × 2160) AT PRORES 422 HQ AND PRORES 422 UP TO 60 FPS
2K (2048 × 1080) AT PRORES 422 HQ AND PRORES 422 UP TO 120 FPS
CONSTRUCTIONALUMINUM ALLOY
WEIGHT2.10 LBS (WITHOUT BODY CAP AND CFAST CARD)
BATTERY TYPETWO SLOTS FOR BP-9XX SERIES BATTERIES
DC POWER INPUT+7 TO +17 V DC VIA THE INTEGRATED 2-PIN DC-IN PORT
OPERATING TEMPERATURE0°C TO 40°C (32°F TO 104°F)
STORAGE TEMPERATURE–20°C TO 50°C (–4°F TO 122°F)
STORAGE RELATIVE HUMIDITY0% TO 85% NON-CONDENSING
COLOR MANAGEMENTIMAGE PROCESSING PIPELINE 2 (IPP2)
SUPPORTS 33×33×33 3D LUTS
SUPPORTS IMPORT OF CDLS
AUDIOINTEGRATED DUAL CHANNEL DIGITAL MONO MICROPHONES, UNCOMPRESSED, 24-BIT 48 KHZ
ADDITIONAL DUAL CHANNEL VIA INTEGRATED 3.5MM AUDIO JACK, UNCOMPRESSED, 24-BIT 48 KHZ
REMOTE CONTROLWIFI FOR CAMERA CONTROL VIA INTERCHANGEABLE ANTENNA WITH SMA CONNECTION
GENLOCK, TIMECODE-IN, GPIO AND CTRL (RS232) VIA THE INTEGRATED 9-PIN EXT PORT
WIRED CONTROL VIA KOMODO LINK ADAPTOR, USING USB-C OR GIGABIT ETHERNET (COMPATIBLE USB-C TO ETHERNET ADAPTER1 REQUIRED) ALLOWING CAMERA CONTROL AND LIVE MJPEG PREVIEW VIDEO FEED
MONITOR OUTPUTSINTEGRATED 12G-SDI WITH 6G-SDI, 3G-SDI AND 1.5G-SDI MODES
12G-SDI: UP TO 4096 X 2160 4:2:2 FOR 60P
6G-SDI: UP TO 4096 X 2160 4:2:2 FOR 30P
3G-SDI: UP TO 2048 X 1080 4:2:2 FOR 60P
1.5G-SDI: UP TO 2048 X 1080 4:2:2 FOR 30P, 24P
SMPTE TIMECODE, HANC METADATA, 24-BIT 48 KHZ AUDIO
MONITOR OPTIONSINTEGRATED 2.9″ 1440X1440 TOUCHSCREEN LCD WITH PREVIEW AND CAMERA CONTROL
WIRELESS LIVE PREVIEW VIDEO FEED VIA 2.4GHZ/5GHZ WIFI FOR FRAMING
RED CONTROLACCESS FULL CAMERA CONTROLS AND LIVE PREVIEW FROM IOS OR ANDROID(COMING SOON) DEVICES.
AVAILABLE FROM THE APPLE APP STORE AND GOOGLE PLAY STORE. RED CONTROL WORKS WIRELESSLY OR WIRED VIA THE KOMODO LINK ADAPTOR (SOLD SEPARATELY).

ALEXA MİNİ LF

Popüler Alexa MINI modelinin kompakt boyutu ve düşük ağırlığını Large Format Alexa LF sensörü ile birleştiren ALEXA Mini LF; ARRI’ nin Large-Format kamera sistemine heyecan verici yeni yaratıcı olanaklar getiriyor. , LPL lens yuvası, PL-LPL adaptörü ve Lens Veri Sistemi LDS-2’den oluşuyor.

Geniş Formatta En iyi Görüntü Kalitesi

  • Sürükleyici large-format görünüm
  • Yüksek kullanılabilir hassasiyetli çekimlerde düşük resim gürültüsü
  • Başka bir prodüksüyon kamerasında olmayan en yüksek dinamik aralık
  • Arri renk biliminin sağladığı doğal cilt tonları, kolay renk düzeltme ve pürüzsüz görüntü efektleri
  • High Dynamic Range (HDR) ve Wide Color Gamut (WCG) görüntüler için mükemmel 

Yeni Codex Compact Drive’a Dahili Kayıt

  • Sıkıştırılmamış ve şifresiz MXF/ ARRIRAW
  • Hızlı ve verimli MXF / Apple ProRes
  • Yeni Codex Compact Drive 1TB : Küçük, Sağlam ve düşük maliyetli

Mükemmel sistem uyumluluğu

  • ALEXA LF ile aynı sensör ve kayıt formatları
  • LPL ve PL mount, Super 35 ve Full Frame lenslerle uyumlu
  • Tüm anamorfik de-squeeze oranlarını destekler
  • Hemen hemen tüm ALEXA Mini aksesuarları ile uyumlu
  • ARRI ve Cmotion kablosuz lens motor kontrol sistemleri ile uyumlu
  • 12 V ve 24 V kamera üstüne takılan bataryalarla çalışır (~65 W güç çekimi)

Ek Yeni Özellikler

  • Üç adet dahili, motorlu large-format FSND filtre: ND 0.6, 1.2 ve 1.8
  • Yeni düzenlenmiş 12 V ve 24 V aksesuar güç çıkışları
  • Yeni SYNC IN ve geliştirilmiş ses giriş çıkış konnektörleri
  • İki dahili mikrofon
  • Ek harici WiFi anteni

SONY FX9 PL MOUNT

SONY FX9 6K FULL-FRAME VİDEO KAMERA 

Hızlı Hibrit AF, Çift Tabanlı ISO ve S-Cinetone™ renk bilimi sunan Sony’nin Full Frame 6K sensörlü kamerası FX9. Full Frame yaratıcılık
Son derece yüksek çözünürlüklü Full Frame sensörün yüksek hızda örneklemesinin yaratıcılığınızı konuşturabilmeniz için sağladığı özgürlükle muhteşem 4K görüntüler oluşturun. Düşük alan derinliği ve gerçek sinema görünümü sunan etkileyici bokeh ile sahnenin her ayrıntısını yakalayın. 15+ duraklı dinamik aralık ve Çift Tabanlı ISO, kusursuz bir renk paletiyle, ince gölge ayrıntılarından parlak vurgulara kadar her nüansı yakalamanızı sağlar. 

SENSÖR

Sensör Boyutu35.7 x 18.8 mm (Full-Frame)
Sensör TipiCMOS
Sensör ÇözünürlüğüEfektif: 3840 x 2160
ISO800 ile 4000 (Native)
Gain-3 ile 18 dB
Dinamik Aralık15 Stop
Signal-to-Noise Ratio57 dB

KAMERA

Lens MountSony E-Mount- PL Mount Adapter
Shutter Speed1/1 to 1/8000 sec
Dahili ND Filtre4 ile 128 Stop Elektronik ND Filtre
Dahili Mikrofon TipiMono
Kayıt Üniteleri2 x XQD Kart Slotu
1 x SDXC/Memory Stick PRO Duo Hybrid Kart Slotu

DAHİLİ KAYIT

Kayıt ModlarıXAVC-I 4:2:2 10-Bit:
3840 x 2160p at 23.98/25/29.97/50/59.94 fps (240 to 600 Mb/s) 
1920 x 1080p at 23.98/25/29.97/50/59.94/100/120 fps (89 to 222 Mb/s) 
1920 x 1080i at 50/59.94 fps (112 Mb/s) 
XAVC-L 4:2:2 10-Bit:
3840 x 2160p at 23.98/25/29.97/50/59.94 fps (100 to 150 Mb/s) 
1920 x 1080p at 25/29.97/50/59.94/100/120 fps (25 to 50 Mb/s) 
1920 x 1080i at 50/59.94 fps (50 Mb/s) 
MPEG HD422 4:2:2 10-Bit:
1920 x 1080p at 23.98/25/29.97 fps (50 Mb/s) 
1920 x 1080i at 25/50/59.94 fps (50 Mb/s) 
XAVC Proxy 4:2:0 10-Bit:
1920 x 1080p (9 Mb/s) 
1280 x 720p (6 to 9 Mb/s) 
640 x 360p (3 Mb/s) 
Gamma CurveSony S-Log 3
Ses KaydıXAVC: 4-Channel 24-Bit 48 kHz LPCM Audio
Proxy: 2-Channel AAC Audio

ARAYÜZ

Video Bağlantıları1 x BNC (12G-SDI) Output
1 x BNC (3G-SDI) Output
1 x HDMI (HDMI 2.0) Output
Ses Bağlantıları2 x 3-Pin XLR Mic/Line Level (+48 V Phantom Power) Input
1 x 1/8″ / 3.5 mm Stereo Headphone Output
Diğer I/O1 x BNC Genlock Data Input
1 x BNC Timecode Data Input/Output
1 x 2.5 mm LANC Control
1 x USB Micro-B USB 3.1 Gen 1 Data
Wireless Arayüz2.4 GHz, 5 GHz Wi-Fi

EVF

EVFDahili
EVF Ekran TipiLCD
Ekran Boyutu3.5″
EVF Çözünürlüğü2,760,000 Dots

GÜÇ

Batarya TipiSony BP-U Serisi
Güç Girişi1 x Barrel (19.5 VDC) Input
Güç Tüketimi35.2 W

ÇEVRE FAKTÖRLERİ

Çalışma Sıcaklığı32 ile 104°F / 0 ile 40°C
Muhafaza Sıcaklığı-4 ile 140°F / -20 ile 60°C

GENEL

Aksesuar Bağlantısı1 x Multi-Interface Shoe
1 x 1/4″-20 Female
Ölçüler5.75 x 5.61 x 9.02″ / 146 x 142.5 x 229 mm 
Ağırlık4.4 lb / 2 kg

Sigma FF High Speed Prime /i series

Full Frame High Speed Prime Serisi 

Bu grubu oluşturan 7 objektifin odak uzaklıkları 14mm ile 135mm arasındadır ve 14mm ile 135mm objektifler T2, diğerlerinin tümü T1.5 diyafram değerine sahiptir. Tam kare 35mm algılayıcılala uyumludurlar ve daha kompakt bir yapıya sahip olmalarına karşın diğer tüm üst düzey prime setlerinden daha üstün çözünürlüğe sahiptirler. Bu grubu oluşturan objektiflerle çalışılırken farklı planların çekiminde ışık değişikliği yapılması gerekmez ve profesyonel çalışma koşullarının tüm gereklilikleri karşılanır.

Laowa 24mm Probe Lens PL

Genel Özellikler

  • Arri PL  Mount Lens / Full Frame (Tam Kare) Formatı
  • Manuel Odaklama Lensi
  • Diyafram Aralığı: f / 14 – f / 40
  • 19 Grupta 27 Optik Eleman
  • Ağırlık – 474g

Laowa 24mm f/14 2X Macro Probe Cine Lens, 2: 1 makrodan sonsuza ve geniş kapsamlı ‘Bug Eye’ perspektifine odaklanan, dünyanın ilk tüketici sınıfı prob lensi. Geniş açılı tasarım, geleneksel telefoto makro mercekle mümkün olduğunca yakın mesafelerde daha fazla alan derinliği anlamına gelir, bu nedenle artık daha fazla arka plan detayı görülebilir. Lensin ön kapağı su geçirmezdir ve lensin ucuna bir LED halka ışığı monte edilmiştir. Hem standart 35mm tam kare hem de Super 35 görüntü sensörlerini kapatabilir ve taşıması süper hafiftir!

PHANTOM FLEX 4K

ResolutionFPS
4096 x 2304938
4096 x 21601,000
2048 x 11521,900
1920 x 1080*1,977
1280 x 720*2,932

*The Flex4K records at 4096 and 2048 width only. These are cropped resolutions that do not affect changes in frame rate.Common resolutions and frame-rates, other resolutions available.Short Description

  • The Phantom Flex4K digital cinema camera records up to 1,000 fps at 4K resolution, provides exceptional image quality and offers production-friendly features like auxiliary power outputs and a full-featured on-camera control interface.

Throughput/Speed

  • 9 Gpx/second.
  • Max speed at full resolution of 4096 x 2304 is 938 fps
  • At 4096 x 2160 max speed is 1000 fps
  • At 2048 x 1080 max speed is 1977 fps

Sensor Specifications

  • CMOS sensor
  • 4096 x 2304 pixels
  • 6.75 µm pixel size
  • 27.6 mm x 15.5 mm
  • Super-35mm; 31.7mm diagonal
  • Super-16mm format at 1920 x 1080
  • Base ISO Color 200D; 250T
  • Exposure index range 250-1250
  • Recommended EI 800-1000 Color
  • Base ISO Monochrome 800D; 2000T
  • 12-bit

Exposure

  • Exposure time (shutter speed): 5μs to 1/frame rate
  • Can be set in degrees or microseconds (μs)
  • 1-millisecond progressive scan (aka rolling) shutter

Memory

  • 64 or 128GB high-speed internal RAM
  • CineMag V (2TB, 8TB), CineMag IV, CineMag IV PRO for non-volatile storage (1TB, 2TB)

Record Times

  • 5 seconds at 1000 fps, 4096 x 2160 resolution and into 64 GB of internal memory
  • 2TB CineMag IV holds 2 hours of 4K Cine raw playback at 24p
  • 2TB CineMag IV holds over 4 hours of 4K ProRes HQ playback at 30p

Special Features

  • Three main 3G HD-SDI outputs, supporting dual-link 4K video and simultaneous live monitoring / playback
  • HD-SDI can switch between Rec709 and Log
  • Supports both HD-SDI and component based viewfinders
  • Standard internal mechanical shutter for automatic/remote Current Session Reference (CSR)
  • Secondary IP address
  • Segment memory for multi-cine acquisition
  • Field-based firmware upgrade capable
  • Several mounting holes for accessories on camera body

Triggering

  • Programmable trigger location (pre/post trigger recording)
  • Trigger from camera body or via software
  • Hardware trigger via Sync port
  • Trigger inputs also available on 3-pin accessory ports

Timing and Synchronization

  • Frame synchronization to internal or external clock (FSYNC)
  • Genlock sync available through HD-SDI return signal
  • IRIG in/out (modulated or unmodulated)
  • SMPTE time code support

Signaling

  • 4x 3G HD-SDI output BNCs (one reserved for viewfinder)
  • 1x 3G HD-SDI return BNC, supports Genlock
  • Sync connector for Trigger, time code, F-sync, AES/EBU Audio (via MiniBob or Capture cable)
  • Remote (RCU) port
  • Component viewfinder port
  • Four Aux ports for power and trigger
  • (2x 12VDC and 2x 24V)

Connectivity

  • Gb Ethernet for both control and data
  • 10Gb Ethernet on CineStation IV

Camera Control

  • Phantom Camera Control (PCC)
  • On-Camera Controls
  • Remote Control Unit (RCU), connects direct to camera
  • SDK available

Video Out

  • Three main 3G HD-SDI, supports dual-link 4K video or 3x scaled 1080p outputs.
  • Additional HD-SDI reserved for viewfinder
  • Component viewfinder port
  • Video outputs switchable between Rec709 & Log

Lensing

  • PL-mount standard
  • Nikon F/G mount optional
  • Canon EOS optional

Video Processing

  • Brightness
  • Gain
  • Gamma
  • Saturation
  • Color temperature
  • Color matrix
  • Tone curve
  • Log mode
  • Image flip and rotate in PCC
  • Crop & Scale

Motion Analysis

  • Basic measurements via Phantom Application:
  • Distance
  • Speed
  • Acceleration
  • Angles and Angular Speed
  • Manual and Automatic point collection for target tracking
  • Compatible with 3rd party solutions

Supported File Formats

  • Cine raw and Apple ProRes 422 HQ CineMag recording
  • PCC Cine file conversion to: Cine Compressed, Cine RAW, AVI, h.264 mp4, Apple ProRes .mov, Multipage TIFF, MXF PAL, MXF NTSC, Uncompressed QuickTime, Windows BMP, OS/2 BMP, PCX, TGA, TIFF, LEAD, JPEG, JTIF, RAW, DNG, DPX

Power

  • 100 – 240 VAC, 280 Watt power supply included
  • Optional 26V Hawk-Woods and 12V V-Lock Anton-Bauer backs are available for battery power

Mechanical Specifications

  • Size (without lens or viewfinder): 12 x 6 x 8 in. (L x W x H); 30.5 x 35.5 x 20.3 cm.
  • Weight (without lens or viewfinder): 13 lbs; 5.9 kg

Environmental Specifications

  • Temperature: -20° – +50° C

APIs

  • Phantom SDK

Ships Standard With

  • Power supply
  • Ethernet cable
  • Phantom PCC software
  • 1 license of Mac-based Glue Tools Séance and Cine Toolkit for download and file conversion
  • Getting Started guide
  • Case

Popular Accessories

  • CineMag V
  • CineStation IV
  • Riser for Arri baseplates
  • Spare Cable Kit
  • Battery Mounts
  • Viewfinder

RED HELIUM DSMC2 8K

SENSOR TYPEHELIUM 35.4 Megapixel CMOS
EFFECTIVE PIXELS8192 × 4320
SENSOR SIZE29.90 mm × 15.77 mm (Diagonal: 33.80 mm)
DYNAMIC RANGE16.5+ stops
MAX DATA RATESUp to 300 MB/s using RED MINI-MAG (480GB & 960GB)
Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)
MAX FRAME RATES60 fps at 8K Full Format (8192 × 4320), 75 fps at 8K 2.4:1 (8192 × 3456)
60 fps at 7K Full Format (7168 × 3780), 75 fps at 7K 2.4:1 (7168 × 3024)
75 fps at 6K Full Format (6144 × 3240), 100 fps at 6K 2.4:1 (6144 × 2592)
96 fps at 5K Full Format (5120 × 2700), 120 fps at 5K 2.4:1 (5120 × 2160)
120 fps at 4K Full Format (4096 × 2160), 150 fps at 4K 2.4:1 (4096 × 1728)
150 fps at 3K Full Format (3072 × 1620), 200 fps at 3K 2.4:1 (3072 × 1296)
240 fps at 2K Full Format (2048 × 1080), 300 fps at 2K 2.4:1 (2048 × 864)
PLAYBACK FRAME RATES (PROJECT TIMEBASE)23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions
REDCODE SETTINGS RANGE FROM 2:1 UP TO 22:15:1 REDCODE for 8K Full Format (8192 × 4320) at 24 fps
12:1 REDCODE for 8K Full Format (8192 × 4320) at 60 fps
2:1 REDCODE for 4K Full Format (4096 × 2160) at 24 fps
3:1 REDCODE for 4K Full Format (4096 × 2160) at 60 fps
REDCODE RAW ACQUISITION FORMATS8K Full Format (8192 × 4320), 2:1, 2.4:1, 16:9, 14:9, 8:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x
7K Full Format (7168 × 3780), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
6K Full Format (6144 × 3240), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x
5K Full Format (5120 × 2700), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
4K Full Format (4096 × 2160), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, 1:1, and Ana 2x, 1.3x
3K Full Format (3072 × 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
2K Full Format (2048 × 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
APPLE PRORESProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 × 2160) up to 30 fps
ProRes 4444 XQ and ProRes 4444 at 2K (2048 × 1080) up to 120 fps
ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 120 fps
AVID CODECSDNxHR HQX at 4K (4096 × 2160) 12-bit up to 30 fps
DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 30 fps 
DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps
DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps
DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps 
CONSTRUCTIONAluminum Alloy
WEIGHT3.35 lbs (BRAIN with Integrated Media Bay)
OPERATING TEMPERATURE0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE–20°C to 50°C (–4°F to 122°F)
RELATIVE HUMIDITY0% to 85% non-condensing
COLOR MANAGEMENTSupports 33×33×33, 32×32×32, 26×26×26, and 17×17×17 3D LUTs
Variable number of 3D LUT outputs with DSMC2 expander module
User programmable shaper 1D LUTs
Tetrahedral interpolation, 16-bit processing
AUDIOIntegrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz
REMOTE CONTROLIntegrated R.C.P. WiFi antenna
Ethernet, RS232, and GPI Trigger with DSMC2 expander module
MONITOR OUTPUTS3G-SDI (HD-SDI) and HDMI with DSMC2 expander module
1080p RGB or 4:2:2, 720p RGB or 4:2:2
480p RGB or 4:2:2 (HDMI only)
SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
MONITOR OPTIONSDSMC2® Touch 7.0″ Ultra-Brite LCD (Direct Mount), DSMC2® RED Touch 4.7″ LCD, DSMC2® RED Touch 7.0″ LCD and DSMC2® RED EVF (OLED) with cable-free connection.
RED Touch 9.0″ LCD, RED Touch 7.0″ LCD, RED Touch 5.0″ LCD, RED PRO 7″ LCD, DSMC2 Touch 7.0″ Ultra-Brite LCD, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LCD/EVF Adaptor A or DSMC2 LCD/EVF Adaptor D, and LCD/EVF cable.
REDCINE-X PRO DELIVERY FORMATS4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)
2K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)
1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, AVID AAF, MXF
1080p 4:2:0, 720p 4:2:0 : H.264, .MP4
VIDEO EDITING SOFTWARE COMPATIBILITYAdobe Premiere Pro, AVID Media Composer, DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro

ATOMOS SUMO 19” 4K KAYITÇI

Weight
Without batteries, media & stand5.45kg / 12.0lb
With stand6.0kg / 13.2lb
Dimensions (W x H x D mm)504 x 310 x 63mm, 19.8″ x 12.2″ x 2.5″ (without stand)
504 x 330 x 180mm, 19.8″ x 13″ x 7.1″ (with stand)
ConstructionAluminium alloy chassis with built in armor protection
Mounting Points1/4-20 screw; 4 x top, 4 x bottom, 2 x side
3/8-16 screw; 2 x top, 2 x bottom, 1 x side
VESA mount rear
Power
Operating power75W
Compatible batteriesV-Lock / Anton Bauer via XLR terminal
(optional mounting plates available)
95Wh or larger recommended.
Input voltage (battery)14.4V nominal
Battery timeDepends on Watt Hours specification of battery used
DC In1 x DC in (12 – 16.8V)
Continuous power
* Patent pending
Primary-secondary battery system.
Change batteries without losing power
Loop batteries continuously
Touchscreen
Size19”
Resolution1920 x 1200
PPI120
Aspect ratio16:9 native
Color GamutREC709 HDTV
Look up table (LUT) support3D LUT (.cube format)
Anamorphic de-squeeze2x, 1.5x, 1.33x, Panasonic 8:3
TechnologySuperAtom IPS panel (capacitive touch),
calibration to Rec.709 with optional calibration unit
HDR
AtomHDRYes
Supported Log formatsSony SLog2 / SLog3, Canon CLog / CLog 2, Arri Log C,
Panasonic Vlog, JVC JLog, Red LogFilm, FujiFilm Flog
Supported GamutsSony SGamut / SGamut3 / SGamut3.cine
Canon Cinema / BT2020 / DCI P3 / DCI P3+
Panasonic V Gamut
Arri Alexa Wide Gamut
Bit depth10-bit (8+2 FRC)
Brightness1200nit (+/- 10% @ center)
HDR input (PQ/HLG)
HDR output (PQ/HLG)
Yes / Yes
Yes / Yes
Video Input/Loop Out
HDMI1 x HDMI (2.0)
SDIQuad link 4 x 3G SDI* or up to 12G single link SDI
SignalUncompressed true 10-bit or 8-bit 422
(camera dependent)
Video Output (Play Out)
HDMI1 x HDMI (2.0)
SDI1x 4K-SDI 12G/6G or HD-SDI 3G/1.5G
SignalUncompressed true 10-bit or 8-bit 422
(playback file dependent)
Supported Loop Out Formats
HDMI to HDMI720p 50/60, 1080i 50/60,
1080p 24/25/30/50/60/100/120
2160p 24/25/30/50/60
SDI to SDI720p 50/60, 1080i 50/60
1080pSF 24/25/30
1080p 24/25/30/50/60/100/120
2160p 24/25/30/50/60
Video Signal Conversion
HDMI to SDI720p 50/60, 1080i 50/60,
1080p 24/25/30/50/60/100/120/200*/240*
2160p 24/25/30/50/60
SDI to HDMI720p 50/60, 1080i 50/60,
1080p 24/25/30/50/60/100/120/200*/240*
2160p 24/25/30/50/60
Supported Codecs & Frame Rates (Record & Playback)
Raw to:
ProRes RAW

ProRes

CinemaDNG
(CDNG up to 30p only)

Avid DNxHD
Sony^^
FS700, FS-5, FS-7, FS-7MkII

4K DCI; 24/25/30/50/60p
4K UHD; not supported in camera
2K; 24/25/30/50/60/100/120/200/240p
1080; not supported in camera

Canon
C300MKII/C500 CDNG

4K DCI; 24/25/30p
4K UHD; 24/25/30p
2K; not supported in camera
1080; not supported in camera

Panasonic
VaricamLT, EVA1

5.7K DCI; 24/25/30p (EVA1 ProRes RAW only)
4K DCI; 24/25/30/50/60p
4K UHD; 24/25/30/50/60p
2K; 24/25/30/50/60/100/120/200/240p 1080; not supported in camera

Onboard Processing
Pulldown removal24/25/30pSF > 24/25/30p (2:2 pulldown)
60i > 24p (3:2 pulldown)
4K UHD downscale for HD monitoringYes – Loop-out and playback (Not available in RAW)
Audio In/Out (48kHz PCM Audio)
HDMI2 or 8ch 24-bit, camera dependent
SDI12ch 48kHz 24-bit
Audio2ch balanced XLR analog in/out (direct XLR connection)
Dynamic range >90dB
Max signal level +24dBu
Max analog gain +52dB
48V Phantom Power for Mic
Headphone Out3.5mm
Built-in SpeakersYes
Remote Start/Stop
HDMIAuto HDMI Trigger
Supported Protocols – Canon, Sony, Atomos Open Standard
SDISDI trigger camera selectable
OtherLANC control – Slave
Playback
Playlist / GenlockYes / Yes
CDNG (Recorded content)No support
ProRes (Recorded content)All recorded files can playback. Playback in slow motion >= 100fps
DNxHR / DNxHD (recorded content)All recorded files can playback. Playback in slow motion >= 100fps
Recording
Pre-roll recordYes (HD 8s, 4K 2s)
Custom timelapseYes
Meta data taggingYes (10 tags available)
Supported media2.5” SSD/HDD compatibility depends on recording format, resolution and frame rate. Visit atomos.com/drives for list of tested and approved drives
Master caddy caseMaster Caddy II (included)
75mm x 105mm x 12mm
Master caddy dock2.5” SATA to USB 2.0/3.0
Supported applicationsSupported Applications FCPX/FCP7+ /
Media Composer 5.0+ / Premiere 5.5+
EDIUS 6.0+ / Vegas Pro 10+ / Lightworks /
Autodesk Smoke 2015
XML supportFCPX XML native, FCPX/Adobe limited supported with 3rd party conversion tools
Accessories includedSumo unit, 1x Master Caddy II, 1x BattWing mounting bracket with 4x
screws, 2x Desktop Feet with 4x 1/4” Mounting screws, AC power supply
Optional extrasSunhood, VESA battery adapter plate, Atomos HDMI
cable, X-Rite i1DisplayPro calibration
Warranty1 year. Extended to 3 years on product registration

All specifications correct when published, subject to E&OE.

24/30/60 frame rates also means 23.98/29.97/59.94 frame rates for all resolution

* Available in future firmware updates

*** No HDMI spec for 2K DCI

^ From supported HDMI sources such as gaming consoles and graphics cards.

^^ Optional unit (XDCA-FS7) needed for Raw output.

ATOMOS SHOGUN FLAME

Weight
Without batteries & media650g / 22.9oz
With batteries & media1094g / 38.6oz
Dimensions (W x H x D mm)214 x 127 x 45mm, 8.4 x 5 x 1.8”
ConstructionHigh quality lightweight ABS Polycarbonate for durability & portability
Built-in armor protection
Power
Operating power10 – 24W
Compatible batteriesNP-F series and supporting accessories
Input voltage (battery)6.2V to 16.8V
Battery time (based on 2 x 7.4V batteries)
5200mAh – up to 1.5hrs (monitor & record 4K 30p)
7800mAh – up to 2.2hrs (monitor & record 4K 30p)
DC In1 x DC in (6.2 – 16.8V)
Continuous power
** Patent pending
Primary-secondary battery system
Change batteries without losing power
Loop batteries continuously
Touchscreen
Size7.1”
Resolution1920 x 1200
PPI325
Aspect ratio16:9 native
Color GamutREC709 HDTV
Look up table (LUT) support3D LUT (.cube le format)
Anamorphic de-squeeze2x, 1.5x, 1.33x, Panasonic 8:3
TechnologySuperAtom IPS panel (capacitive touch), calibration to Rec.709 with optional calibration unit
HDR
AtomHDRYes
Supported Log formatsSony SLog2 / SLog3, Canon CLog / CLog 2, Arri Log C,
Panasonic Vlog, JVC JLog, Red LogFilm, FujiFilm Flog
Supported GamutsSony SGamut / SGamut3 / SGamut3.cine
Canon Cinema / BT2020 / DCI P3 / DCI P3+
Panasonic V Gamut
Arri Alexa Wide Gamut
Bit depth10-bit (8+2 FRC)
Brightness1500nit (+/- 10% @ center)
HDR input (PQ/HLG)
HDR output (PQ/HLG)
Yes / Yes
Yes / Yes
Video Input/Loop Out
HDMI1 x HDMI (1.4b)
SDI1x 4K-SDI 12G/6G or HD-SDI 3G/1.5G (SMPTE)
SignalUncompressed true 10-bit or 8-bit 422
(camera dependent)
Video Output (Play Out)
HDMI1 x HDMI (1.4b)
SDI1x 4K-SDI 12G/6G or HD-SDI 3G/1.5G
SignalUncompressed true 10-bit or 8-bit 422
(playback file dependent)
Supported Loop Out Formats
HDMI to HDMI720p 50/60, 1080i 50/60,
1080p 24/25/30/50/60/120,
2160p 24/25/30
SDI to SDI720p 50/60, 1080i 50/60
1080pSF 24/25/30
1080p 24/25/30/50/60/120*
2160p 24/25/30
Video Signal Conversion
HDMI to SDI720p 50/60, 1080i 50/60
1080p 24/25/30/50/60/120*
2160p 24/25/30
SDI to HDMI720p 50/60, 1080i 50/60,
1080p 24/25/30/50/60/120*
2160p 24/25/30
Supported Codecs & Frame Rates (Record & Playback)
Raw Record*Sony FS5/FS7^^/FS700 CDNG
4K DCI; 24/25/30p
4K UHD;
2K; 24/25/30
1080;

Canon C300MKII/C500 CDNG
4K DCI; 24/25/30p
4K UHD; 24/25/30p
2K;
1080;

Panasonic VaricamLT CDNG*
4K DCI; 24/25/30p
4K UHD; 24/25/30p
2K;
1080;

Raw to ProRes / DNxHRSony FS5/FS7/FS700*
ProRes (HQ, 422, LT)
DNxHR (HQX, HQ, SQ, LB)

4K DCI; 24/25/30p
4K UHD;
2K; 24/25/30
1080;

Canon C300MKII/C500
ProRes (HQ, 422, LT)
DNxHR (HQX, HQ, SQ, LB)

4K DCI; 24/25/30p
4K UHD; 24/25/30p
2K;
1080;

Video to ProRes / DNxHR
(DNx utilizes a .MOV wrapper)
Codecs
Apple ProRes HQ, 422, LT
AVID DNxHR HQX. HQ, SQ, LB

Frame rates
4K DCI; N/A
4K UHD; 24/25/30p
2K; N/A
1080p; 24/25/30/50/60/100^/120p^
1080i; 50/60i
720p; 50/60p
Onboard Processing
Pulldown removal24/25/30pSF > 24/25/30p (2:2 pulldown)
60i > 24p (3:2 pulldown)
4K UHD downscale for HD monitoringYes – Loop-out and playback (Not available in RAW)
Audio In/Out (48kHz PCM Audio)
HDMI2 or 8ch 24-bit, camera dependent
SDI12ch 48kHz 24-bit
Audio2ch balanced XLR analog in/out
Dynamic range >90dB
Max signal level +24dBu
Max analog gain +52dB
48V Phantom Power for Mic
Remote Start/Stop
HDMIAuto HDMI Trigger
Supported Protocols – Canon, Sony, Atomos Open Standard
SDISDI trigger camera selectable
OtherLANC control – Slave
Playback
Playlist / Genlock / LTCYes / Yes / Yes
CDNG (Recorded content)No support
ProRes (Recorded content)All recorded files can playback. Playback in slow motion >= 100fps
DNxHR / DNxHD (recorded content)All recorded les playback at native rate except 4K DCI which plays back at 24p only. Playback in slow motion >= 100fps
Recording
Pre-roll recordYes (HD 8s, 4K 2s)
Custom timelapseYes
Meta data taggingYes (10 tags available)
Supported media2.5” SSD/HDD compatibility depends on recording format, resolution and frame rate. Visit atomos.com/drives for list of tested and approved drives
Master caddy caseMaster Caddy II (included)
75mm x 105mm x 12mm
Master caddy dock2.5” SATA to USB 2.0/3.0
Supported applicationsFCPX/FCP7+ / Media Composer
5.0+ / Premiere 5.5+
EDIUS 6.0+ / Vegas Pro 10+ / Lightworks /
Autodesk Smoke 2015
XML supportFCPX XML native, FCP7 supported with
conversion (Adobe compatible)
Accessories includedShogun Flame unit, Master Caddy II x 1,
12V-3A AC power supply, Breakout XLR cable
Optional extrasAccessory Kit: 2 x battery,
1 x charger, 1 x power supply, HPRC case,
USB dock, control cable, Dtap cable,
Master Caddy x 4, Power supply, Sun hood

Power Kit: 2 x battery,
1 x charger, 1 x power supply

Other: Atomos HDMI cable,
X-Rite i1DisplayPro calibration

All specifications correct when published, subject to E&OE.

* Available in future firmware updates

^^ Optional unit (XDCA-FS7) needed for Raw output.

RED RANGER HELIUM

SENSOR TYPEHELIUM 35.4 Megapixel CMOS
EFFECTIVE PIXELS8192 × 4320
SENSOR SIZE29.90 mm × 15.77 mm (Diagonal: 33.80 mm)
DYNAMIC RANGE16.5+ stops
MAX DATA RATESUp to 300 MB/s using RED MINI-MAG (480GB & 960GB)
Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)
MAX FRAME RATES60 fps at 8K Full Format (8192 × 4320), 75 fps at 8K 2.4:1 (8192 × 3456)
60 fps at 7K Full Format (7168 × 3780), 75 fps at 7K 2.4:1 (7168 × 3024)
75 fps at 6K Full Format (6144 × 3240), 100 fps at 6K 2.4:1 (6144 × 2592)
96 fps at 5K Full Format (5120 × 2700), 120 fps at 5K 2.4:1 (5120 × 2160)
120 fps at 4K Full Format (4096 × 2160), 150 fps at 4K 2.4:1 (4096 × 1728)
150 fps at 3K Full Format (3072 × 1620), 200 fps at 3K 2.4:1 (3072 × 1296)
240 fps at 2K Full Format (2048 × 1080), 300 fps at 2K 2.4:1 (2048 × 864)
PLAYBACK FRAME RATES (PROJECT TIMEBASE)23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions
REDCODE SETTINGS RANGE FROM 2:1 UP TO 22:15:1 REDCODE for 8K Full Format (8192 × 4320) at 24 fps
12:1 REDCODE for 8K Full Format (8192 × 4320) at 60 fps
2:1 REDCODE for 4K Full Format (4096 × 2160) at 24 fps
3:1 REDCODE for 4K Full Format (4096 × 2160) at 60 fps
REDCODE RAW ACQUISITION FORMATS8K Full Format (8192 × 4320), 2:1, 2.4:1, 16:9, 14:9, 8:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x
7K Full Format (7168 × 3780), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
6K Full Format (6144 × 3240), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x
5K Full Format (5120 × 2700), 2:1, 2.4:1, 16:9, 8:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
4K Full Format (4096 × 2160), 2:1, 2.4:1, 16:9, 8:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, 1:1, and Ana 2x, 1.3x
3K Full Format (3072 × 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
2K Full Format (2048 × 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
APPLE PRORESProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 × 2160) up to 30 fps
ProRes 4444 XQ and ProRes 4444 at 2K (2048 × 1080) up to 120 fps
ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 120 fps
AVID CODECSDNxHR HQX at 4K (4096 × 2160) 12-bit up to 30 fps
DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 30 fps 
DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps
DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps
DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps 
CONSTRUCTIONAluminum Alloy
WEIGHT7.30 lbs (with Integrated Media Bay, PL Mount, and Gold Mount)
7.50 lbs (with Integrated Media Bay, PL Mount, and V-Lock)
OPERATING TEMPERATURE0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE–20°C to 50°C (–4°F to 122°F)
RELATIVE HUMIDITY0% to 85% non-condensing
COLOR MANAGEMENTSupports 33×33×33, 32×32×32, 26×26×26, and 17×17×17 3D LUTs
Variable number of 3D LUT outputs
User programmable shaper 1D LUTs
Tetrahedral interpolation, 16-bit processing
AUDIOIntegrated dual channel digital stereo microphones,
uncompressed, 24-bit 48 kHz
Integrated dual channel 5-pin XLR
with preamplifiers, uncompressed, 24-bit 48 kHz
REMOTE CONTROLExternal R.C.P. WiFi antenna with SMA connector
Ethernet, RS232, and GPI Trigger
MONITOR OUTPUTS3G-SDI (HD-SDI) and MON-1
1080p RGB or 4:2:2, 720p RGB or 4:2:2
SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
MONITOR OPTIONSDSMC2® RED Touch 4.7″ LCD, DSMC2® RED Touch 7.0″ LCD and DSMC2® RED EVF (OLED) with cable-free connection.
RED Touch 9.0″ LCD, RED Touch 7.0″ LCD, RED Touch 5.0″ LCD, RED PRO 7″ LCD, DSMC2® Touch 7.0″ Ultra-Brite LCD, BOMB EVF® (OLED) and BOMB EVF® (LCOS) compatible with DSMC2® LCD/EVF Adaptor A or DSMC2® LCD/EVF Adaptor D, and LCD/EVF cable.
REDCINE-X PRO DELIVERY FORMATS4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)
2K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)
1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, AVID AAF, MXF
1080p 4:2:0, 720p 4:2:0 : H.264, .MP4
VIDEO EDITING SOFTWARE COMPATIBILITYAdobe Premiere Pro, AVID Media Composer,
DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro

SONY VENİCE FULL FRAME

SONY VENİCE FULL FRAME  KAMERA

Görüntüleme Aygıtı
Full-Frame CMOS
Görüntüleme Cihazı Piksel Sayısı
24,7M (total), 24,4M (efektif)
Görüntüleme Cihazı Boyut
36,2×24,1 mm. 43,5 mm (diyagonal).
Dahili ND Filtreler
Net, 0,3(1/2), 0,6(1/4), 0,9(1/8), 1,2(1/16), 1,5(1/32), 1,8(1/64), 2,1(1/128), 2,4(1/256)
ISO Hassaslığı
ISO500
Lens Yuvası
PL Montaj
E yuva (kilitleme kolu tipi, birlikte verilen PL lens yuvası adaptörü olmadan)
Genişlik
15+ Durak
FPS seçimi*
Görüntüleyici modu:
3,8K 16:9, 4K 17,9: 1-60 FPS
4K 4:3: 1-48 FPS
4K 6:5, 5,7K 16:9, 6K 17:9, 6K 1,85:1, 6K 2,39:1: 1-30 FPS
6K 3:2: 1-24 FPS
Beyaz Dengesi
2000~15000 Kelvin ve Yeşil/Macenta ayarı, AWB*
Gama Eğrisi
S-Log3
Kayıt Formatı (Video)
XAVC 4K Sınıf 480: 23,98p, 24p, 25p, 29,97p
XAVC 4K Sınıf 300: 23,98p, 24p, 25p, 29,97p, 50p, 59,94p
XAVC QFHD Sınıf 480: 23,98p, 25p, 29,97p
XAVC QFHD Sınıf 300: 23,98p, 25p, 29,97p, 50p, 59,94p
MPEG HD422(1920×1080): 23,98p, 24p, 25p, 29,97p, 50i, 59,94i
HD ProRes 422HQ*: 23,98p, 24p, 25p, 29,97p, 50p, 59,94p, 50i, 60i
HD ProRes 422*: 23,98p, 24p, 25p, 29,97p, 50p, 59,94p, 50i, 59,94i
HD ProRes 422 Proxy*: 23,98p, 24p, 25p, 29,97p, 50p, 59,94p, 50i, 59,94i
Kayıt Formatı (RAW/X-OCN) *gerekir AXS-R7
RAW SQ:
4K 17:9 (4096 x 2160): 23,98p, 24p, 25p, 29,97p, 50p, 59,94p
3,8K 16:9 (3840 x 2160): 23,98p, 25p, 29,97p, 50p, 59,94p
X-OCN ST/LT:
6K 3:2(6048 x 4032)*: 23,98p, 24p,
6K 2,39:1 (6048 x 2530)*: 23,98p, 24p, 25p, 29,97p
6K 1,85:1 (6048 x 3270)*: 23,98p, 24p, 25p, 29,97p
6K 17:9 (6048 x 3190)*: 23,98p, 24p, 25p, 29,97p
5,7K 16:9 (5672 x 3190)*: 23,98p, 25p, 29,97p
4K 6:5(4096×3432)*:23,98p, 24p, 25p, 29,97p
4K 4:3(4096×3024) :23,98p, 24p, 25p*, 29,97p*
4K 17:9 (4096 x 2160): 23,98p, 24p, 25p, 29,97p, 50p, 59,94p
3,8K 16:9 (3840 x 2160): 23,98p, 24p, 25p, 29,97p, 50p, 59,94p
Kayıt Formatı (Ses)
LPCM 4 kanal, 24 bit 48 kHz

COOKE S7/İ FULL FRAME

COOKE S7 FULL FRAME FULL SET

Cooke S7/i Full Frame Plus Primes
T2.0

Shoot 35mm, Super 35mm, Full Frame and Beyond
The Cooke S7/i, T2.0 Full Frame Plus Primes are designed to cover the emergent full frame cinema camera sensors up to at least the full sensor area of the RED Weapon 8K (46.31mm image circle).

Shoot 35mm / Super 35mm formats, full frame, VistaVision and beyond – all with The Cooke Look®. We have you covered with our S7/i Full Frame Plus lenses.

Superb optical and mechanical performance, control of flare, distortion, veiling glare and spherical aberrations at full aperture. The cam-type focus mechanism allows for smooth focus adjustments. Modular construction increases ease of maintenance and serviceability.

And, the S7/i lenses come equipped with /i Technology for frame by frame digital information capture, as do all modern Cooke cine lenses for film and digital capture.

Available in focal lengths :18, 25, 32,40, 50, 75, 100 and 135mm

Feature Highlights

  • Focal lengths:  18, 25, 32,40, 50, 75, 100 and 135mm
  • T2.0 – T22 aperture
  • Covers at least 46.31mm image circle
  • Colour matched to Anamorphic/i, S4/i, miniS4/i, 5/i and Pancro/i Classic lenses
  • Award-winning cam style mechanism for smooth focus adjustments
  • Especially well balanced for astigmatism and correct for lateral and longitudinal aberrations over the entire image area
  • Supplied with the next generation of /i Technology for lens metadata capture
  • Linear iris
  • The Cooke Look®, of course

Our Cooke S7/i Prime lenses are supplied with /i Technology that collect detailed lens data for production, VFX and post-production teams and are designed for all PL mounted professional motion picture film and electronic cameras. The /i Technology provides cinematographers and camera operators with vital information on lens setting, focusing distance, aperture and depth-of-field, hyperfocal distance, serial number, owner data, lens type and focal length in both metric and footage measurements, as well as inertial tracking data, shading and distortion data. For zoom lenses, the zoom position is displayed.

PHANTOM FLEX 2K

Sensor Size: 25.6 x 16mm
Resolution: 2560×1440, 1080
Frame Rate: 1-1617 @ 2560×1440
1-2564 @ 1080
Base ISO: 1250
Latitude: 10 Stops
Bit Rate / Format / Time 12 Bit RAW
32GB – 4.5sec @ 2500fps
512GB 1.25min @ 2500fps
Record Times 32GB @ 2,500 fps = 4.5 seconds
512GB @ 2,500 fps = 1:15 minutes
Weight 12 lbs

Even with the excellent light sensitivity provided by the Phantom Flex 2K, shooting at high-speed frame rates requires a significant amount of light to properly expose a capture.  The following diagram is a good rule of thumb to compensate your ISO at select frame rates that the Flex is capable of recording.

Frames Per Second ISO
25 800
50 400
100 200
200 100
250 75
500 40
1000 20
1500 15
2000 10
2500 7

Key Features

  • Up to 2,570 fps at 1920×1080 in Standard Mode
  • 12-bit pixel depth
  • 1200 ISO (measured using ISO 12232 SAT method)
  • HQ Mode provides ultimate in image stability under changing shooting conditions
  • Phantom CineMag compatible, CineMag interface has field-replaceable pin array
  • 2 x 4:2:2 HD-SDI video ports, can be configured as dual-link 4:4:4 video (4:4:4 not available at 60fps video formats)
  • Global, electronic shutter to 1 μs (shutter angles in HQ mode dependent upon frame rate and resolution)
  • Multi-cine capable via segmented memory
  • Internal mechanical shutter for hands-free and remote Current Session References
  • On-camera controls for camera modes, settings, playback, edit & save
  • Frame synchronization to external signal, allows multiple cameras to be synchronized – essential for stereo 3D recording
  • Three 12VDC, 1.5A auxiliary power outputs for powering external devices (one is on the Viewfinder port), 4A maximum load
  • External trigger signal on camera connector panel and both 12VDC power ports
  • Genlock for synchronizing video playback – essential for 3D video workflows

ALEXA SXT PLUS

ALEXA SXT Plus Technical Data

Camera Type 35 format film-style digital camera with an electronic viewfinder, a 16:9, 6:5, 4:3 or Open Gate switchable active sensor area, built-in support for the ARRI Wireless Remote System and the cmotion cvolution lens control system, built-in filter holder, Lens Data System, integrated shoulder arch and receptacles for 15 mm lightweight rods
Sensor 35 format ALEV III CMOS sensor with Bayer pattern color filter array.
Photo Sites Sensor Mode 16:9
2880 x 1620 used for 16:9 ARRIRAW 2.8K
3168 x 1782 used for 16:9 ARRIRAW 3.2K
2880 x 1620 down sampled to 1920 x 1080 16:9 ProRes HD
2880 x 1620 down sampled to 2048 x 1152 for 16:9 ProRes 2K
3200 x 1800 used for 16:9 ProRes 3.2K
3200 x 1800 up sampled to 3840 x 2160 for 16:9 ProRes 4K UHDSensor Mode 6:5
2578 x 2160 used for 6:5 ARRIRAW 2.6K
2560 x 2146 down sampled to 2048 x 858 for 6:5 ProRes 2K Anamorphic
2560 x 2146 re-sampled to 4096 x 1716 for 6:5 ProRes 4K AnamorphicSensor Mode 4:3
2880 x 2160 used for 4:3 ARRIRAW 2.8K
2880 x 2160 used for 4:3 ProRes 2.8KSensor Mode Open Gate
3424 x 2202 used for Open Gate ARRIRAW 3.4K
3424 x 2202 used for Open Gate ProRes 3.4K
3414 x 2198 up sampled to 4096 x 2636 for Open Gate ProRes 4K Cine
Operating Modes 16:9, 6:5, 4:3 or Open Gate sensor modes. Switching takes approx. 60 seconds. All sensor modes available in ARRIRAW and ProRes.
Frame Rates 16:9
0.75 – 120 fps
6:5
0.75 – 96 fps
4:3
0.75 – 96 fps
Open Gate
0.75 – 90 fpsAll speeds adjustable with 1/1000 fps precision. Some limitations based on recording media or recording format apply. For a detailed table of frame rates click here
Shutter Electronic rolling shutter, 5.0º – 358.0º up to 60 fps; 5.0° to 356° above 60 fps. Shutter angle adjustable with 1/10 degree precision.
Filters Permanent filters in front of the sensor: optical low pass, UV, IR. Includes a built-in Internal Filter Module (IFM-1) filter holder that accepts one of eight Full Spectrum Neutral Density (FSND) filters through manual insertion/removal.
Exposure Latitude 14+ stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC).
For a graphic of how the exposure latitude shifts at different EIs, click here
Exposure Index Values behind the exposure index are the number of stops above and below 18% grey.
White Balance Presets for 3200 (tungsten), 4300 (fluorescent), 5600 (daylight) and 7000 (daylight cool). Automatic calculation or manual white balance for 2000 to 11000 Kelvin, adjustable in 100 K steps
Color Correction While white balance changes the red/blue hue of the image, color correction changes green/magenta. Adjustable range from -12 to +12 CC. 1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values.
Sound Level Under 19 db(A) while recording ProRes 4444 16:9 HD @ 24 fps and ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to ‘Regular’, measured 1 m/3 feet in front of the lens. Silent operation at higher temperatures possible with fan mode set to ‘Rec low’.
Power In Three possible inputs: BAT connector, optional battery adapter back or optional battery adapter top. All inputs accept 10.5 to 34 V DC. Approx. 90 W power draw for camera and EVF-1 in typical use recording ProRes at 24 fps to an SxS PRO card at room temperature, without accessories. Initial power draw during power up is higher.
Power Out 12 V connector: limited to 12 V, up to 2.2 A. RS, EXT and ETHERNET: input below 24 V is regulated up to 24 V; above 24 V: input voltage = output voltage. RS and EXT connectors combined are limited to 2.2 A. ETHERNET is limited to 1.2 A. Maximum power draw is also limited by the power source.
Weight ALEXA SXT Plus body with PL mount: 6.9 kg/15.1 lbs.
ALEXA SXT Plus body with PL mount, electronic viewfinder, viewfinder cable, viewfinder mounting bracket and handle: 8.4 kg/18.6 lbs.
Dimensions ALEXA SXT Plus body with PL mount: Length: 331 mm/13.03”, width: 189 mm/7.44”, height: 157.8 mm/6.21”; dimensional drawings available in the ALEXA manual
Environmental -20° C to +45° C (-4° F to +113° F) @ 95% humidity max, non-condensing. Splash and dust proof through sealed electronics. System cooling through radiator/single fan.
Lens Mount 54 mm stainless steel LDS PL mount, Super 35 centered. 52.00 mm nominal flange focal depth without FSND filters.
Viewfinder Low latency (≤1 frame delay) electronic color viewfinder ARRI EVF-1 with 1280 x 784 F-LCOS micro display (image: 1280 x 720, status bars: 1280 x 32 above and 1280 x 32 below image) and ARRI LED illumination, both temperature controlled. Image can be flipped for use of viewfinder on camera left or right. Viewfinder Mounting Bracket allows movement of viewfinder forward/backwards, left/right, up/down, 360 degree rotation and placement on camera left or right. EVF-1 controls: viewfinder and basic camera settings, ZOOM button (2.25x magnification ‘pixel to pixel’), EXP button (false color exposure check) and jog wheel.
Assistive Displays For EVF-1 and MON OUT: preset and custom frame lines, user rectangles, surround view, 180º image rotation, camera status, false color exposure check, peaking focus check, compare stored image with live image, RETURN IN video and anamorphic de-squeeze. For MON OUT additionally: Reel & clip number.
For a graphic of which false color indicates which exposure level click here
Control Camera right: Main user interface with a 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons, button lock and jog wheel. Camera left: Operator interface with illuminated buttons and button lock. Camera acts as a web server, displaying the ALEXA Web Remote on web browsers of computers connected to ETHERNET connector. Optional accessory Remote Control Unit RCU-4 for cabled remote control via camera ETHERNET connector. Optional accessory Wireless Compact Unit WCU-4 for wireless remote control (UMC 3A or UMC-4 required).
Recording Codecs Uncompressed and unencrypted ARRIRAW or compressed and unencrypted QuickTime/ProRes recording. All formats include embedded audio, timecode and metadata.
For more details click here
Recording Media SxS PRO or SxS PRO+ cards (requires SxS Adapter 2)
CFast 2.0 cards (requires CFast 2.0 Adapter 2)
XR Capture Drives (requires XR Adapter)
SXR Capture Drives (requires SXR Adapter)Note: XR Capture Drive Docks require Codex Production Suite to read XR Capture Drives recorded with ALEXA SXT.
Supported Media SxS PRO 64 GB (SBP-64A)
SxS PRO+ 64 GB (SBP-64B & SBP-64C)
SxS PRO+ 128 GB (SBP-128B & SBP-128C)
LEXAR 3600x CFast 2.0 cards 256 GB
XR Capture Drives 512 GB
SXR Capture Drives 1 TB
SXR Capture Drives 2 TB
Monitor Outputs 4x MON OUT BNC connector for uncompressed 1.5 G HD-SDI video: 1920 x 1080 (16:9), 4:2:2 YCbCr; legal range HD video at 23.976, 24, 25, 29.97, or 30 fps. MON OUT 1b is a clone of MON OUT 1a. Embedded audio, time code, metadata and recording flag.
Image Processing 16 bit linear internal image processing in full ALEXA Wide Gamut/Log C color space. Target output color spaces: Log C, Rec 709 or Rec 2020. An ARRI Look File (ALF-2) containing the name of the target color space, CDL values and a 3D LUT can be applied to ProRes or MON OUT images and will be saved in metadata. Optional horizontal image mirroring.
Synchronization Master/Slave mode for precision sync of settings, sensor, processing, HD-SDI outputs and ARRIRAW or ProRes recording for 3D applications. PHASE user button for shifting camera phase to move phase artifacts out of frame, i.e. when shooting a CRT monitor or rear screen projector (works in Rec Run TC mode).
Playback Playback of ARRIRAW or ProRes recorded material visible on EVF-1 and MON OUT. Playback audio available over headphone jack and embedded in the MON OUT signal.
Audio 1x XLR 5 pin AUDIO IN for 2 channel, line level, balanced audio. 24 bit/48 kHz A/D conversion. Uncompressed PCM audio recording to ARRIRAW, ProRes and embedded in all HD-SDI outputs. Only available with same project/sensor speed at 23.976, 24, 25, 29.97 and 30 fps. Max of 2.5 dBm output from AUDIO OUT headphones connector.
Connectors 1x media slot
4x BNC monitoring out HD-SDI, 1.5G MON OUT
1x XLR 5-pin analog audio in AUDIO IN
1x BNC return video in HD-SDI, 1.5G RET/SYNC IN
1x LEMO 16-pin external accessory interface EXT
1x Fischer 2-pin 24 V power in BAT
3x Fischer 3-pin 24 V remote start and accessory power out RS
1x LEMO 2-pin 12 V accessory power out 12 V
1x LEMO 5-pin timecode in/out TC
1x TRS 3.5 mm headphone mini stereo jack AUDIO OUT
1x custom LEMO 16-pin electronic viewfinder EVF
1x custom LEMO 10-pin Ethernet with 24 V power ETHERNET
1x Fischer 5-pin Lens Data Display LDD
2x Fischer 5-pin Lens Control System LCS
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later IRIS
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later FOCUS
1x Fischer 12-pin for CLM-2, CLM-3, CLM-4 or later ZOOM
BNC connectors are designed for fast exchange without camera disassembly. These connectors require a special tool (ALEXA Plus BNC Removal Tool, K5.72915.0).
SD Card For importing and storing of ARRI Look Files, camera set up files, frame line files and user pixel masks and custom lens tables for the Lens Data Archive (LDA). Stores frame grabs in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) or JPEG (.jpg, 8 bit) format. Stores log files. Also used for installing Software Update Packets (SUPs).
Upgrades The Storage Interface Module can be exchanged for future storage modules. The Electronics Interface Module (available as either regular ALEXA or ALEXA Plus versions) can be exchanged for future control electronics. An easily exchangeable lens mount allows other lenses beyond LDS PL mount lenses to be used. Simple camera software updates via free of charge Software Update Packets (SUPs).
Software Tools (apps) ARRIRAW Converter (ARC)
ARRI Color Tool 
ARRI Meta Extract
Software Tools (online) ALEXA Camera Simulator
Lens Illumination Guide 
ARRI Frame Line Composer (AFC) 
LUT Generator 
ARRI Formats & Datarate Calculator

ARRI ALEXA MINI

ALEXA Mini Technical Data

Product ALEXA Mini
Camera type 35 mm format film-style digital camera with lightweight and compact carbon body, switchable active sensor area, support for ARRI MVF-1 viewfinder, built-in remote control capabilities via ARRI Electronic Control System and Wi-Fi, support for cforce motors, built-in motorized ND filters, interchangeable lens mounts and ARRI Lens Data System as well as Lens Data Archive.
Dimensions Length: 185 mm/7.3″
Width: 125 mm/4.9″
Height: 140 mm/5.5″
(camera body with PL lens mount)
Click here for dimensional drawings
Weight ~ 2.3 kg/5 lbs (camera body with titanium PL lens mount)
Sensor 35 mm format ARRI ALEV III CMOS with Bayer pattern color filter array
Active photo sites
(with surround view)
S16 HD: 1600 x 900 (1760 x 980)
HD: 2880 x 1620 (3168 x 1772)
2K: 2868 x 1612 (3154 x 1764)
3.2K: 3200 x 1800 (3424 x 1926)
4K UHD: 3200 x 1800 (3424 x 1926)
4:3 2.8K: 2880 x 2160 (3168 x 2160)
2.39:1 2K Ana.: 2560 x 2145 (3424 x 2202)
HD Ana.: 1920 x 2160 (3424 x 2202)
Open Gate 3.4K: 3424 x 2202 (3424 x 2202)
Shutter Electronic shutter, 5.0° to 356.0°
Exposure latitude 14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Exposure index EI 800 base sensitivity
Filters Built-in motorized ND filters 0.6, 1.2, 2.1
Lens mounts Titanium PL mount with L-Bus connector and LDS
EF mount
PL mount with Hirose connector and LDS
B4 mount with Hirose connector(A)
Recording media CFast 2.0 memory cards
Recording formats ProRes:
S16 HD: 1920 x 1080 (up-sampled from 1600 x 900)
HD: 1920 x 1080
2K Cine 16:9: 2048 x 1152
3.2K: 3200 x 1800
4K UHD: 3840 x 2160 (up-sampled from 3.2K)
4:3 2.8K: 2880 x 2160 (padded to 2944 x 2160)Anamorphic ProRes formats with 2x in-camera de-squeeze:
HD Anamorphic: 1920 x 1080*
2.39:1 2K Anamorphic: 2048 x 858*MXF/ARRIRAW (in-camera recording to MXF-wrapped ARRIRAW files):
2.8K 16:9: 2880 x 1620**
Open Gate: 3424 x 2202***MXF/ARRIRAW Open Gate modes with active image area matching 4:3 ProRes modes:
4:3 2.8K (OG 3.4K): 2880 x 2160 (Recording in Open Gate 3.4K)***
2.39:1 Ana. (OG 3.4K): 2560 x 2145 (Recording in Open Gate 3.4K)***
16:9 HD Ana. (OG 3.4K): 1920 x 2160 (Recording in Open Gate 3.4K)****) requires ALEXA Mini 4:3 License Key,
**) requires ALEXA Mini ARRIRAW License Key,
***) requires both ALEXA Mini 4:3 and ARRIRAW Licenses Keys

Click here for a drawing with details about the recording areas, surround views and framelines

Recording codec ProRes 4444XQ, 4444, 422 (HQ), 422, 422(LT), MXF/ARRIRAW
Recording frame rates 16:9
ProRes HD 0.75 – 200 fps
ProRes S16 HD 0.75 – 200 fps
ProRes 2K 0.75 – 200 fps
ProRes 3.2K 0.75 – 60 fps
ProRes UHD 0.75 – 60 fps
MFX/ARRIRAW 16:9 2.8K 0.75 – 48 fps4:3
ProRes 4:3 2.8K 0.75 – 50 fps6:5*
ProRes 2:39:1 2K Ana. 0.75 – 120 fps8:9**
ProRes HD Ana. 0.75 – 120 fpsOpen Gate
MFX/ARRIRAW 3.4K Open Gate 0.75 – 30 fps

* 4:3 cropped
** Center crop from anamorphic
(1) Minimum frame rate is always 0.75 fps
(2) The „recording resolution“ determines the number of horizontal pixels that will be recorded (the number of vertical pixels is dependent on the recording file type and sensor mode)

Click here for a detailed table of frame rates

Color output Rec 709, custom look or Log C
Look control Import of custom 3D LUT, ASC CDL parameter (slope, offset, power, saturation)
Adjustable image parameters Knee, gamma, saturation, black gamma, saturation by hue
Focus and exposure control Peaking, zebra, false color, waveform
White balance Manual and auto white balance
Sound level < 20 dB(A) at standard frame rates
Environmental ‘-20° C to +45° C (-4° F to +113° F) @ 95% humidity max, non-condensing splash and dust-proof through sealed electronics
Viewfinder Multi Viewfinder MVF-1 (OLED and LCD) with flip-out LCD screen and military-grade connector to camera Camera Control Panel (CCP-1) LCD control panel with option to daisy-chain MVF-1
Control interface Soft buttons and OSD on SDI output, integration of Transvideo Starlite HD5-ARRI touch interface WCU-4 hand-unit with control over operational parameters.
ARRI lens motor control Built-in white coded radio interface for ARRI lens and camera remote control LBUS motor output for daisy-chainable cforce lens control motors Lens Data Archive
Wi-Fi remote control Built-in Wi-Fi interface and web-based remote control from phones, tablets and laptops
Custom control Optional GPIO interface for integration with custom control interfaces
Power input Lemo 8-pin, 10.5-34 V DC
Video outputs 2x HD-SDI out 1.5G and 3G: uncompressed HD video with embedded audio and metadata, 6G SDI in UHD and 3.2K recording modes.
Inputs SDI-Genlock (optional activation through ARRI Service), Timecode (in and output)
Other interfaces USB 2.0 (for user sets, looks etc.)
Ethernet for service and web remote control
EXT accessory interface w. RS pin and unregulated power output (outputs battery voltage)

Arri Master Anamorphic

Name: Master Anamorphic MA 28/T1.9 Master Anamorphic MA 35/T1.9 Master Anamorphic MA 40/T1.9
Lens Mount (1): PL LDS PL LDS PL LDS
Aperture: T1.9 – T22 T1.9 – T22 T1.9 – T22
Close Focus (2): 0.65 m / 2’3″ 0.75 m / 2’6″ 0.70 m / 2’4″
Magnification Ratio (3): H: 1:32.3 V: 1:16.4 H: 1:32.3, V: 1: 16.1 H: 1:25.6, V: 1: 12.8
Length (4): 183 mm / 7.2″ 183 mm / 7.2″ 183 mm / 7.2″
Length (12): 235 mm / 9.3″ 235 mm / 9.3″ 235 mm / 9.3″
Front Diameter (5): 114 mm / 4.5″ 95 mm / 3.7″ 95 mm / 3.7″
Maximum Housing Diameter: 114 mm / 4.5″ 114 mm / 4.5″ 114 mm / 4.5″
Weight (Kg): 2,5 2.6 2.7
Weight (lb): 5,5 5.7 6
Entrance Pupil (6) (mm) -188 -179 -177
Entrance Pupil (6) (inch) -7,04 -7.04 -6.96
Angle of view H – V
Super 35 Cinemascope (8)
ID = 29.26 mm (7)
78° – 36° 65° – 30° 59° – 26°
Name: Master Anamorphic MA 50/T1.9 Master Anamorphic MA 60/T1.9 Master Anamorphic MA 75/T1.9
Lens Mount (1): PL LDS PL LDS PL LDS
Aperture: T1.9 – T22 T1.9 – T22 T1.9 – T22
Close Focus (2): 0.75 m / 2’6″ 0.90 m / 3′ 0.90 m / 3′
Magnification Ratio (3): H: 1:22.2, V: 1: 11.1. H: 1:24.3, V: 1: 12.2 H: 1:19.6, V: 1: 9.8
Length (4): 183 mm / 7.2″. 183 mm / 7.2″ 183 mm / 7.2″
Length (12): 235 mm / 9.3″ 235 mm / 9.3″ 235 mm / 9.3″
Front Diameter (5): 95 mm / 3.7″ 95 mm / 3.7″ 95 mm / 3.7″
Maximum Housing Diameter: 114 mm / 4.5″ 114 mm / 4.5″ 114 mm / 4.5″
Weight (Kg): 2.6 2.7 2.6
Weight (lb): 5.7 6 5.7
Entrance Pupil (6) (mm) -171 -152 -137
Entrance Pupil (6) (inch) -6.75 -5.99 -5.38
Angle of view H – V
Super 35 Cinemascope (8)
ID = 29.26 mm (7)
48° – 21° 41° – 18° 33° – 14°
Name: Master Anamorphic MA 100/T1.9 Master Anamorphic MA 135/T1.9
Lens Mount (1): PL LDS PL LDS
Aperture: T1.9 – T22 T1.9 – T22
Close Focus (2): 0.95 m / 3’1” 1.20 m / 3’11”
Magnification Ratio (3): H: 1:14.7, V: 1: 7.4 H: 1:15.6, V: 1: 7.8
Length (4): 210 mm / 8.1” 226 mm / 9.1″
Length (12): 262 mm / 10.2” 278 mm / 10.7″
Front Diameter (5): 95 mm / 3.7″ 95 mm / 3.7″
Maximum Housing Diameter: 114 mm / 4.5″ 114 mm / 4.5″
Weight (Kg): 3.1 3.8
Weight (lb): 6.8 8.4
Entrance Pupil (6) (mm): -146 -129
Entrance Pupil (6) (inch): -5.74 -5,09
Angle of view H – V
Super 35 Cinemascope (8)
ID = 29.26 mm (7)
25° – 11° 19° – 8°

(1) Positive locking (PL) 54 mm stainless steel lens mount with Lens Data System (LDS) contacts

(2) Close focus is measured from the film/sensor plane
(3) Magnification ratio is the relationship of the size of an object on the film/sensor plane (first number) to the size of that object in real life (second number) at the close focus setting; Horizontal (H) and vertical (V)

(4) Length is measured from the lens mount to the front of the lens housing

(5) Diameter of the lens/matte box interface

(6) The distance from the entrance pupil to the film/sensor plane at focus = infinity. Positive numbers indicated an entrance pupil behind, negative numbers indicated an entrance pupil in front the film/sensor plane. The entrance pupil (often mistakenly called “nodal point”) is the center of perspective; moving the camera/lens system around the center of the entrance pupil prevents parallax errors. While largerly irrelevant for live action, this measurement is important for special effects work.

(7) The image diameter (ID) is the diameter of the image circle needed for the respective format. These lenses are designed for the largest ID given here.

(8) Horizontal (H) and vertical (V)  angles of view for a Super 35 Cinemascope camera aperture (dimensions 22,5mm x 18,7mm / 0.8858″ x 0.7362″)

(12) Length is measured from the image to the front of the lens housing

Follow Focus

FOLLOW FOCUS ( ARRI FF-3  / ARRI FF-4 / ARRI FF-5 )

FOLLOW FOCUS ( CHROSZIEL )

FOLLOW FOCUS ( CHROSZIEL LITE 15 mm – 19 mm  )

ARRI LITE FOLLOW FOCUS ( LITE LFF-1 )

OCONNOR  FOLLOW FOCUS CFF-1 PRO KIT

GENUS  CFF-1

DİĞER EKİPMANLAR

PS TECHNIC MINI SKATER DOLLY

GFM TILT PLATE

SACHTLER TILT PLATE

SACHTLER DUTCH HEAD

CAR MOUNT

Kafalar / Ayaklar / HI – HAT

HEAD

ARRI GEARED HEAD MKII

RANFORD F7 2 AXİS

WINTEN MİTCHELL HEAD 2 AXİS

OCONNOR 2575 C

OCONNOR 2575D

OCONNOR 2065

OCONNOR 2560

SACHTLER 9+9

SACHTLER 7+7

SACHTLER SUDIO 65

SACHTLER STUDIO 2

SACHTLER CİNE 30

SACHTLER VİDEO 25

SACHTLER VIDEO30

PANTHER T28 HEAD

MILLER DS25 HEAD

CARTONI MAXIMA HEAD

 

AYAKLAR

OCONNOR CINE LEGS LONG (150MM)

OCONNOR CINE LEGS BABY (150MM)

SACHTLER CINE LEGS LONG(150MM)

SACHTLER CINE LEGS SHORT (150MM)

SACHTLER CİNE200 (150MM)

SACHTLER VİDEO ALM. (150MM)

SACHTLER VİDEO ALM.  BABY (150MM)

SACHTLER EFP2C (150MM)

SACHTLER  MITCHELL HEAD

 

HI- HAT

GFM HI- HAT

OCONNOR HI-HAT

MITCHELL HI-HAT

Monitörler

21.5″ PANASONIC  HD  LCD  MONITOR
17″    PENTA  HD  LCD
17″    JVC  HD  LCD
17″    SONY HD  OLED  LCD  MONITOR
17″    PANASONIC  HD  LCD  MONITOR
9″      PANASONIC  3D  BT-LH  910  HD  LCD  MONITOR
8.4″   PANASONIC  HD  LCD  MONITOR
8″      TRANVIDEO  HD  LCD
7.8″   PANASONIC  HD  LCD  MONITOR
7.4″   SONY HD  OLED  LCD  MONITOR
7″      BON  HD  LCD  MONITOR + RECORDER
7″      PIX-E7  HD  LCD  MONITOR + RECORDER
7″      TV  LOGIC  HD  LCD  MONITOR
6″      ASTRO  HD  LCD  MONITOR + VM  3014
5.8″    TV  LOGIC  HD  LCD  MONITOR
F5A  TV  LOGIC  HD  LCD  MONITOR
5.5″   BON  HD  LCD  MONITOR
5″      SMALL  HD  LCD  MONITOR

Matte – Box

CLIP-ON MATTE BOX  4 x 5.65 ( ARRI LMB-25  )

CLIP-ON MATTE BOX   6.6 x 6.6  ( ARRI LMB-4  )

ARRI MATTE BOX    4 x 4             ( ARRI MB-16 )

ARRI MATTE BOX    6.6 x 6.6       ( ARRI MB-14 )

ARRI MATTE BOX     4 x 5.65            ( ARRI MB-17 )

CHROSZIEL MATTE BOX   4 x 5.65    ( PRODUCTION MATTE BOX

GENUS MATTE BOX    4 x 4.565

Diğer Kamera Aksesuarları

SWIT  HD WIRELESS TRANSMITTER AND RECIEVER

TERADEK-2000  HD WIRELESS  TRANSMITTER AND RECIEVER

ANTON BAUER WIRELESS HD TRANSMITTER – RECEIVER

NIMBUS-6200  HD WIRELESS TRANSMITTER AND RECIEVER

MICROFORCE KABLOSUZ LENS – ZOOM KONTROL SİSTEMİ

MICROFORCE KABLOLU LENS – ZOOM KONTROL SİSTEMİ

MICROFORCE FL+Z  F/X KABLOSUZ KAMERA KONTROL SİSTEMİ

ARRI  WCU-3 KABLOSUZ ZOOM LENS KONTROL SISTEMI

ARRI  WCU-4 KABLOSUZ ZOOM LENS KONTROL SISTEMI

BARTECH KABLOSUZ ZOOM LENS KONTROL SISTEMI

TRANSVIDEO TRANSMITTER ALICI – RECEIVER

ARRI TEK KARE ÜNİTESİ – Single Frame Unit ( Negatifler İçin )

SONY GV-HD 700E – Video Watchman

RMB-750 ( Sony HD Kameralar için )

Kamera Kontrol Üniteleri

RCU-4   ARRI ALEXA için

RCU   ( Arri 235-435 için )

CCU   (Arri 535 için )

SPEED CONTROL BOX   ( Arricam Lite için )

RCU   ( Arri 16 mm için )

RMB-750 ( Sony HD Kameralar için )

MICROFORCE FL+Z  F/X KABLOSUZ KAMERA KONTROL SİSTEMİ

Scubacam

Tüm Kameralar için

Scuba 5″ HD  Lcd Monitor

Dual Kablo ( Harici Kaytıtlar için )

Lens Kontrol Sistemi ( Kablolu-Kablosuz )

Kablosuz Verici

PIX-E7

CINEDECK

ATOMOS BLADE

Desteklenen formatlar

HD 1080i60, 1080i59.94, 1080i50, 1080p30, 1080p25,

1080p24, 1080p23.98, 1080p30(60i), 1080p25(50i),

1080p24(60i), 1080p23.98(60i), 720p60, 720p59.94,

20p50, SD 480i, 576i

Encoding

Gerçek zamanlı encoding, 1920 x 1080 8/10-bit 4:2:2:

Apple ProRes

HQ – 220Mbps

422 – 150Mbps

LT – 100Mbps

Avid DNxHD

Avid DNxHD-220X – 220Mbps (10-bit)

Avid DNxHD-220 – 36 Mbps (8-bit)

Avid DNxHD-145 – 36 Mbps (8-bit)

Dokunmatik ekran

5″ ekran

Çözünürlük: 1280 x 720

En-boy oranı: 16:9 native / 4:3 letterbox /

Timecode

Sony ve Canon uyumlu HDMI timecode in ve out

Kayıt süresi

ProRes HQ (10-bit, 220Mbps):

250GB = 2.5 hrs, 500GB = 5 hrs, 1TB = 10 hrs

Avid DNxHD-220x (10 bit, 220Mbps):

250GB = 2.5 hrs, 500GB = 5 hrs, 1TB = 10 hrs

ProRes 422 (10 bit, 150Mbps):

250GB = 4 hrs, 500GB = 8 hrs, 1TB = 16 hrs

Avid DNxHD-145 (8 bit, 145Mbps):

250GB = 4 hrs, 500GB = 8 hrs, 1TB = 16 hrs

ProRes LT (10 bit, 100Mbps):

250GB = 5.5 hrs, 500GB = 11 hrs, 1TB = 22 hrs

Kesintisiz güç

İkincil batarya sistemi

Gücü kesmeden bataryayı değiştirebilme imkanı

Yapı

Alüminyum

Boyutlar

14.5 x 8.7 x 4.1 cm

Ağırlık

(0.31 kg)

(0.59 kg) (batarya + hdd)

AJA KIPRO Mini

GEMINI RECORDER

CINEMAG for PHANTOM

Red Drive 640 Gb Hard Drive

Element Technica Video Breakout Box

Origo Remote ve Uzun Kablo

Down Converter HD to SDI

Red Elektronik Vizör (Zacuta Arm ile)

Yönetmen Vizörü

ARRI YÖNETMEN VİZÖRÜ ( 35mm ve 16mm Lensler için )

DENZ YÖNETMEN VİZÖRÜ ( S35 mm için )

KISH OPTIC YÖNETMEN VİZÖRÜ ( 35mm ve Anamorphic için )

S35 MOVIE CAMERA SUPPORT

Omuz Seti

ARRI OMUZ SETİ 435

OPPENHEIMER BLUE HANDLE OMUZ SETİ (15 mm ve 19 mm için )

O’CONNOR OMUZ SETİ

 

EASY RIG – Vario 5 + LONG ARM

EASY RIG – Vario 5 + SHORT ARM

EASY RIG – Vario 5 + Flowcine Serene

PS TECHNİK SKATER SCOPE

Cine PL-PL version

Highlights

  • Tilt module can be adjusted from -105° to +105°
  • Lens block pivots full 360°
  • Full 360° unlimited optical image rotation
  • Macro function extends close focus to macro
  • T 5.6
  • Superior image quality, covers S35 (with most common PL lenses)
  • Available Mount Sets: PL, Panavision, B4
  • Additional lens mounts: Nikon
  • Extends creative freedom of your SKATER Mini Dolly

Compatibility

Lens Mount
PL Mount
Weight (in gram)3300DimensionsLength: 50
Width:30

Height:19

 

Delivery Content

  • Skater Scope Snorkels with PL-Mount
  • Lens Support
  • Focus motor mount with 15mm and 19mm rod
  • Offset Bracket for Focus motor
  • Transport case, aluminum

Arri Shift & Tilt System Lensler

SHIFT&TILT LENSLER

ARRI SHIFT&TILT LENS SET ( 18-24-45-90 )

ARRI SHIFT&TILT LENS SET ( 18-24-45-60-90-110-150 )

Fujinon HZ-CA13 U / PRO 35 P+S Adaptör

PRO 35 P+S TECHNIK ADAPTÖR

www.pstechnik.de/en/digitalfilm-pro35.php

ND  0.3 / 0.6 / 0.9 / 1.2 / 1.5   FİLTRE  KOYABİLME

BACK  FOCUS  AYARI

SLOW MOTION PLANLARDA DÖNME HIZINI ARTTIRMA

KAMERA İLE OTOMATİK KAYDA GİRİŞ

PL MOUNT TÜM LENS ve ZOOMLARI KULLANABİLME

 

FUJINON HZ-CA 13U PL MOUNT ADAPTÖR

www.mamut.net/videoutstyr/hz-ca13u_review.pdf

www.jvcpro.ro/images/manuale_a/fisiere/5_1_HZ-CA13U%20INST.pdf

Extender / Geniç Açı Adaptor

ASPHERON GENİŞ AÇI  ADAPTOR (80 mm) + FİLTRELER

ZEISS 9.5mm + Aspheron Adaptör  =   5.6mm (Süper 16mm Kameralar için)

ZEISS 12mm  + Aspheron Adaptör  =   6.6mm (Süper 16mm kameralar için)

CENTURY   2x  EXTENDER  / 35 mm

OPTEX      2x  EXTENDER  / 35 mm

Zoom Lensler

HIGH DEFINITION ZOOM LENSLER

CANON HD ZOOM HJ11 X 4,7 KLL Cine Style

CANON HD ZOOM HJ21 X 7,5 KLL Cine Style

ANGENIEUX OPTIMO DP 16 – 42 mm

ANGENIEUX OPTIMO DP 30 – 80 mm

Prime Lensler

ZEISS DIGIPRIME LENS SETLERİ

ZEISS DIGIPRIME SET  I.   ( 5-10-14-20-28-40-70 )   ( 7 Adet Lens )

ZEISS DIGIPRIME SET  II.  (5-7-14-28-40-52-70 )   ( 7 Adet Lens )

ZEISS DIGIPRIME SET  III. ( 5-7-10-14-20-28-40-52-70 )   (9 Adet Lens )

 

ZEISS DIGIPRIME LENSLER

5  mm  ZEISS DIGIPRIME

7  mm  ZEISS DIGIPRIME

10 mm  ZEISS DIGIPRIME

14 mm  ZEISS DIGIPRIME

20 mm  ZEISS DIGIPRIME

28 mm  ZEISS DIGIPRIME

40 mm  ZEISS DIGIPRIME

52 mm  ZEISS DIGIPRIME

70 mm  ZEISS DIGIPRIME

Macro Lensler

MACRO LENSLER

16 mm cf. T2.1 ZEISS

24 mm cf. T2.1 ZEISS

32 mm cf. T2.1 ZEISS

16 mm T2.1 ARRI MACRO

24 mm T2.1 ARRI MACRO

32 mm T2.1 ARRI MACRO

40 mm T2.1 ARRI MACRO

50 mm T2.1 ZEISS MACRO

60 mm T3.0 ARRI MACRO

100 mm T2.8 ARRI MACRO

100 mm T3.2 ZEISS OPPENHEIMER MACRO

180 mm T2.8 VANTAGE LEICA MACRO

Tele Photo Lensler

TELE PHOTO LENSLER

150 mm T1.3 MASTER  PRIME

180 mm T1.9 ZEISS  ULTRA PRIME

200 mm T2.0 NIKON   TELE PHOTO LENS

300 mm T2.0 NIKON   TELE PHOTO LENS

300 mm T2.8 CANON  TELE PHOTO LENS ( 2x -1,4x  Extenderlar )

 

Zoom Lensler

35 mm  ZOOM LENSLER
15 – 40  mm   T2.6 ANGENIEUX OPTIMO ZOOM LENS
16 – 42  mm   T2.8 ANGENIEUX OPTIMO ( DP ) ZOOM LENS
30 – 80  mm   T2.8 ANGENIEUX OPTIMO ( DP ) ZOOM LENS
15,5 – 45 mm T2.8 ARRI           ALURA   ZOOM LENS
18 – 80 mm   T2.6 ARRI            ALURA   ZOOM LENS
30 – 80 mm   T2.8 ARRI            ALURA   ZOOM LENS
24 – 82 mm   T2.8 ELITE           NEW  1.5 kg
45 -120 mm   T2.8 ANGENIEUX OPTIMO ZOOM
17- 102 mm  T2.9 ANGENIEUX HR ZOOM LENS
18- 100 mm  T3.0 COOKE ZOOM LENS
25 – 250 mm T3.7 COOKE MKIII ZOOM LENS
25 – 250 mm T3.5 ANGENIEUX HR ZOOM LENS

45 – 250 mm T2.6  ARRI           ALURA   ZOOM LENS

24 – 290 mm T2.8 ANGENIEUX OPTIMO ZOOM LENS

 

Geniş Açı Lensler

35 mm GENİŞ AÇI LENSLER
8R  mm T2.8 ZEISS ULTRA PRIME
9.6 mm T2.0 ELITE LENS
10 mm T2.1 ZEISS ULTRA PRIME

12 mm T1.3 MASTER PRIME

12 mm T2.0 COOKE S4/I

12 mm T1.9 MKIV ELITE PRIME
12 mm T2.0 ZEISS ULTRA PRIME
12 mm T2.0 LEICA VANTAGE
14 mm T2.0 LEICA VANTAGE
14 mm T1.9 ZEISS ULTRA PRIME
14 mm T2.0 ZEISS
14 mm T1.3 MASTER PRIME
14 mm T2.0 COOKE S4/I

14 mm T2.0 CANON

Prime Lensler

ZEISS LDS MASTER PRIME  SETLER
ZEISS LDS  MASTER PRIME  T1.3  SET I.   (18-25-35-50-75)
ZEISS LDS  MASTER PRIME  T1.3  SET II.  (16-21-32-40-65-100)
ZEISS LDS  MASTER PRIME  T1.3 SET III.  (16-18-21-25-27-32-35-40-50-65-75-100)
ZEISS ULTRA PRIME LENS SETLERİ
ZEISS ULT. PRM. T1.9  SET I.     (16-24-32-50-85)
ZEISS ULT. PRM. T1.9  SET II.    (16-20-24-32-40-50-85-135)
ZEISS ULT. PRM. T1.9  SET III.   (16-20-24-28-32-40-50-65-85-100-135)
ZEISS  LENS SETLERİ
ZEISS SUPER SPEED LENS SET  T 1.3      ( 18-25-35-50-65-85)
ZEISS STANDART LENS SET  cf.  T 2.1       (16-24-32-50-85)
COOKE S4/I LENS SETLERİ
COOKE S4 / I   T 2    ( 18-25-32-40-50-75 )
COOKE S4 / I   T 2    ( 18-21-25-32-40-50-65-75-100-135 )
ELITE PRIME LENS SETİ MKIV (Yeni Seri)
ELITE PRIME T1.3 MKIV   ( 18-24-35-50-75-100 )  6 ADET
ELITE PRIME T1.3 MKIV   ( 18-24-35-50-75-135 )  6 ADET
35 mm GENİŞ AÇI LENSLER
8    mm T2.8   ZEISS ULTRA PRIME
9.6 mm T2.0   ELITE LENS
10  mm T2.1  ZEISS ULTRA PRIME

12  mm T1.3  MASTER PRIME

12  mm T2.0  COOKE S4/I

12  mm T1.9  MKIV  ELITE PRIME
12  mm T2.0  ZEISS ULTRA PRIME
12  mm T2.0  LEICA VANTAGE
14  mm T2.0  LEICA VANTAGE
14  mm T1.9  ZEISS ULTRA PRIME
14  mm T2.0  ZEISS
14  mm T1.3  MASTER PRIME
14  mm T2.0  COOKE S4/I

14  mm T2.0  CANON

LEICA SUMMILUX  PRIME  LENSLER
18    mm T1.4 LEICA  SUMMILUX-C PRIME
21    mm T1.4 LEICA  SUMMILUX-C PRIME
25    mm T1.4 LEICA  SUMMILUX-C PRIME
29    mm T1.4 LEICA  SUMMILUX-C PRIME
35    mm T1.4 LEICA  SUMMILUX-C PRIME
40    mm T1.4 LEICA  SUMMILUX-C PRIME
50   mm T1.4 LEICA  SUMMILUX-C PRIME
65    mm T1.4 LEICA  SUMMILUX-C PRIME
75    mm T1.4 LEICA  SUMMILUX-C PRIME
100  mm T1.4 LEICA  SUMMILUX-C PRIME

135  mm T1.4 LEICA  SUMMILUX-C PRIME

ZEISS  MASTER PRIME  LENSLER
16    mm T1.3 ZEISS LDS MASTER PRIME
18    mm T1.3 ZEISS LDS MASTER PRIME
21    mm T1.3 ZEISS LDS MASTER PRIME
25    mm T1.3 ZEISS LDS MASTER PRIME

27    mm T1.3 ZEISS LDS MASTER PRIME

32    mm T1.3 ZEISS LDS MASTER PRIME
35    mm T1.3 ZEISS LDS MASTER PRIME
40    mm T1.3 ZEISS LDS MASTER PRIME
50    mm T1.3 ZEISS LDS MASTER PRIME
65    mm T1.3 ZEISS LDS MASTER PRIME
75    mm T1.3 ZEISS LDS MASTER PRIME
100  mm T1.3 ZEISS LDS MASTER PRIME
135  mm T1.3 ZEISS LDS MASTER PRIME
150  mm T1.3 ZEISS LDS MASTER PRIME
ZEISS ULTRA PRIME LENSLER
16   mm T1.9 ZEISS ULTRA PRIME
20   mm T1.9 ZEISS ULTRA PRIME
24   mm T1.9 ZEISS ULTRA PRIME
28   mm T1.9 ZEISS ULTRA PRIME
32   mm T1.9 ZEISS ULTRA PRIME
40   mm T1.9 ZEISS ULTRA PRIME
50   mm T1.9 ZEISS ULTRA PRIME
65   mm T1.9 ZEISS ULTRA PRIME
85   mm T1.9 ZEISS ULTRA PRIME
100 mm T1.9 ZEISS ULTRA PRIME
135 mm T1.9 ZEISS ULTRA PRIME
180 mm T.1.9 ZEISS ULTRA PRIME
ZEISS STANDART LENSLER CF.
16   mm T2.1  ZEISS  LENS  cf.
24   mm T2.1  ZEISS  LENS  cf.
32   mm T2.1  ZEISS  LENS  cf.
50   mm T2.1  ZEISS  LENS
85   mm T2.1  ZEISS  LENS
135 mm T2.1  ZEISS  LENS
ZEISS SUPER SPEED LENSLER
18   mm T1.3  ZEISS SUPER SPEED LENS
25   mm T1.3  ZEISS SUPER SPEED LENS
35   mm T1.3  ZEISS SUPER SPEED LENS
50   mm T1.3  ZEISS SUPER SPEED LENS

65   mm T1.3  ZEISS SUPER SPEED LENS

85   mm T1.3  ZEISS SUPER SPEED LENS
135 mm T2.1 ZEISS LENS
COOKE S4/I LENSLER

16   mm T 2   COOKE S4/I

18   mm T 2   COOKE S4/I
21   mm T 2   COOKE S4/I
25   mm T 2   COOKE S4/I

27   mm T 2   COOKE S4/I

32   mm T 2   COOKE S4/I

35   mm T 2   COOKE S4/I

40   mm T 2   COOKE S4/I
50   mm T 2   COOKE S4/I
65   mm T 2   COOKE S4/I
75   mm T 2   COOKE S4/I
100 mm T 2   COOKE S4/I
135 mm T 2   COOKE S4/I

180 mm T 2   COOKE S4/I

ELITE  PRIME LENS SETİ   MKIV
18  mm  ELITE PRIME T 1.3
24  mm  ELITE PRIME T 1.3
35  mm  ELITE PRIME T 1.3
50  mm  ELITE PRIME T 1.3
75  mm  ELITE PRIME T 1.3
100 mm  ELITE PRIME T 1.5
135 mm  ELITE PRIME T 1.5

Zoom Lensler (16mm)

16 mm  ZOOM LENSLER

11.5-138 mm ANGENIEUX HR ZOOM LENS T2.3

10-160 mm CANON ZOOM+2 X EXTENDER T2.3

Geniş Açı Lensler (16mm)

16 mm GENİŞ AÇI LENSLER

4.5 mm ELITE FISH EYE T2.2

5.7 mm TAGEA LENS T1.8

7    mm PANTHER LENS T1.3

İLETİŞİM

ETİLER:
Cebeci Caddesi No: 62 34335 Akatlar - Etiler İstanbul / Turkey
Telefon:
+90 212 352 24 30
Fax:
+90 212 352 25 55
E-mail:
info@mtnfilm.com

Metin Nayır
metin@mtnfilm.com

ESENLER:
Giyimkent , 7. Sok. No:23-25 34235 oruçreis / Esenler İstanbul / Turkey
Telefon:
+90 212 438 16 30
GSM:
+90 533 372 63 93
E-mail:
İbrahim Güler
ibrahim@mtnfilm.com
MTN Film © 2018