ALEXA 35, dijital sinematografiyi benzeri görülmemiş boyutlara taşıyan bir 4K Super 35 kameradır. ARRI’nin 12 yıllık ilk yeni sensörü, bu süre zarfında ALEXA ailesinin evrimi üzerine kuruludur ve 2.5 durak daha fazla dinamik aralık, film benzeri vurgu işleme, daha iyi düşük ışık performansı ve daha zengin renkler sunar.

Yeni REVEAL Color Science, sensörün görüntü kalitesinden tam olarak yararlanır ve hızlı, basit bir iş akışı sağlarken ARRI Textures, kamera içi yaratıcı kontrolü geliştirir. ALEXA 35 platformunu kolay kullanım, sağlam yapı kalitesi, yeni elektronik aksesuarlar ve eksiksiz yeni mekanik destek sistemi tamamlıyor.

Filmsel vurgu geçişi ile daha dinamik aralık

ALEXA 35, diğer tüm dijital sinema kameralarından çok daha fazla, 17 duraklı dinamik aralıkta (pozlama enlemi) ölçüm yapar. Film yapımcıları, önceki ALEXA kameralarına kıyasla parlak noktalarda 1,5 durak ve gölgelerde bir durak elde ederken, doğal, film benzeri vurgu geçişini korurlar. Gelişmiş kaçak ışık bastırma, her bir merceğin tam karakter ve kontrast aralığının yakalanmasını sağlar. Arttırılmış dinamik aralık ve kaçak ışık kontrolü birlikte, setteki her türlü aydınlatma koşulunun üstesinden gelmeyi kolaylaştırır, postta esnekliği artırır ve HDR (Yüksek Dinamik Aralık) projeleri için mümkün olan en iyi kaynağı sağlar.

Daha düşük gürültü ile EI 6400’e kadar daha fazla hassasiyet

EI 160 ile EI 6400 arasında değişen etkileyici derecede düşük gürültü ve hassasiyet ayarları, ALEXA 35’i bir “Yüksek ISO” kamera yapar. EI 2560 ve EI 6400 arasındaki ayarlara isteğe bağlı Gelişmiş Hassasiyet Modu uygulanarak düşük ışıkta daha düzgün bir görüntü elde edilebilir. Bu olağanüstü hassasiyet, daha geniş dinamik aralık ve daha gerçek kontrastla birleştiğinde, ALEXA 35’in daha geniş bir aralıktaki çekim koşullarında en hassas ışık ve gölge nüanslarını yakalamasını sağlar. Film yapımcıları, aşırı ISO değerlerinde bile herhangi bir gürültünün hoş bir şekilde film benzeri bir yapıya sahip olacağını bilerek, gerçek konumlarda mevcut ışıkla çalışabilirler.

Cesur tonlardan ince tonlara kadar daha doğru renkler

ALEXA 35’in yanında tanıtılan REVEAL Color Science, yeni sensörle birlikte kameranın daha ince ton farklılıklarıyla daha doğru renkler kaydetmesine yardımcı olan bir dizi görüntü işleme adımının ortak adıdır. Her tür ve renkteki cilt tonları, gurur verici, gerçeğe yakın bir şekilde işlenir. Neon tabelalar veya araba fren lambaları gibi son derece doygun renkler ve camgöbeği, bordo ve pastel tonlar gibi tipik olarak zorlayıcı renkler inanılmaz gerçekçilikle yakalanır. Genel olarak, gerçekçi renk doğruluğu ve sensörün şaşırtıcı çözünürlük gücü, güzel ve etkileyici görüntüler sağlar.

Daha yaratıcı kontrol. ARRI Textures – dijital film stoğunuzu seçin

ARRI Dokuları, görüntü yönetmenlerinin set üzerinde daha fazla yaratıcı kontrol uygulaması için yeni ve benzersiz bir yol sağlar. Doku, bir görüntüdeki gren miktarını ve karakterini ve ayrıca izleyici tarafından netlik olarak algılanan farklı ayrıntı seviyelerindeki kontrast miktarını tanımlar. . Önceki ALEXA kameraları varsayılan bir doku ile önceden programlanmıştı, ancak ALEXA 35 ile, belirli bir çekim ortamına uyacak veya görünümünüzü bilemek için gelişen özel ARRI Dokuları menüsünden seçim yapabilirsiniz. Bu, tıpkı bir film stoğu seçmek gibi, kameranın görüntüleri kaydetme şeklini temelden değiştirmenize olanak tanır.

Süper 35 sensörlü geniş lens seçeneği, 19 kayıt formatı

ALEXA 35, Super 35 4:3 doğal 4K sensörüyle, modern ve klasik, anamorfik ve küresel, Super 35 ve geniş formatlı mevcut lenslerin geniş küresel envanteriyle birlikte kullanılabilir. 4K gerekliliklerini yerine getirmek zorundayken ARRI kameralarla çekim yapmak isteyen film yapımcıları artık ölçülemeyecek kadar geniş bir lens seçeneğine sahipler.
Verimli kamera içi alt örnekleme ve anamorfik sıkıştırmayı bir araya getiren toplam 19 kayıt formatı, prodüksiyonların veri hızını, çözünürlüğü ve diğer parametreleri bireysel ihtiyaçlarına göre optimize etmesine olanak tanır. Karma Gerçeklik Prodüksiyonları (MRP), kameranın tüm ortak standartlarda lens meta verilerini kaydetme ve gerçek zamanlı meta verileri ARRI’nin Unreal Engine için Canlı Bağlantı Meta Veri Eklentisine çıkarma yeteneğinden faydalanacaktır.

Daha hızlı iş akışı, daha yüksek görüntü kalitesi

ARRI’nin film yapımcılarıyla yaptığı tartışmalar ve görüntü hattının dikkatli bir şekilde gözden geçirilmesi, önemli görüntü kalitesi geliştirmelerine ve daha hızlı, daha kolay bir iş akışına yol açtı. REVEAL Color Science, ALEXA 35 tarafından dahili olarak kullanılan ve aynı zamanda ARRIRAW işleme için önde gelen üçüncü taraf post prodüksiyon araçları aracılığıyla kullanılabilen yeni bir görüntü işleme adımları paketidir. Daha temiz birleştirme için geliştirilmiş bir debayering algoritması, daha doğru renk üretimi için yeni bir renk motoru, daha hızlı tonlama için yeni bir geniş gamut yerel renk alanı, artırılmış dinamik aralığı içeren yeni LogC4 kodlaması ve yeni LogC4 LUT’leri (Arama Tabloları) içerir. zenginleştirilmiş renk doğruluğu için.

Hızlı ve kullanımı kolay. Her şeyi yapabilen tek, sağlam bir kamera..

Arri Signature Prime

YAŞAM VE DUYGU DOLU ORGANIK GÖRÜNTÜLER 

ARRI Signature Prime Lensler; 18-21-25-29-35-40-47-58-75-95-125 mm

arasında değişen LF lens yuvasına uyumlu 11 adet geniş format lensten oluşuyor. Signature Prime lensler son teknoloji optik hassasiyetin örnekleri olup, geniş formatı doğal cilt tonları ve yumuşak bokeh (odak dışı bulanıklık) ile hafifçe yumuşatarak organik, duyguları uyandıran görüntüler sunmak için tasarlandı. Hızlı T1.8 T-stop değeri sığ alan derinliğini kolaylaştırıyor ve pürüzsüz odak azalması, nesnelere kare içerisinde daha vurgulu bir görünüm veriyor. 

Red Komodo 6K

SENSOR TYPE	KOMODO® 19.9 MP SUPER 35MM GLOBAL SHUTTER CMOS
EFFECTIVE PIXELS	6144 X 3240
SENSOR SIZE	27.03 MM X 14.26 MM (DIAGONAL: 30.56MM)
DYNAMIC RANGE	16+ STOPS
MOUNT TYPE	ACCEPTS 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 RATES	UP TO 280 MB/S USING RED PRO CFAST OR OTHER QUALIFIED CFAST 2.0 MEDIA CARDS
REDCODE® RAW MAX FRAME RATES	40 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® SETTINGS	REDCODE 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 PRORES	4K (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
CONSTRUCTION	ALUMINUM ALLOY
WEIGHT	2.10 LBS (WITHOUT BODY CAP AND CFAST CARD)
BATTERY TYPE	TWO SLOTS FOR BP-9XX SERIES BATTERIES
DC POWER INPUT	+7 TO +17 V DC VIA THE INTEGRATED 2-PIN DC-IN PORT
OPERATING TEMPERATURE	0°C TO 40°C (32°F TO 104°F)
STORAGE TEMPERATURE	–20°C TO 50°C (–4°F TO 122°F)
STORAGE RELATIVE HUMIDITY	0% TO 85% NON-CONDENSING
COLOR MANAGEMENT	IMAGE PROCESSING PIPELINE 2 (IPP2) SUPPORTS 33×33×33 3D LUTS SUPPORTS IMPORT OF CDLS
AUDIO	INTEGRATED 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 CONTROL	WIFI 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 OUTPUTS	INTEGRATED 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 OPTIONS	INTEGRATED 2.9″ 1440X1440 TOUCHSCREEN LCD WITH PREVIEW AND CAMERA CONTROL WIRELESS LIVE PREVIEW VIDEO FEED VIA 2.4GHZ/5GHZ WIFI FOR FRAMING
RED CONTROL	ACCESS 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 Boyutu	35.7 x 18.8 mm (Full-Frame)
Sensör Tipi	CMOS
Sensör Çözünürlüğü	Efektif: 3840 x 2160
ISO	800 ile 4000 (Native)
Gain	-3 ile 18 dB
Dinamik Aralık	15 Stop
Signal-to-Noise Ratio	57 dB

KAMERA

Lens Mount	Sony E-Mount- PL Mount Adapter
Shutter Speed	1/1 to 1/8000 sec
Dahili ND Filtre	4 ile 128 Stop Elektronik ND Filtre
Dahili Mikrofon Tipi	Mono
Kayıt Üniteleri	2 x XQD Kart Slotu 1 x SDXC/Memory Stick PRO Duo Hybrid Kart Slotu

DAHİLİ KAYIT

Kayıt Modları	XAVC-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 Curve	Sony S-Log 3
Ses Kaydı	XAVC: 4-Channel 24-Bit 48 kHz LPCM Audio Proxy: 2-Channel AAC Audio

ARAYÜZ

Video Bağlantıları	1 x BNC (12G-SDI) Output 1 x BNC (3G-SDI) Output 1 x HDMI (HDMI 2.0) Output
Ses Bağlantıları	2 x 3-Pin XLR Mic/Line Level (+48 V Phantom Power) Input 1 x 1/8″ / 3.5 mm Stereo Headphone Output
Diğer I/O	1 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 Arayüz	2.4 GHz, 5 GHz Wi-Fi

EVF

EVF	Dahili
EVF Ekran Tipi	LCD
Ekran Boyutu	3.5″
EVF Çözünürlüğü	2,760,000 Dots

GÜÇ

Batarya Tipi	Sony BP-U Serisi
Güç Girişi	1 x Barrel (19.5 VDC) Input
Güç Tüketimi	35.2 W

ÇEVRE FAKTÖRLERİ

Çalışma Sıcaklığı	32 ile 104°F / 0 ile 40°C
Muhafaza Sıcaklığı	-4 ile 140°F / -20 ile 60°C

GENEL

Aksesuar Bağlantısı	1 x Multi-Interface Shoe 1 x 1/4″-20 Female
Ölçüler	5.75 x 5.61 x 9.02″ / 146 x 142.5 x 229 mm
Ağırlık	4.4 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

Resolution	FPS
4096 x 2304	938
4096 x 2160	1,000
2048 x 1152	1,900
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 TYPE	HELIUM 35.4 Megapixel CMOS
EFFECTIVE PIXELS	8192 × 4320
SENSOR SIZE	29.90 mm × 15.77 mm (Diagonal: 33.80 mm)
DYNAMIC RANGE	16.5+ stops
MAX DATA RATES	Up to 300 MB/s using RED MINI-MAG (480GB & 960GB) Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)
MAX FRAME RATES	60 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 22:1	5:1 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 FORMATS	8K 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 PRORES	ProRes 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 CODECS	DNxHR 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
CONSTRUCTION	Aluminum Alloy
WEIGHT	3.35 lbs (BRAIN with Integrated Media Bay)
OPERATING TEMPERATURE	0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE	–20°C to 50°C (–4°F to 122°F)
RELATIVE HUMIDITY	0% to 85% non-condensing
COLOR MANAGEMENT	Supports 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
AUDIO	Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz
REMOTE CONTROL	Integrated R.C.P. WiFi antenna Ethernet, RS232, and GPI Trigger with DSMC2 expander module
MONITOR OUTPUTS	3G-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 OPTIONS	DSMC2® 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 FORMATS	4K: 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 COMPATIBILITY	Adobe Premiere Pro, AVID Media Composer, DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro

ATOMOS SUMO 19” 4K KAYITÇI

Weight
Without batteries, media & stand	5.45kg / 12.0lb
With stand	6.0kg / 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)
Construction	Aluminium alloy chassis with built in armor protection
Mounting Points	1/4-20 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 power	75W
Compatible batteries	V-Lock / Anton Bauer via XLR terminal (optional mounting plates available) 95Wh or larger recommended.
Input voltage (battery)	14.4V nominal
Battery time	Depends on Watt Hours specification of battery used
DC In	1 x DC in (12 – 16.8V)
Continuous power * Patent pending	Primary-secondary battery system. Change batteries without losing power Loop batteries continuously

Touchscreen
Size	19”
Resolution	1920 x 1200
PPI	120
Aspect ratio	16:9 native
Color Gamut	REC709 HDTV
Look up table (LUT) support	3D LUT (.cube format)
Anamorphic de-squeeze	2x, 1.5x, 1.33x, Panasonic 8:3
Technology	SuperAtom IPS panel (capacitive touch), calibration to Rec.709 with optional calibration unit

HDR
AtomHDR	Yes
Supported Log formats	Sony SLog2 / SLog3, Canon CLog / CLog 2, Arri Log C, Panasonic Vlog, JVC JLog, Red LogFilm, FujiFilm Flog
Supported Gamuts	Sony SGamut / SGamut3 / SGamut3.cine Canon Cinema / BT2020 / DCI P3 / DCI P3+ Panasonic V Gamut Arri Alexa Wide Gamut
Bit depth	10-bit (8+2 FRC)
Brightness	1200nit (+/- 10% @ center)
HDR input (PQ/HLG) HDR output (PQ/HLG)	Yes / Yes Yes / Yes

Video Input/Loop Out
HDMI	1 x HDMI (2.0)
SDI	Quad link 4 x 3G SDI* or up to 12G single link SDI
Signal	Uncompressed true 10-bit or 8-bit 422 (camera dependent)

Video Output (Play Out)
HDMI	1 x HDMI (2.0)
SDI	1x 4K-SDI 12G/6G or HD-SDI 3G/1.5G
Signal	Uncompressed true 10-bit or 8-bit 422 (playback file dependent)

Supported Loop Out Formats
HDMI to HDMI	720p 50/60, 1080i 50/60, 1080p 24/25/30/50/60/100/120 2160p 24/25/30/50/60
SDI to SDI	720p 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 SDI	720p 50/60, 1080i 50/60, 1080p 24/25/30/50/60/100/120/200*/240* 2160p 24/25/30/50/60
SDI to HDMI	720p 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 removal	24/25/30pSF > 24/25/30p (2:2 pulldown) 60i > 24p (3:2 pulldown)
4K UHD downscale for HD monitoring	Yes – Loop-out and playback (Not available in RAW)

Audio In/Out (48kHz PCM Audio)
HDMI	2 or 8ch 24-bit, camera dependent
SDI	12ch 48kHz 24-bit
Audio	2ch 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 Out	3.5mm
Built-in Speakers	Yes

Remote Start/Stop
HDMI	Auto HDMI Trigger Supported Protocols – Canon, Sony, Atomos Open Standard
SDI	SDI trigger camera selectable
Other	LANC control – Slave

Playback
Playlist / Genlock	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 files can playback. Playback in slow motion >= 100fps

Recording
Pre-roll record	Yes (HD 8s, 4K 2s)
Custom timelapse	Yes
Meta data tagging	Yes (10 tags available)
Supported media	2.5” SSD/HDD compatibility depends on recording format, resolution and frame rate. Visit atomos.com/drives for list of tested and approved drives
Master caddy case	Master Caddy II (included) 75mm x 105mm x 12mm
Master caddy dock	2.5” SATA to USB 2.0/3.0
Supported applications	Supported Applications FCPX/FCP7+ / Media Composer 5.0+ / Premiere 5.5+ EDIUS 6.0+ / Vegas Pro 10+ / Lightworks / Autodesk Smoke 2015
XML support	FCPX XML native, FCPX/Adobe limited supported with 3rd party conversion tools
Accessories included	Sumo 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 extras	Sunhood, VESA battery adapter plate, Atomos HDMI cable, X-Rite i1DisplayPro calibration
Warranty	1 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 & media	650g / 22.9oz
With batteries & media	1094g / 38.6oz
Dimensions (W x H x D mm)	214 x 127 x 45mm, 8.4 x 5 x 1.8”
Construction	High quality lightweight ABS Polycarbonate for durability & portability
	Built-in armor protection

Power
Operating power	10 – 24W
Compatible batteries	NP-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 In	1 x DC in (6.2 – 16.8V)
Continuous power ** Patent pending	Primary-secondary battery system Change batteries without losing power Loop batteries continuously

Touchscreen
Size	7.1”
Resolution	1920 x 1200
PPI	325
Aspect ratio	16:9 native
Color Gamut	REC709 HDTV
Look up table (LUT) support	3D LUT (.cube le format)
Anamorphic de-squeeze	2x, 1.5x, 1.33x, Panasonic 8:3
Technology	SuperAtom IPS panel (capacitive touch), calibration to Rec.709 with optional calibration unit

HDR
AtomHDR	Yes
Supported Log formats	Sony SLog2 / SLog3, Canon CLog / CLog 2, Arri Log C, Panasonic Vlog, JVC JLog, Red LogFilm, FujiFilm Flog
Supported Gamuts	Sony SGamut / SGamut3 / SGamut3.cine Canon Cinema / BT2020 / DCI P3 / DCI P3+ Panasonic V Gamut Arri Alexa Wide Gamut
Bit depth	10-bit (8+2 FRC)
Brightness	1500nit (+/- 10% @ center)
HDR input (PQ/HLG) HDR output (PQ/HLG)	Yes / Yes Yes / Yes

Video Input/Loop Out
HDMI	1 x HDMI (1.4b)
SDI	1x 4K-SDI 12G/6G or HD-SDI 3G/1.5G (SMPTE)
Signal	Uncompressed true 10-bit or 8-bit 422 (camera dependent)

Video Output (Play Out)
HDMI	1 x HDMI (1.4b)
SDI	1x 4K-SDI 12G/6G or HD-SDI 3G/1.5G
Signal	Uncompressed true 10-bit or 8-bit 422 (playback file dependent)

Supported Loop Out Formats
HDMI to HDMI	720p 50/60, 1080i 50/60, 1080p 24/25/30/50/60/120, 2160p 24/25/30
SDI to SDI	720p 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 SDI	720p 50/60, 1080i 50/60 1080p 24/25/30/50/60/120* 2160p 24/25/30
SDI to HDMI	720p 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 / DNxHR	Sony 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 removal	24/25/30pSF > 24/25/30p (2:2 pulldown) 60i > 24p (3:2 pulldown)
4K UHD downscale for HD monitoring	Yes – Loop-out and playback (Not available in RAW)

Audio In/Out (48kHz PCM Audio)
HDMI	2 or 8ch 24-bit, camera dependent
SDI	12ch 48kHz 24-bit
Audio	2ch balanced XLR analog in/out Dynamic range >90dB Max signal level +24dBu Max analog gain +52dB 48V Phantom Power for Mic

Remote Start/Stop
HDMI	Auto HDMI Trigger Supported Protocols – Canon, Sony, Atomos Open Standard
SDI	SDI trigger camera selectable
Other	LANC control – Slave

Playback
Playlist / Genlock / LTC	Yes / 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 record	Yes (HD 8s, 4K 2s)
Custom timelapse	Yes
Meta data tagging	Yes (10 tags available)
Supported media	2.5” SSD/HDD compatibility depends on recording format, resolution and frame rate. Visit atomos.com/drives for list of tested and approved drives
Master caddy case	Master Caddy II (included) 75mm x 105mm x 12mm
Master caddy dock	2.5” SATA to USB 2.0/3.0
Supported applications	FCPX/FCP7+ / Media Composer 5.0+ / Premiere 5.5+ EDIUS 6.0+ / Vegas Pro 10+ / Lightworks / Autodesk Smoke 2015
XML support	FCPX XML native, FCP7 supported with conversion (Adobe compatible)
Accessories included	Shogun Flame unit, Master Caddy II x 1, 12V-3A AC power supply, Breakout XLR cable
Optional extras	Accessory 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 TYPE	HELIUM 35.4 Megapixel CMOS
EFFECTIVE PIXELS	8192 × 4320
SENSOR SIZE	29.90 mm × 15.77 mm (Diagonal: 33.80 mm)
DYNAMIC RANGE	16.5+ stops
MAX DATA RATES	Up to 300 MB/s using RED MINI-MAG (480GB & 960GB) Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)
MAX FRAME RATES	60 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 22:1	5:1 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 FORMATS	8K 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 PRORES	ProRes 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 CODECS	DNxHR 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
CONSTRUCTION	Aluminum Alloy
WEIGHT	7.30 lbs (with Integrated Media Bay, PL Mount, and Gold Mount) 7.50 lbs (with Integrated Media Bay, PL Mount, and V-Lock)
OPERATING TEMPERATURE	0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE	–20°C to 50°C (–4°F to 122°F)
RELATIVE HUMIDITY	0% to 85% non-condensing
COLOR MANAGEMENT	Supports 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
AUDIO	Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz Integrated dual channel 5-pin XLR with preamplifiers, uncompressed, 24-bit 48 kHz
REMOTE CONTROL	External R.C.P. WiFi antenna with SMA connector Ethernet, RS232, and GPI Trigger
MONITOR OUTPUTS	3G-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 OPTIONS	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 FORMATS	4K: 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 COMPATIBILITY	Adobe 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 )