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Hey all. Happy holidays and happy new year. 2020 is now hindsight (thank god). First off, I have a lot of reverence for what you guys do. Many of you on this forum I'm a huge fan of, so it's an honor even in a small way to be writing this. So thanks for listening. Overwhelmed by choice overload. I tend to be a little too good at matching pros with cons and vice versa, so this amount of indecision (and the self-awareness about the indecision) has been difficult. Hence the need to reach out. I'll cut to the chase since I don't want to waste anybody's time. I'm looking to own a camera, thats what this is about. I've got enough $ to own a Komodo production kit with tax. I'll outline choices at the end. The purpose is for me to just feel empowered to get out and make films and work as a director / operator full time versus a owner / op who just rents his camera out to DP's other peoples stuff primarily. I do that for money occasionally the same way I color or edit or crew for people occasionally but my full step forward is towards going from one project to the next on my portfolio. Until then, here's a lot of ridiculous background and way too much information. I'm a filmmaker who prefers self-operating, but mainly for the intimacy and connection with the actors and for how it helps me concentrate, not because I consider myself a proper image-maker at heart, like I'm sure some of you do. My passion is mainly storytelling, not gear, though I'm well capable of digging into deep rabbit holes of technical details if it means getting exactly what I want when I want it. Background: age 25, Burbank-native, editor primarily (that's certainly where most of my superficial skills lie) I'm experienced in that I've made shorts since I was 10 years old. My first feature did get distributed by Gravitas and won a lot of awards - so I'm not totally untalented. But it was exhausting getting there. And in general, I hate the word "content" and have no intention of being a "content creator" at all, ever. Just want to keep telling stories in the way that feels truest to my heart, and make the strongest step forward. Life doesn't make a lot of sense when I'm not making films. And I need to make films right now. What's been hard is not having anything to express myself with. Like many of you, I'm relegated to primarily being at home, needing to channel energy. I've got stuff to shoot, I'm always writing and working with friends on writing films. I told myself I will just rent, that the entirety of hollywood infrastructure is built upon the idea that you don't own your own gear - that its better to just own lenses, which I still do. Logically, I still believe that. Emotionally though, whats been hard is not having that tool to express myself with. I know that theres an argument to be made for todays infrastructure being different from shooting 10 years ago, that being an owner operator now especially as a young person is fairly valuable. I also know its the story, performances, composition, movement, and lighting (in that order) that makes it, not the gear. Furthermore, Steve Yedlin's right. Camera's today are really just data collection tools. Even film cameras are glorified boxes the film goes through. I like being a colorist and relish the freedom it gives me. But its almost a separate part of my brain. The part of me on set thats connected to the actors and the story, that's the part I wanna grow. But still for me, film nearly always looks better. I have been fooled a few times, but only when they shot on anamorphic lenses. Linus Sandgren isn't wrong about the distortion of those being almost necessary in a twisted sort of way. His work, plus Maniac, 10 Cloverfield Lane, and a few others I find truly exceptional. If I'm to collect data, then the data I actually care about (which makes film superior) is the motion cadence of a global shutter, the ability to sandblast highlights and still have it look cool, and the ability to oversaturate or shoot in harshly oversaturated environments. That's the data set I'm looking for in a camera to own. Recently wrapped up a short on the Red Komodo which I made for an AFI application. Super happy with the image and versatility of R3D, which is inspiring in how it almost dares you to challenge it and push it to its limits. I love that you can beat the tar out of it in post and it never bands or splotches or falls apart. We even did a filmout from the R3D files to a 16mm sized portion of the negative at Fotokem, just to see how close Komodo could get to film, since its the first camera with films dynamic range and a global shutter. Astonished by the results - so much so I genuinely think I could film out everything I've ever done and get the best of both worlds (Most of my heroes are people who utilize the best of both, or create an invisible third option by kicking down the door) Still, something about shooting digital with that camera did not feel right to me. Could have been the stress of mounting COVID productions in general being a huge hassle, but also (while I appreciate lightweight cameras) I've never been a fan of feeling like I'm holding a DSLR. (Though BOY is it nice when you wanna shoot illegally. Had the Canon C70 existed before, my feature would have been completed considerably faster.) Tested the Varicam LT for the short first because that's been my favorite look on digital (perfect mixture of RED's cutting edge and Arri's painterly qualities) but weirdly, wasn't as good as Komodo, was heavy, and was bothered by the rolling shutter on that as well. Which was disappointing, because shooting 3200 iso in camera and NDing for exposure compensation is the closest I've seen to film grain yet. Plus Varicam colors are more Eterna than Vision3, and I'm definitely more of an Eterna guy. I've used lots of cameras, but owned only 2. HVX200 was the camera I learned on and in some ways it spoiled me. Got used to global shutter and undercranking & overcranking and timelapse photography and thick viewfinders and shooting to tape and it's been hard finding cameras that feel that level of satisfying. Owned a c100, but was never happy with it. Most of shooting my feature was about pushing that thing to its absolute limit in every conceivable way (to the point it stopped turning on altogether). After that, I owned the S1H for a bit, mainly because of my history with the HVX200 & how much I liked the Varicam. Sold it. Got WAY too into the whole idea of kitting it out to oblivion, trying to turn it into something its not - and became unhappy. Image was lovely but HATED the rolling shutter. Any readout 15ms or greater seems similar to the Haas effect in acoustics, where you don't truly perceive it until its in the 15ms to 30ms range. Though our eyes are way sharper (hehe) than our ears, so its probably more like 7ms or greater (at least for me). I've used lots of cameras, owned only a few. Mainly, the c100 Mark I, and the S1H for about 6 months. Unhappy with both. As badly as I want to like the EVA1, the image is beautiful, its the only camera I've ever used which actually enrages me ergonomically. That horrible plastic body and screen and clickless dial which makes menus impossible to navigate. Blackmagic is a fascinating player in the scene, and has the best menu system ever but I hate how every college kid or person my age uses them. I know you can color them to look however you want but I hate having to give myself so much to do, and I hate their lack of quality control. My choices so far have boiled down to these 3. I'm discounting options which I believe will be useless in 10 years. Komodo seems of all the new cameras to be the one best primed for the test of time, and the Alexas proven her stripes, and film, well, film is film. I want this to be (if at all possible) the last time I purchase a camera, at least for a decade. I also hate how every manufacturer uses the word FUTUREPROOF. 1. Red Komodo. Have the experience with it, love the image, and of course - the global shutter innovation makes it (to me) the most exciting digital camera in the world at any price level. I know people do get hired because of the Red bias, too, which is nice. Unless I get super creative though, it's gonna be forever till they actually get in stock. But: I can afford to get a decent run and gun kit, and after the initial charges, I'd never have to pay again to create, and I'd have the closest approximation to film motion cadence on a digital sensor. With that ND wheel from Kippertie it'll be great. Genuinely, I do feel its the ultimate tool for someone my age in the year 2020, if properly utilized (and yes, utilized in a way that's different from REDs design purpose). To me, it seems like Reds Mini. The Alexa Mini was a drone camera that became an A cam, too. I don't like having to lean down and look at that tiny screen, but part of me also feels this may help my compositions, and force concentration on framing better. I know I do function better with some limitations. All in all, I love the Komodo in spirit, mainly because it appeals to the more "fly by the seat of my pants" part of me, the one that believes in taking risks and stuff. The young punk, lol. 2. Alexa Classic. I don't need the resolution (2K's my favorite) and despite me hating the vanilla-ness of that choice - there is part of me that always thought, wouldn't it be cool to own that camera and really do some more extreme photography? Overexpose, underexpose, get grainy and nasty - i do have a little devil in there somewhere that feels he would enjoy that. Plus, its the standard. Menus are easy. Love the EVF. Much closer on paper to my experience with the HVX200 than the Red Komodo. Theres an appeal in that to me being that its the closest thing in digital to cutting out the bullshit. I've heard DP's articulate how that camera more than any other just allows them to focus on their creativity and their storytelling, and not worry about anything else. I do prefer the Varicam look over the Alexa, and the built in ND's. But the rolling shutter bugs me. And an LT is pretty hard to come by used. So a classic EV seems the most compelling option in the realm of "can't go wrong". But theres self-conciousness about wanting something so "safe" 3. Shoot film. My favorite look, the look I grew up on, is Super 16mm. I dream in 16mm, honestly. Specifically, the format from the 90s forward. Nearly all of my style comes in some way from Super 16mm or super grimy 35mm. Especially in 2020 with the advances in scanning I find the look to immediately be more like the 35mm of the 1970s. It's also the only format I've never seen any successful digital emulation of. Closest was operation avalanche. And that's because they actually filmed out, so it WAS 16mm. I know there's Arri SR's for decent prices, and CP16s, and Eclairs, and despite that essentially being a form of sinking myself into an endless money pit, buying into a dead technology, etc - I've also found more community talking to film people than any other group, and theres a general focus on creativity that seems harder to find in digital (though I know it exists). Only shot on a Bolex and a super 8 camera before so I'd be a huge noob. But I loved doing it. And unquestionably I know it would force me to grow the quickest. I'm attracted to the romance of it, and the idea of proving myself on it doesn't seem scary. What I know I'll miss is getting to do multiple takes with the actors, because I adore that experience of discovering things with them in the process, and not just shooting coverage. (BTW, I loathe coverage. I hate it. ) Nearly everyone I know tells me its a terrible idea to own a film camera and shoot on film. I can't logically disagree, but emotionally I've been torn. One of the best arguments I've ever heard for shooting film ironically came from Michael Cioni, talking about how film still is the only capture medium with a true 1:1 quality ratio (at least when captured correctly.) That idea of pure timelessness does quite a lot for me, but I'm very much not a believer in the sake of nostalgia for the sake of nostalgia. Filming out to a grainier portion of the intermediate stock looks more filmic than any filmout I've ever seen, and still preserves the spontaneity and magic of film, without any of the limitations or sacrifices. Especially if you shoot 35mm stills on set with the same lenses using Vision3 stock, you've got access (roughly) to the filmic color space that would be present on set, too, not just that of the final "patina" or "texture". Grain is grain, its cool but not everything. Color to me is everything. And for the record, while I'm on the subject of film, the only place digital always falls short for me is outdoors. Something about the harshness of the sun and the slightly blown highlights and halation that comes from shooting exteriors on film always feels like my own eyes. In LA too everything is always too sunny, I like how in film, theres almost that flickering red that you get in your eyes when you've looked at the sun too long, I love how film behaves a similar way. To me, so much expressiveness comes from being able to accurately capture the environment. I love how Elswit shot digital at night and film during day. If I could, I'd do that every day for every shoot, until a solution exists that trumps either of them in isolation. But again, too much wishful thinking doesn't do anyone any good. Anyone who made it this far, I'd love to know your unsanitized thoughts. There's no wrong answers, nor is there a perfect choice (as much as I'd like there to me). What I'm looking for is the right set of compromises, Thanks in any case for listening. Hope you're staying safe out there. Soren

Hi, I have been trying to read up on this but it seems I can't find anything. So forgive me if this has been answered before. How do you actually do the “mirror gag” much like I attached here. I know skyfall was big budget, so if the answer is just masking and blue screen I get it, but I do know there are quite a few that has done this practical. C

F.S. Blackmagic URSA Mini Pro 4.6K G2 Packages (Reduced) $5,900 Each. Buy two or more $5,500 Each.

ARRI ALEXA XT PLUS 4:3 FULL PACKAGE (Open Gate includes Codex XR Media Mags, EVF, Reader, More) S/N 8580 FS: Alexa XT Camera Package (Hours: Between 1000 and 2000 - will update on exact hours when returns from ARRI Blauvelt) Licenses: ARRIRAW, 16:9, 4:3 License Super Speed and Open Gate License High Speed License Media: (2) Codex 512GB Capture Drives XR (1) Codex USB 3.0 Capture Drive Dock Components: (2) Codex ARRI BPA-13 Bridge Plate Adapter, ARRI Bridge Plate Adapter, ARRI ALEXA Center Camera Handle, ARRI ALEXA Electronic Viewfinder EVF-1, ARRI Viewfinder Mounting Bracket (Tube), Anton Bauer Gold Mount Plate, ARRI Viewfinder Cross Pipe, ARRI Wedge Adapter WA-1, ARRI LB-1 Leveling Block, ARRI Alexa Shoulder Pad, ARRI ALEXA Cable 5P-XLR-M TO (Y) 2x3P-XLR-F, (1) 2-Pin ARRI Fischer to XLR Power Cable (3) EVF Cables, (2) 19mm 18" Metal Rods, (2) 15mm 12" Metal Rods, Tilta 12" ARRI Style Dovetail, ARRI EVF Extender, ALEXA XT Custom Case Price: $14,500

Recently serviced by Andree including syncing shutter timer and switching to 3-perf movement. Price $47K & shipping cost ARRICAM LT 3 and 4 perf movements (2) Shoulder Mags (2) Steadi Mags (2) 1000’ Studio Mags Studio Viewfinder Handheld Bracket Shoulder Pad Low Mode Bracket Heated Eyepiece + Cable Remote trigger + ext cable BP8 Riser Plate 1.85 GG

Alexa Mini Kits Available (2) 1. Hours 513 + ARRI Certified w/ Warranty (ARRIRAW, 4:3, Look Library) Price $ 52K 2. Hours 1,235 (ARRIRAW, 4:3, Look Library) Price $46K Includes Abel Cine Inspection Items below included with Body and MVF (2) ARRI MAP-1 (1) ARRI MAP-2 (2) ARRI MSB-1 (1) ARRI RMB-3 (1) ARRI CTH-1 (1) ARRI MVF Mounting Bracket (1) ARRI Gold Mount Plate (1) ARRI MVF Cable (3) SanDisk Extreme PRO 128GB CFast 2.0 Card (1) Pelican CFast Card Case (1) CFast 2.0 to USB-C Card Reader

Cooke S5/i Set Includes: 18/25/32/40/50/65/75/100mm Price $128K US

Email sales@broadcastsolutions.com for pricing and details. Arri 535B 4- Perf Kit Includes: 1- 535B Camera Body Serial 1- Ground Glass 535 1:78 TV (S) 1- Arri 24V Power Cable 1- Eyepiece Extension 535B 1- Eyepiece Leveler 2- 400’ Magazines 1- 1000’ Magazine 1- Bridge Plate 1- OB Monitor 1- CEI Color Video Assist 3- A&J Carrying Cases

Excellent low hours Helium Epic W. This kit was built for doc shooting, thus the modules approach and low profile. I love it. The custom side-mount for the 4.7" monitor hinges flat for transpo. Right side rail mount for clamping an on-camera mic to feed into the Teradek XLR2 module. Teradek Bolt 500 DSMC2 TX module for wireless video. Redvolts plus V-lock plate to balance it on the shoulder and hot-swap batts without interruption. I can sell the brain, partial kit or complete setup. All close to new, excellent condition. $12,000 Epic-W brain with PL or EF mount $14,000 Kit w Brain, 4.7 monitor, Volt module, V-lock battery plate, both PL and EF mounts $22,000 Full kit w DSMC2 Bolt 500 TX, SmallHD 703 Bolt 7" Director's RX monitor (still in factory plastic), XLR2, both PL and EF mounts, Two 512GB Red Mini-Mags, DSMC QR Platfor Pack with QR Shoulder Mount and 15mm Rod mounts solowiejs@gmail.com https://www.dropbox.com/s/9o3iin8c7beat3r/123049394_10224304493510538_4801605578702400541_o.jpg?dl=0 https://www.dropbox.com/s/f04t2tos3vccfvd/124167684_10224304490670467_3216872067309092113_o.jpg?dl=0 https://www.dropbox.com/s/4qf2ss50oedkn5a/124183624_10224304490230456_2523687879101577728_o.jpg?dl=0 https://www.dropbox.com/s/3xf8p0f7kf2h2xa/124110231_10224304490470462_9207346960063360336_o.jpg?dl=0 https://www.dropbox.com/s/pkatm89zq58xy1f/123712511_10224304493870547_2876820138763188057_o.jpg?dl=0 https://www.dropbox.com/s/dibm3o1hjq45mym/124041366_10224304493310533_8501629247583900452_o.jpg?dl=0 https://www.dropbox.com/s/oe9hzcf13qm07ou/124044889_10224304492830521_853627341996754089_o.jpg?dl=0 https://www.dropbox.com/s/hw79q9yhg6tddmo/124155465_10224304492630516_3269114347214498652_o.jpg?dl=0 https://www.dropbox.com/s/05lzv37e7aul1np/124213352_10224304492430511_5129753740276516163_o.jpg?dl=0 https://www.dropbox.com/s/dibm3o1hjq45mym/124041366_10224304493310533_8501629247583900452_o.jpg?dl=0 https://www.dropbox.com/s/uft36fehab2dzav/124108678_10224304494150554_71554543520687713_o.jpg?dl=0

Selling my Arri SR3 High Speed (150fps) super16 camera. The package comes with two HS 400ft magazines, eyepiece extension, base plate, "pig tail." 1.66 fiber optic groundglass (full aperture+safe.) Flight case. Extra AKS cable included (RS long cable, 3pin XLR power cable.) No batteries included with the package. The camera is clean and in good condition. Send me an email for more details and photos flarrondom@gmail.com Package is located in LA. Local pickup is preferred, but can ship at buyers expense.

Hello all! I'm a new member to this forum, I'm an undergrad student in LA and I recently wrapped shooting a new film just last week. One of the scenes I shot took place at an arcade, I was hoping to get feedback from other like-minded artists. What did you like? What are some things you would 've done differently in regards to lighting? If you have questions let me know! I'll be posting more stills in the coming weeks. Thanks. Link to stills https://imgur.com/a/hGzTWI2

Looking for an Alexa Mini Camera Package to purchase. Must be in the US. Please respond to sales@broadcastsolutions.com

Good Afternoon just wondering if anybody is interested in my Arri 535b Camera kit price £10k or would swap for a Aaton xtr prod outfit will send pictures if interested

Arri 535b super35 kit with 5 1000ft magazine 2 steady 400ft magazines long and short viewfinder power cable The camera in excellent condition looking for £10k or would be interested in a swap for a Aaton xtr prod camera outfit

Good Evening inquiring if anybody is interested in buying my Arri 535b Camera kit The Camera comes with 5 1000ft magazines 2 400ft steady magazines long eyepiece and short eyepiece power cable £10,000.00

F.S. Phantom Flex 2K 32GB Package $25K Package Includes: 1 x Phantom Flex 32GB HD Colour Digital Cinema Camera 1 x Sony Colour Viewfinder HDVF-C35W With Diopter adjustment. 2 x 512GB Cine Mag 1 x 10 Gbe Fibre Optical Cinestation 1 x Remote On/Off (Pickle Switch) For Flex 2.5K 1x Ethernet Cable, 1 x Power Cable, 1 x Remote Splitter Cable with 3 BNC connectors as pictured. 1 X Riser Plate for Phantom HD/Flex with Lens.

ARRI ALEXA MINI KIT $41,500 ALEXA Mini Body Hours-650 Look Library & 4:3 License MAP-2 x 2 MAP-1 x 1 CCH-2 BPA-4 MSB-1 MSB-2BAP-1 MVB-1 View Finder V-Mount Adapter Plate EF Mount PL Mount 2 x 256GB Cfast Cards 15mm Rails Wooden Camera A-Box Pelican 1620 Case Pelican 1020 Micro Case

I am looking to purchase an used Arri Amira, preferably in the USA, but open to International sellers. Looking to purchase within the coming weeks. Thank you

Hi again everyone. I'm trying to recreate this look in the image provided below. Its's only this 1 shot needed. How do you reckon they did this and what lens do you think it was on? (reference image is at 1:26 minute: I have done my own test using my directors viewfinder app (red helium 8k lens on a 32mm Master Prime). Using a DOF calculator I recorded the following info: *NOTE: These results are all factored off an F16 F-stop (results will vary if we have to open up obviously but I hope this gives everyone an idea). · 32mm lens - 14 cm from back of box is where focus will start (this area is OUT of focus) - 51 cm in distance from the red tape measurer to the bottle centre of (this is all IN focus) - 35 cm from bottle to the camera lens is out of focus (35cm is the close focus distance of the lens – and this area is OUT of focus) - ***27cm height will be seen at the back of box – so it is important the height is higher than this so we don’t see the top layer of the box / roof (30cm is acceptable but you can go a bit higher if you want) Do these results look accurate to you? Also im relying on that 51cm to be in clear focus and will have to light this pretty damn brightly to get there. Any thoughts on this. Thanks.

As always thank to anyone in advance who reads this and your generosity with sharing your opinions and experience. I am in the process of prepping for a particular shoot, one of which that I do not have any experience in the type of shooting, although I'm eager to learn. Basically, the job requires me to 1 shot of a small rodent being shipped in from abroad on a closed set in a studio. We are to film it inside a box with 30cm width and 100cm length; interior walls fully blacked out, and the box is filled with sand and a few elements of grass. In this box it will be able to move around freely and jump (the rodent can jump 12cm on each leap). I need to have a hole in the box for the lens. They need this to be captured in as high a frame rate as possible, however we are still concerned with subjecting the rodent to too much light which could potentially harm it. After speaking with the animal handler, he has told me the light the rodents are used to would be just a bit brighter than sunset, which is not great. This means 240 FPS is more than likely not an option but I would prefer not to go below 120 FPS (96 FPS is the minimum for sure). The shutter speed will have to be higher than the average for this also as the rodent I suspect moves and jumps quite fast. To add to this I will need a high F stop to capture the rodent in sharp focus to limit any soft shots (I am trying to get a focus puller on this job if budget will allow). So putting all these factors together it does seem I'm going to need to light this quite brightly , and if the animal care provider does not agree on the lux levels of the light I will have to sacrifice the F-Stop sharpness a but along with reducing the high frame rate. Now a few questions for anyone who may have some experience with filming animals in a studio in tight areas or in small mammal camera boxes: What lens/lenses would you suggest for capturing this creature? The client has requested they only need 1 shot, but I'm thinking if budget allows having a wider lens to capture the interior of the box and the rodent in a full shot, and then secondly a macro lens to hopefully capture an extreme close up as it jumps in mid air - poking the lens through the same hole just changing the lens (I'm thinking perhaps 2x Arri Master Primes as they are the sharpest lenses I have worked with before - suggestions are welcome on brand and especially suggestions on focal length? Its difficult to know this just going off a the 30cm width and 100cm length; I will only have access to the box the day before so will try to arrange a test even if its on my small Black Magic camera. Also any tips on if I should be thinking of using extenders or macroscopic lens adaptors for macro shots, or if I should indeed be looking mainly at macro lenses for this What cameras are recommendable? I personally am looking at the Red Helium as it has the option to record 2K in 240 FPS max and various other below frame rates, or the Arri Alexa Mini at 200FPS in 2K Pro Res. I originally actually thought of the Red Gemini as my research shows it performs best in low light situations, however this camera is not an option from my preferred rental house. Lighting: How can I light the rodent in the box? In my head there is 3 options - 1. Top of box is a netted material which will keep the rodent in and allow my light to shine through above it (any suggestions on material welcome) - 2. small LED's stuck to the interior top of the box - 3. A hole again through the box with a light shining though (although this means my lighting shape and direction can not change so quite limiting. ------ My first thought is to use an Arri M8 or M18 as the main light with a 45 degree back angle; Also putting in a small piece of white cloth on the interior of the box to get some light bounce back to fill in the front. (I'm lighting to make it look like a real sunlit setting). The M18 I will spot 50%. From my calculations 120 FPS at ISO 1200 with a shutter angle of 90 degrees at 50% spot would allow me to bring the F-Stop to 11 at a distance of roughly 5 metres. Now 5 metres for an M18 to the rodent may actually be to intense for the animal so an M8 may be more sufficient. Going by Arri's photometrics the majority of their lights are recommended to be kept at a safe distance of at least 5 metres but I assume that is not intended to mean for rodent size. Would be interested to hear if anyone has a solution for this in terms of using a different light or managing to put the light through the hole but at distance without leaving a gap in the box. I have to make sure the rodent is not affected by the heat or burned so I have been thinking going LED if I could get enough light in there for my frame rate. Any need for a Focus Puller? Normally I would of course want this crew member on board, but the budget is so tight right now and the nature of the shoot makes me wonder if their services would be void when regarding the speed and uncertainty if the animal. F11 should keep this sharp in my opinion, but again not doing this shoot kind of shoot would appreciate your opinions. I have attached 2 reference pictures of for the shoot. It is screenshots of the same type of shoot filming a gerbil in a confined space. Notice the hot slash of light across the sand, that is pretty much what I am going for. I am also trying to get the same focal length if anyone has suggestions on what this could be. I will have some pictures soon of what the box will look like so I will share that too. Any experience or suggestions is seriously welcomed so please let me know your thoughts or any questions you might have. Thanks so much.

Hi I just recently purchased an arriflex 16st, it works amazing. it has a mag with zoom lens. I’m new to using this camera. Does anyone know how to use shutter and aperture. Also is their any places to find accessories.

F.S. Alexa Mini Kit. 4014 Hours. Includes 4:3 & RAW License. $31,000.

What are people's thoughts on the Kinefinity Mavo Edge that was just announced recently? https://www.newsshooter.com/2020/04/27/kinefinity-mavo-edge-8k-internal-prores-raw-recording/ I've never seen a Kinefinity camera in the wild personally, but specs-wise this thing is just incredible. It's practically everything I've been asking manufacturers for, for years (and a number of cool things that would never have occurred to me): Unibody design (but still tiny) Internal NDs that allow for precision in exposure (so no big 2-3 stop jumps in density) this is a HUGE time saver All the Prores flavours/framerates + all the downsampling options you could want Internal scratch mic (for audio sync) A couple of different compression options for the raw recording Affordable media (though you'll want to stick with Samsung "PRO" NVMEs for the MLC Nand - to deal with continuous 8k recording) Integrated V-mount plate (so you're not having to worry about power cables as a point of failure/snag point) The added option of integrated BP-U batteries will be terrific for times you need to jam the camera on a car's dashboard (or similar tight spots) TRUE 12-bit 4k 4:4:4 RGB recording, downsampled from 8k (I'm pretty sure this is the first camera to ever offer this) Clear manual controls, and control screen (I don't know what Kinefinity menus are like, but if most of the essentials can be adjusted from the main screen, life should be fairly easy). True flexibility in sensor windowing and squeeze ratios (like the Mini LF), so that whatever image format, aspect ratio, lens type, anamorphic squeeze, or final deliverable you're working to - you can set it in camera, and don't have to rely on bringing in specific external monitors that have the controls you need. Good variable framerates Built-in power outputs, so you don't have to be adding additional power plates just to get your basic accessories running. Enough monitoring outputs to make life easy Dual Base ISO Two proprietary video outputs (for running a Kinefinity EVF and Monitor at the same time) - TAKE NOTE CANON! A "Lens" cable port at the front (which I'm hoping is going to be capable of powering FIZ motors (and not just conventional servo motors). This could allow for a SUPER-tidy camera build with RF-integrated motors like the Cforce Mini RF. A super-easy, super-flexible base lens mount, that can be adapted to basically anything you need/want Extremely fast sensor readout, for minimal jello skew. I keep trying to think of what else I'd want to add to a camera, or a physical build-layout that I'd prefer, and I keep coming up blank. 12G-SDI ports for 4k external monitoring would be nice (not that we have 4k monitors on-set very often), and an integrated EVF/Monitor like the Arri's new one for the Mini LF (so the operator can instantly move between the two) also comes to mind (and that's certainly an accessory that Kinefinity could build down the line). But that's about it. The camera simply sounds pretty much perfect for my needs. The one spec question I do still have is boot-up time. The Sony Venice and Canon C500ii (with their 4-5 second boot times) have really set the standard here. So I've got fingers-crossed the Edge can manage sub-10 seconds at least. Warranty repairs/support is a concern (I'm in Australia and I don't know what the Kinefinity situation is like down here). Image-wise, I've seen gorgeous stuff produced on the Mavo LF, so I suspect this will do fine on that front. The Mavo LF's highlights do seem to clip a little harshly, but that's about the only imaging concern I have at the moment, they seem to have found a really nice space for themselves in terms of their colour science. What an incredibly exciting camera. I no that no Producer is ever going to ask for it (which is a serious concern), but I can see this camera genuinely making my life on set easier (and allowing me to make my days faster). And that's a big deal. What do you think?

Sniper Package $6000 MK3 Laser & Display paired and with newest firmware Smoke Iris 17 Degree Lens 5 Degree Lens Optical Flat P&T Bracket Noga Arm 5 Batteries 2 Chargers Power Cables 1 P-tap to 2 pin coiled 1 3-pin to 2-pin coiled 1 straight 3-pin to straight 2-pin 36” 1 straight 3-pin to 90 degree 2-pin 36” Preston MDR interface cables 1 short 90 degree to straight 16” 1 long 90 degree to straight 36” 1 long 90 degree to 90 degree 36” 1 Display Cable 36” Manual $6000 , shipping included in price, if purchased in the Continental US

Very low hour Alexa Classic package in great condition. 1430 hours with Highspeed and Anamorphic licenses Kit includes: - 2 short EVF Cables - 2 Long EVF Cables - EVF extension bracket - Top Handle w/ extension piece - Anton Bauer battery plate - Shoulder pad - 19mm BP-12 bridge plate |- 19mm rails - BPA-2 bracket - WA-1 bracket - Leveling block - (3) Female 2-pin Fischer to 3-pin male XLR power cables - AC power supply (24 Volt) - (1) Male 5-pin XLR Splitter to 2 female 3-pin XLR - Wooden Camera A-Box - (2) Sony SxS 32GB cards - (1) Sony SxS 64GB card - Sonnet SxS card reader w/ thunderbolt cable - Black Innerspace case Asking $6500