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Showing results for tags 'Camera'.
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Looking for an Arri Amira package in a decent shape and with reasonable hours! (Will buy off your extras too!) Shoot me an e-mail if you got one: boson.wang3@gmail.com
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Hey All, I have an upcoming shoot that is going to require quite a bit of camera marks (Jib moves back and forth, Sticks move in and out, etc...). Would anyone be able to recommend some decent marks that would work well with artificial turf (I think standard paper tape would peel easily). Anything like temp spray/chalk that I could buy local from Los Angeles (like EVS, Filmtools or Birns)? Any input on this topic would be highly appreciated. Thanks! Chad
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Hi Guys, Just looking to confirm some Sony F5 sensor size and lens crop factor. Sony F5 = Super 35mm sensor Super 35mm Crop Factor 1.5 So an 18mm lens on an F5 or any Super 35mm equivalent sensor is more like a 12mm lens? As 18 / 1.5 = 12 Is this correct? Thanks Steve
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Hello all, I'm in the market for a super 16mm camera package. I've seen an SR3 highspeed at Visual Products but it is slightly over my budget (it's 8500$) Interested in seeing your super 16 cameras if you have one! Thanks -William
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Panavision’s Millennium DXL2 8K camera makes its Cine Gear Expo debut on June 1-2 at The Studios at Paramount in Los Angeles. The premier, large-format camera with a new post-centric firmware upgrade will be showcased at the Panavision booth (#S102) in Stage 17, along with four new large-format lens sets, a DXL-inspired accessories kit for RED DSMC2 cameras, and a preview of custom advancements in filter technology. “Millennium DXL2 is the cornerstone of an ever-evolving ecosystem that is designed to improve creative control across every department,” says Michael Cioni, senior vice president of Innovation at Panavision and Light Iron. “By combining the company’s expertise in optics, filters, color science, and post production with strategic partner integrations, we are able to offer filmmakers an entirely fresh image and workflow that is only available within DXL’s ecosystem.” DXL2 incorporates technological advancements based on professional input from acclaimed cinematographers, camera assistants, and post production groups. The camera offers 16 stops of dynamic range with unmatched shadow detail, a native ISO setting of 1600, and 12-bit ProRes XQ up to 120fps. New to the DXL2 is version 1.0 of a directly editable (D2E) workflow. D2E gives DITs wireless LUT and CDL look control and records all color metadata into camera-generated proxy files for instant and render-free dailies. DXL2, which is available to rent worldwide, also incorporates an updated color profile, Light Iron Color 2 (LiColor2). This latest color science provides cinematographers and DITs with a film-inspired tonal look that makes the DXL2 feel more cinematic and less digital. Panavision, renowned for its full line of top-quality optics, will also showcase the company’s large-format spherical and anamorphic lenses. Four new large-format lens sets will be on display, giving Expo attendees the unique opportunity to preview upcoming, innovative glass options: Primo X is the first cinema lens specially designed for use on drones and gimbals. They are fully sealed, weather proof, and counterbalanced to be aerodynamic, and able to easily maintain a proper center of gravity. Primo X lenses come in two primes – 14mm (T3.1) and 24mm (T1.6) – and one 24-70mm zoom (T2.8). Available in 2019. H Series is a traditionally designed spherical lens set with a glamorous, rounded, soft roll-off, giving a pleasing tonal quality to the skin. Created with true vintage glass and coating, these lenses offer slightly elevated blacks for softer contrast. High speeds separate subject and background with a smooth edge transition, allowing subject to appear naturally placed within the depth of the image. Available now. PanaSpeed is a large-format update of the classic Primo look. At T1.4, PanaSpeed will be the fastest large-format lens option available on the market. Available in Q3 2018. Ultra Vista is a series of large-format anamorphic optics. Using a custom 1.6x squeeze, Ultra Vista covers the full height of the 8K sensor in the DXL and presents an ultra-widescreen 2.76:1 aspect ratio along with a classic elliptical bokeh and Panavision horizontal flare. Available in 2019. Panavision will also be unveiling cinema’s first dynamically adjustable liquid crystal neutral density (LCND) filter. LCND instantly adjusts up to six individual stops with a single click or ramp – a significant departure from traditional approaches to front-of-lens filters, which require carrying a set and manually swapping individual NDs based on changing light. LCND starts at 0.3 and goes through 0.6, 0.9, 1.2, 1.5, to 1.8. Available in 2019. Following up on the success of DXL1 and DXL2, Panavision is launching the latest in its cinema line-up by showcasing the newly created DXL-M accessory kit. Designed to work with RED DSMC2 cameras, DXL-M marries the quality and performance of DXL with the smaller size and weight of the DSMC2. DXL-M brings popular features of DXL to RED MONSTRO, GEMINI, and HELIUM sensors, such as the DXL menu system (via an app for the iPhone), LiColor2, motorized lenses, wireless timecode (ACN), and the Primo HDR viewfinder. Available in Q4 2018. Light Iron and LEE Filters can also be found at the Panavision booth. -
RED Digital Cinema is advancing its product portfolio of high-quality cameras and sensors with a focus on simplicity, price and quality for customers. Beginning today, RED’s camera line-up will be modified to include one DSMC2 camera BRAIN with three sensor options - MONSTRO 8K VV, HELIUM 8K S35 and GEMINI 5K S35. The single DSMC2 camera BRAIN includes high-end frame rates and data rates regardless of the sensor chosen and, in addition to this new value, the streamlined approach will result in a price reduction compared to RED’s previous camera line-up. “RED was founded with the desire to democratize the digital cinema camera industry by making trailblazing technology accessible to shooters everywhere,” said Jarred Land, President of RED Digital Cinema. “And that mission has never changed. With that in mind, we have been working tirelessly to become more efficient, as well as align with strategic manufacturing partners to optimize our supply chain. As a result, today I am happy to announce a simplification of our lineup with a single DSMC2 brain with multiple sensor options, as well as an overall reduction on our pricing.” RED’s DSMC2 camera BRAIN is a modular system that allows a shooter to configure a fully operational camera setup to meet their individual needs. RED offers a range of accessories including display and control functionality, Input/Output modules, mounting equipment, and methods of powering the camera. The DSMC2 camera BRAIN is capable of up to 60 frames per second at 8K, offers 300 MB/s data transfer speeds and simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHD/HR. The RED DSMC2 camera BRAIN paired with each of RED’s sensor options provides the ultimate blend of flexibility and performance. · DSMC2 with MONSTRO 8K VV offers cinematic full frame lens coverage, produces ultra-detailed 35.4 megapixel stills, and delivers 17+ stops of dynamic range for $54,500. · DSMC2 with HELIUM 8K S35 is the recipient of the highest DxO score ever, delivers 16.5+ stops of dynamic range in a Super 35 frame, and is available now for $24,500. · DSMC2 with GEMINI 5K S35 leverages dual sensitivity modes to provide creators with greater flexibility using standard mode for well-lit conditions or low light mode for darker environments priced at $19,500. RED will begin to phase out offering new sales of its EPIC-W and WEAPON camera BRAINs immediately. In addition to the changes to the camera line-up, RED will also begin offering new upgrade paths for customers looking to move from older RED camera systems or from one sensor to another. The full range of upgrade options can be found here. “We would not be where we are today without the continued support of our customers,” continues Land. “And after having many conversations with a wide range of those customers, now is also the perfect time to announce our latest loyalty programs to give them the opportunity to upgrade to the latest RED technology."
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Selling my Blackmagic Ursa 4.6K EF bought 15 months ago in Prague official dealer Syntex.cz package which includes: Blackmagic Design Ursa Mini 4.6K EF original Blackmagic Shoulder Kit original Blackmagic Viewfinder original Blackmagic VLock Battery Plate 2x Transcend CFX650 128GB CFast 2.0 Lexar CFast memory card reader 2x Rolux 160Wh battery Rolux battery charger Sony VTC-14 style camera plate - unbranded SmallRig rossete cheeseplate 2x carbon rods 1620 Pelicase I ask 6500,- USD Dropbox file with pictures: https://www.dropbox.com/sh/rtxgypjmk9a3uhg/AACxc9iwzFiLVFmdM5_l2y0la?dl=0 Camera is currenty sitting in Prague Czech republic and I am willing to sell it woldwide. Ask me for more information or Dng from camera
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2x Alexa Mini packages, identical $64,500 each ArriRaw License 4:3 License PL LDS mount Mini Viewfinder Viewfinder mounting Bracket Adapter Plate MAP-1 CPL Baseplate MAP-2 CPL Side Brackets MSB-1 Bridge Plate Adapter BP-4 Rod mounting bracket RMB-3 15mm reduction insert x2 Center Camera Handle Support rods 340mm (13.4”) 15mm BAP-1 Battery plate Cage Top Handle Camera Shoulder Pad Low bracket for CSP-1 Ethernet/RJ-45 Cable KC 153-S Power Cable Straight KC-50 Mini to MVF-1 cable 0.75m Arri BP-9 12” Dovetail Arri 2x 17” Rods 5x128gb Cfast Cards SanDisk Pro Cfast Reader w/USB cable 4xIDX CUE-D150 on board batteries 1 IDX VL Quad Charger w/ac cord WC D-Box w/IDX plate Rod mounting bracket Mounting Plate w/adjustable rotation Power Cable WC A-Box w/bushing carson.lori61@gmail.com 805-217-3551
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Hi all, I'm looking to shoot a short film on 16mm in the near future, and was hoping for some recommendations of cameras to look into. Bearing in mind that I have to consider other aspects of the shoot, including lenses, I'm willing to pay around £1000. Some features I'm looking for are: Consistency in registration - one thing I've learned from watching various tests is that the results of a given film stock can range from professional to unusable depending on the precision of camera movements. Sync sound - I'm not worried about the volume of the camera itself, since I'll most likely dub dialogue after filming, but I was hoping to use a simple field recorder on set to make the dubbing process easier. Obviously this won't work if there is too much frame rate deviation. Ability to hand hold/shoulder mount. Ease of maintenance - considering that I'll be investing quite a bit of time and money into this project, I'd like to have any second hand gear checked over by a technician without too much cost/hassle. So far, the Eclair NPR is looking like the best bet, but I'd appreciate any other suggestions.
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Hi all, I'm going to be shooting a short film in the very near future on the Sony FS5. The Camera only comes with a kit lens, so I was wondering whether it was worth sourcing another lens to work with. I know friend's have pretty pricey Canon lenses, but I'm unsure whether these would be better or worse. The film is going to be shot mostly outside on location, shots of buildings and streets etc. If anyone has ideas, let me know. Thanks.
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WTB ARRI 416 Package Please reach out with any leads. Thanks in advance! Cale Nichols calenichols@live.com 310-422-3568 www.calenichols.com
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Panavision, the motion picture industry’s most respected designer, manufacturer and provider of state-of-the-art cinema lenses, high-precision camera systems and innovative post production technologies, will showcase its Millennium DXL2 8K camera at the National Association of Broadcasters (NAB) Show, which runs April 7-12 in Las Vegas. Technology leaders from Panavision and its subsidiary Light Iron will also share their vision and expertise during panel discussions throughout the conference. The DXL2 is the evolution of a unique camera ecosystem, built by Panavision based on the input of cinematographers whose feedback contributed to the DXL2’s many significant advances. Introduced in February, the DXL2 features a RED MONSTRO 8K VV sensor with 16-plus stops of dynamic range, improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using new Light Iron Color 2 science (LiColor2), which streamlines the 8K pipeline and provides quick access to high-quality RAW images. Additional features to the DXL2 include a custom-made, integrated PX-Pro color spectrum filter offering a significant increase in color separation and dramatically higher color precision to the image; a built-in Preston MDR; 24v power; and expanded direct-to-edit features. Hands-on demonstrations of the DXL2 will take place at the Vitec booth (C6025) and at Vitec Creative Solutions (C9544). NAB attendees also have a chance to hear directly from the experts and designers behind Panavision’s cameras and lenses, and post production innovator Light Iron. Several discussions will take place at the Las Vegas Convention Center (unless otherwise noted), including: Avid Customer Association Technology Open Forum Light Iron Panel Participant Jeff Sengpiehl, VP of Engineering Friday, April 6, 4:45-5:30pm Location: Avid Connect (pre-NAB conference) Wynn Las Vegas Conference Center 3131 South Las Vegas Boulevard HDR Varicam Workflow for Netflix’s The Week Of Light Iron Panel Participant Katie Fellion, Head of Business Development & Workflow Strategy Monday, April 9, 12:30-1pm Location: Panasonic booth (C3607) Made in Georgia: Shaking up the Film and Digital Media Production Landscape Panel moderated by Clark Cofer, Director of Business Development, Light Iron Monday, April 9, 3:30-4:30pm Location: S222-S223 Venice HDR Creative and Workflow for #PictureDay Music Video Panavision/Light Iron Panel Participant Michael Cioni, Sr. VP of Innovation Tuesday, April 10, 1-1:30pm Location: Sony booth (C11001) The Media Archivist vs. Entropy, or, Why On-Set Data Verification is Really Important Presented by Keenan Mock, Senior Media Archivist, Light Iron Tuesday, April 10, 3-3:20pm Location: LumaForge’s “Faster, Together” Stage (S112LMR) The Future of 8K Presented by Michael Cioni, Sr. VP of Innovation Panavision and Light Iron Wednesday, April 11, 10-10:20am Location: LumaForge’s “Faster, Together” Stage (S112LMR) Understanding Full Frame Cameras & Lenses Panavision Panel Participant Guy McVicker, Manager, Technical Marketing & Optics Wednesday, April 11, 2:00-3:15pm Location: Post Production World session (N231) For more information about the Panavision Millennium DXL2, visit www.panavision.com/dxl. For more information about Light Iron, visit www.lightiron.com
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Arri Amira Premium 4K $33,950 Certified by Arri Hours:1488 Certified by Arri MVF-1 Viewfinder PL Mount EF mount Vmount adaptor Gold Mount Adapter Wedge plate adapter 4x 120gb Cfast Card Cfast Card Reader x2 Mic adapter bracket Shoulder belt adapter Power Cable Bridge plate adapter Cineplate set Quick Release plate USB Stick Hirose Lens cable short VF cable short Viewfinder cable adapter Case Vmount adapter BP-9 brigeplate set 15mm carson.lori61@gmail.com
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Hi all, I was recently introduced to the wide range of image profile (dynamic range) options on industry cameras. I understand that a low dynamic range gives you less tonal range and high gives you higher, but under what circumstances would you want a lower dynamic range versus higher? I was also told that you have to be an experienced colour grader to shoot high dynamic range, can anyone shed light on this? Thanks.
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Please email pricing and details to sales@broadcastsolutions.com. Looking For : (Preowned) To Purchase Arri/Zeiss Master Prime Lens Set Arri 416 Film Kits Arri LWS For SR Camera Phantom Flex 4K 128GB Package Phantom Miro Camera Package Arri Ultra Prime Lenses Cooke Anamorphic Lenses Canon K35 Lenses Canon HJ14ex:4:3 Lenses Angenieux Optimo 45-120 Lens Angenieux Optimo 30-80 Lens Zeiss Classic ZF.2 Distagons in F Mount
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Email sales@broadcastsolutions.com for pricing and details. For Sale (PRE-OWNED) : CAMERAS: Arri Alexa SXT Plus Camera Package Arri Alexa SXT EV Camera Package Arri Alexa Mini Camera Package Includes License 4:3 & ArriRaw Arri Alexa XT Camera Package Arri Amira 4K Premium Camera Package Phantom Flex 4K 64GB Camera Package Sony F55 Camera Package CINEMA LENSES: Arri/Zeiss Master Prime Lens Set Includes: 18/25/35/50/75mm Canon K35 Lens Set Includes:18/24/35/55/85mm Cooke Panchro Lens Set Includes:18/25/32/40/50/75mm Cooke S4/i Mini Lens Set Includes:18/25/32/50/75/100mm Angenieux Optimo 17-80mm Zoom Lens Arri/Fuji Alura 45-250 Lens Arri/Fuji Alura 18-80 Lens Canon 17-120mm Cine-Servo Lens CAMERA SUPPORT: Qty.-2 Vinten Quartz 2 Stage Pedestals w/Vector 900 Heads CAMERA ACCESSORIES: Preston HU3 Hand Controllers Heden Motors M26VE & M21VE
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Hey everyone! Wanted to open up a discussion of the subliminal effects on an audience/contrasted moods that are conveyed in a push in versus a pull out. I've been thinking a lot about them lately, and of course there's the typical application of these shots opening/ending scenes in a very traditional matter. What does everyone think about these shots from a mood building and emotional point of view?
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WTB UNDER £1200 Graduate in the summer and would like to shoot my own film on 16mm. Preferably looking for a bolex sbm or rex 5 but don't mind as long as it's reliable! Based in Newcastle/London and willing to travel. Thanks
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Hi everyone, I'm currently preparing for a music video. A couple of scenes will need a misty dreamlike look to it (example down below)? I understand old glass is the best to get this look, but I would like to know the different type that I could rent. I currently live in the UK wanted to know the most accessible filter and lenses needed to provide an image like this? Thank you for Reading Christopher
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Fuji 25-300 Arri Alura 18-80 Arri Alura 45-250 Email sales@broadcastsolutions with pricing and details.
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For the purposes of future testing for a project, I would like to get some opinions on the various characteristics of some Super 16mm primes. Flares, bokeh, sharpness, contrast, color temperature, the works. Lenses in particular I would appreciate information on are... Zeiss Super Speed Mk 1 Zeiss Super Speed Mk 2 Optar Illumina s16 Cinema Products Ultra T Any other prime sets that have both 16mm & 25mm focal lengths. I'm really only interested in prime lens sets, no single primes like the Angenieux 5.9mm or any zoom lenses. -
Panavision (Stand 502) is introducing the new Millennium DXL2 8K camera here at BSC Expo 2018, running Feb. 2-3 at Battersea Evolution. The large-format camera is the heart of a complete imaging ecosystem designed from filmmakers’ perspectives, seamlessly incorporating Panavision’s unmatched optics and camera architecture, the RED MONSTRO 8K VV sensor, and Light Iron color2 science (LiColor2). The DXL2 builds on the success of the Millennium DXL and benefits from Panavision’s unique and storied partnership with cinematographers, whose real-world experience and input are manifested in the DXL2’s many significant advances. “The Millennium DXL2 8K camera system was conceived with the goal of maximum creative control from the moment of capture through delivery and display,” says Michael Cioni, senior VP of Innovation at Panavision and Light Iron. “Panavision’s vast inventory of advanced large-format and anamorphic optics combined with RED’s MONSTRO imager expands what’s possible, allowing filmmakers to create radically inventive and powerfully cinematic images, customized for the needs of the project and the vision of creative teams.” As a camera and lens manufacturer that also serves filmmakers as a trusted rental house, Panavision is uniquely positioned to respond to the needs of the community. Since its introduction, the DXL has been used on over 20 feature films, and countless television shows, commercials and music videos. Oscar® nominee John Schwartzman, ASC photographed two features on the DXL and is among those who have tested the DXL2, providing input that has guided the design. Schwartzman says, “When you take an 8K image and super-sample it, it only gets better. It’s absolutely beautiful to look at. For me, the Millennium DXL2 is a no-brainer. It’s something I would use on anything. It does it all. And in fact, I’m currently planning to shoot my next feature with it.” The RED MONSTRO 8K VV sensor in the DXL2 offers a healthy 16-plus stops of dynamic range with improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using Light Iron color science. An integrated PX-Pro color spectrum filter custom-made for the DXL offers a significant increase in color separation and dramatically higher color precision to the image. Built-in Preston MDR, 24v power and expanded direct-to-edit features are also standard equipment on the DXL2. An anamorphic flare attachment (AFA) offers a convenient, controllable method of introducing flare with spherical lenses. New to the DXL2, LiColor2 streamlines the 8K pipeline, smoothly handling the workflow and offering convenient and quick access to high-quality RAW images, accommodating direct to edit without delays. “We are proud to provide an ecosystem of tools that gives filmmakers more choices to express their vision,” adds Panavision CEO and President Kim Snyder. “We have been listening to feedback from cinematographers and the results of our collaboration are directly manifested in the DXL2. We remain committed to continuous technological development and are excited to bring this new camera to market.” The Millennium DXL2 will be presented at the Panavision booth (Stand 502) alongside a showcase of the company’s large-format and anamorphic optics, as well as the latest products and solutions from Panalux, Light Iron and Panavision Grip and Remote Systems. Also at BSC Expo, Panavision presents “The Beauty of Large Format 8K” at 14:00 on Feb. 2 in the seminar room. The session will offer a preliminary introduction to the DXL2 while taking a deep dive into the relationship between resolution and large-format optics. Cioni will guide the discussion and present clips that demonstrate the benefits of 8K capture and how ultra-high resolution equates to creative control with smoother imagery. DXL2 cameras are available now to rent exclusively from Panavision on a worldwide basis. For more information, visit www.panavision.com/dxl.
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I'm shooting a short action film in a few weeks, and we're looking to rent an EasyRig of some sort for smooth, handheld shots for the big fight scene. We're shooting this day on the Arri Alexa XT with Cooke mini S4 lenses. We have a choice of renting either an EasyRig Cinema 3500 N kit, or an EasyRig Vario 5 with Gimbal Rig Vest and 5" Extended Arm. I've never worked with an EasyRig before, so I'm looking for any pointers, as well as advice on which to get, if either would be better for shooting with a. larger camera system like the Alexa or what. I know the Vario 5 is intended for use with gimbal systems, and we are not using a Gimbal. Both EasyRigs are the same price, so is there any benefit to one over the other, for heavier cameras? A little about the film-the scene we're looking to shoot with the EasyRig setup is a swordfight, the plan is for it to be shot handheld, so that we can get different takes with different movement quickly. We will have a mix of low, high, close-up, and wide shots. Any advice appreciated, especially if you have any guidance for how to best work with EasyRigs! Thanks!
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Hi Everyone! I am selling my Preston FIZ3 3 channel remote focus kit. I have owned this for the past couple of years. And it has always been used only by myself, It has never been dry hired. It has worked flawlessly through that time and I have never had an issue with this reliable kit. I purchased this as a Preston FIZ II Kit, but upgraded it to the FIZ3 handset and also sent the MDR back to PCS to get the Blue dot G4 upgrade and also to be serviced. (I can provide the receipt if needed) The Handset is 1 1/2 years old and also the Heden M21VE-L motor is only 2 years old as well. All the other equipment is a bit older but still works perfectly, as I have always taken great care of this kit. Im Looking for $17,000 USD but I am also open to reasonable offers. In the Kit for sale Handset 1x FI+Z 3 Handset (#2803) 5x Premarked Disks (A,B,C,D,E in Imperial) 6x Blank Disks Microforce Digital 2 1x Microforce Digital 2 (serial #D25274) 1x Handset to MF Bracket Motors 1x Preston DM1 (#1791) 1x Preston DM2 (#2483) 1x Heden M21VE-L (#M21VE-3849) 5x Heden Gears 0.4,0.5,0.6,0.8,0.8 wide 7x Preston Gears 1x0.4 2x0.5 2x0.6 2x0.8 Misc screws for gears etc MDR 1x MDR-2 G4 Bluedot with 4pin serial port (#1192) 1x MDR-2 Cheese plate (Kar Wai Ng) Cables 4x Motor Cables (3x R/A to R/A 1x R/A to Straight) 1x Cinetape Interface Cable 2x Microforce to Handset Cables 1x D-Tap Power 2x R/S 3pin Power cables 3x R/S 3pin Camera Run Cables 1x Moviecam Camera Run Cable 1x Panavision Camera Run Cable 1x Serial to USB cable Brackets 2x 19mm Hill Brackets 2x 15mm Hill Brackets 2x 5/8' Hill Brackets 4x Hill D-clamp Bracket slider 4x Hill/Preston motor Rosetts 2x 15mm/19mm Colett 3x 5/8"/19mm Colett 2x 15mm/19mm Preston Dogbones Batteries 5x Sony NP-50 Batteries 1x Watson Two Bay Charger 1x Single Bay Charger Case 1x Nanuk 945 Black Hardcase Fstop 1x PLC fstop wireless WIFI 1x D-tap Power Cable 1x Panavision Power Cable Im also throwing in the F-stop wireless iris as well as I have not used it and it came with the original kit. I believe you can download the 'wireless iris' app and control a motor through your phone. This kit is located in New Zealand. I don't mind shipping it to anywhere in the world. Purchaser pays for shipping. Payment through Paypal is best. I also have higher res photo files if needed, I can email them to you. If you have any questions or would like to get hold of me please contact me through email at Many thanks, David Steel
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Hey everyone, I'm new to this site, and I come bearing gifts! More like selling a single gift, but it's a nice one! This camera has 2318 hours on it. It's in great condition, I've never had a single issue with it. It was serviced by Arri about 2 years ago, right before I bought it. Comes with 5x 64gb SxS cards, EVF, and various other cables and accessories. I'm asking $24,000 but I am open to negotiate. Email me at contact@caseycross.com if you are interested.
