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Showing results for tags 'camera'.
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Kit Includes: RONFORD 2015 HEAD SLIDE PLATE ADJUSTABLE PAN BARS (x2) STRAIGHT PAN BAR/1 SHORT PAN BAR CARDALLINI BASE SINGLE RATCHET FRONT PAN BAR CASE Accessories CAMERA WEDGE DOUBLE RATCHET PAN BAR 2015 ARRI SLIDE PLATE SLIDE PLATE LOW BALL LOW AM ADAPTOR CASE PRICE: £4000 Plus VAT If you are interested then please contact us at info@opticalsupport.com or call us on 020 7281 0999
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Kit Includes: Weaver Steadman Tilt Weaver Steadman Pan Weaver Steadman scaffold poles (x4) Camera Mounting Plates (x4) Quick Release To Scaffold 90 Degree Scaffold Joiner Ring & Quick Release Pin Allen Key Pan Bar Bag of Spares (inc. Release Pin, 3/8 bolts, Washers) Tie Down Case Price: £3000 Plus VAT If you are interested then please contact us at info@opticalsupport.com or call us on 020 7281 0999
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Hi, my listing for ARRI 435ES camera set, including magazines and accessories. Price is 3990 euro https://www.kitmondo.com/used-arriflex-435es-for-sale-2/ref608356
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Excellent condition and maintained and serviced by ARRI Media. £17,000 GBP (excluding VAT) + Shipping Camera Case ARRI Alexa PLUS Camera Body inc High-Speed License High-Speed License BUNDLE ACCESSORY SET ARRI EVF-1 Electronic Viewfinder ARRI Alexa Rubber eyecup ARRI VMB-1 Viewfinder Mounting Bracket ARRI VEB-1 Veiwfinder Extension Bracket ARRI KC150-S Short (0.35m / 1.2 ft) Cable for EVF-1 ARRI KC151-S Medium (0.65m / 2.1 ft) Cable for EVF-1 ARRI CCH-1 Centre Camera Handle for Alexa ARRI HEB-2 Handle Extension Block ARRI KC154-SP-S Cable 12V Accessory for Alexa ARRI KC20 24v 2m/6.6ft Cable Power - Straight ARRI BP-12 Bridge Plate ARRI Bottom Dovetail 300mm / 12" (Balance Plate) ARRI 440mm Ø 19mm Support Rods (pair) ARRI Lightweight 240mm Ø 15mm Support Rods (Pair) ARRI SP-4 Shoulder Pad ARRI LB-1 Levelling Block ARRI ASD-1 SD Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI UMC Antenna ARRI White Cap BAB-G (Gold Mount Battery Adapter) Please email me at Casey@esbroadcast.com if you require any further information.
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· F-65 Camera Body. (excellent Condition) · SR-R4 Digital Recorder. · Dual Bettery Adapter V-Mount. · SRK-CP1 Control Panel. · Sony HDVF-C30RW Color Viewfinder. · SR-D1 Reader. · SRmemory Card.(2X512GB-1X256GB). · Conveter V-mount Cable. · power cable limo 8-pin. · Bridge Plate. · Rod(2X12'' - 2X9''). · Camera Case. Price:- 35,000 USD -
-4K RAW (4096 x 2160) Output -8.8 Mp Super 35mm-Size CMOS Sensor -Also Puts Out 2K, Quad HD & Full HD -2x 3G-SDI Outputs -50 Mb/s Proxy HD Recording to CF Card -10-Bit 4K RAW at Up to 60p -10-Bit 4K Half RAW at Up to 120p -12-Bit 2K 4:4:4 Signal at Up to 60p -Canon Log Gamma Please email me for more details: handymotions@gmail.com
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6 months old 1x AstroDesign Electronic Colour Viewfinder 2x 1TB Vision Research CineMags 1x CineStation Mag Reader 240v Power Supply 1x Travel Case Email For Pricing : sales@broadcastsolutions.com
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Please email for pricing @ sales@broadcastsolutions.com Includes : 1 - Sony PMW-F55 Hours: 487 1 - DVF-EL100 OLED Viewfinder 1 - Microphone Holder 1 - Sony Stereo Microphone for the F5/F55 1 - Switronix S-JP-A-Base 3-Stud Jetpack for F5/F55 1 - FOS-100 Compact 100W 14.4VPower Supply 2 - 64GB SxS Pro Plus Cards 2 - 128GB SxS Pro Plus Cards 1 - SBAC-U20 USB SxS Memory Card Reader 1 - AXS-R5 RAW Recorder for F5/F55 Hours: 36 1 - AXS-CR1 Card Reader for AXS-R5 Memory Recorder 2 - AXS-512S24 512GB Memory Cards 1 - Anton Bauer 2702 4 Position Battery Charger 4 - Dionic HC Batteries 1 - Arri Pro Set For Sony PMW-F5/F55 (Top Plate, Base Plate, Shoulder Pad, Viewfinder Adapter, Plug Protector) 2 - Arri Handgrips with extensions 1 - Innerspace case For F5/F55 w/Desipack
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IBC 2015, Stand E55, Hall 11 SHELTON, CT (August 31, 2015) - Anton/Bauer, a Vitec Group brand and premier provider of battery and charging technologies for the broadcast, film and video industries, announces its new CINE battery series for digital cinema cameras. The CINE battery series was designed to be the safest and most durable mobile power solution for professional cinematographers. The CINE series delivers 12 amps of continuous power and incorporates Fuse Link technology, which - in the case of a cell anomaly - provides protection to surrounding battery cells, preventing catastrophic damage. The battery line also features multiple sensors to detect temperature and over-current states, ensuring optimal battery performance during regular use. Ideal for camera stabilizer systems and rail-mounted cameras, the CINE battery's durable, industrial design and footprint compliments cine-style cameras, such as the ARRI ALEXA Mini and RED Weapon, and functions on all existing Anton/Bauer chargers. For ultimate convenience, the CINE battery series includes a PowerTap® to power auxiliary accessories such as monitors, lights, wireless receivers, and any other 14V accessory. "The CINE battery series exemplifies Anton/Bauer's dedication to producing the world's safest, smartest, and most reliable power systems for professional cinematographers," said Neal Laneville, Product Manager for Anton/Bauer. "We spent a lot of time taking feedback from our customers and integrating it into the design of the new CINE series. The result is a battery series that combines our ground breaking safety technologies with a completely redesigned chassis built just for cinematographers. It's a bespoke solution for the most demanding professionals." The CINE series also includes an extremely accurate LCD that provides users with run-time information in hours and minutes. When the battery is detached, the LCD screen will display battery life as a percentage of capacity, allowing the user to effortlessly track usage. Coming in September 2015, the CINE series will be available in 90 Wh and 150 Wh in both Gold Mount and V-Mount connectors. A 190 Wh option will be available in 2016. For more information on the CINE battery series, please visit www.antonbauer.com or call +1 (800) 422-3473. -
18,25,35,50,75&100mm Contact sales@broadcastsolutions.com for pricing and info.
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Im up to DP my third feature and we are shooting for 20 days. Its pretty ambitious for the budget but we arent doing anything super crazy - it is very much like the movie Prisoners in tone, story and cinematography. The Producer is wanting to shoot single camera, as to not have to spend money on the extra B camera, crew and post costs that come with more footage, and instead is in favor of getting more gear to make a better A camera. My initial thought was that we would need two cameras to make our days (I shot two cameras on my last feature, which was a comedy, and being able to leap frog with setup/shooting and get extra shots in when needed I felt saved us alot of time, and that is what I am pretty comfortable with. my first feature was single camera, but it was all handheld and a much much smaller scale.) This show is 100 percent sticks and dolly, some jib with occasional steadicam. Another thought was to shoot single camera mostly from a small technocrane (thinking the mini 6'-12' technocrane ,moviebird 17 or chapmans Hydrascope 15', I want to use it for interiors and my thought was anything larger might be too large for int scenes.) now I have never used a technocrane, but from what I have read and talking with my Key grip, I have heard they can save alot of time on set, and much are faster than dolly and sticks because I could get most if not all all my shots from a single setup. but they are expensive for sure.. Something to consideration is that I am working with an awesome first time director, but for his sake I thought single camera might be easier for him so he can focus on the one frame and not have his(and my own) attention shift between two cameras, so I feel the end product could benefit from single camera. And making him as comfortable as possible is high on my priority list (I normally operate, but Im choosing to get an operator so I can be with him at video village and support him the best I can) Another idea is having a remote head on a fisher 23 Jib arm on the Fisher 10 dolly in place of a technocrane like deakins does. I have my own thoughts, but in yalls opinion, how would that compare to the technocrane approach? I would love some opinions and advice! Getting a 2nd camera package and crew for it, or single camera on a small technocrane or remote head on jib? The producer is pretty open and trusts me, and I know if I make my case for either one, there is a good chance I'll get what I ask for. Thank you all so much! Chaz
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For sale a Chinon Pacific 200/12XL Super 8 sound film camera. A very nice camera in good working condition. Features include: Silent and sound super 8 cartridges 50 ft and 200 ft Filming speeds: 18, 24, 25 fps, slow motion (36 fps), single frame Intervalometer timer 1 to 60 second intervals In camera fades and dissolves 72 frames Auto and manual exposure and zoom 12X zoom lens 67mm filter size 6 - AA batteries Also comes with metal lens cap, 2 microphones, UV filter and unused 200' ft Kodachrome film cartridge sealed in foil pouch. Missing rubber eye piece. Asking $95.00 US plus shipping
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greetings, This question has probably been asked a hundred times but the goal posts keep changing so here I am. Basically I want to shoot a short film. I'm willing to spend up to 15k for a camera kit and want to make sure I'm getting the best bang for buck I can. The idea takes place in the Australian desert and I'll be looking for hot sweaty actors and landscape glorious colour. There won't be much call for low light conditions. I'm a visual effects artist so I will be adding in various effects such as heat haze and so on and there will be green screen work later in the film. I'd like colour depth to play with and as much resolution as I can afford. I'm not looking for a hand held effect but there will be action shots with possibly a whip pan or two. I'll need several shots close to ground and tracking across the landscape. I was looking at the black magic but got told to stay away and go for a canon eos with nice lenses. So many choices - its like picking tiles for the house! any advise people may have and I'm all ears cheers mark
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So I wrapped production on a guerrilla short, but a couple of mishaps occurred during the process. The first one was when the Krasnogorsk-3 took a fall. It didn't descend super fast, but enough to damage the cosmetics a tad. Checked everything. Thought the film advancing sounded off. Then it got really off. Opened it up briefly (in somewhat subdued light) and inside it was a mess (film all over the place). I covered myself with a coat and examined the innards, and indeed something went wrong. The take up spool wasn't taking anything up. Thankfully there wasn't much film left, but I wound the rest into the take up by hand. Then I loaded the next roll. The next 100' went smoothly until the same problem (take up spool not taking) recurred to a lesser degree. Again near the end. As far as exposing it, I was in a controllable lighting situation, but I'm guessing the film may be scratched up a bit there, which might actually look cool. I was shooting handheld at this point, and I did move the camera a bit. I'm wondering if that has to do with it? Or perhaps I have permanently damaged the camera? Appreciate any expert hypotheses, thoughts, and comments. I can post a video(s) if needed.
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Hello Guys, I am gonna start shooting a documentary next week and our main camera will be the PXW-FS7. I already check many topics, tests and other reviews. I first decided to shoot in 1920 X 1080 in S-LOG 3 / Gamut 3. Two reasons to that, first one being mobility and also wish to keep an good latitude for the grading at the director looking to a specific style. Here an example of the kind of footage we looking to end up with For some of the interview we will have a second camera which will be a Sony A7S. The Director already order a Shogun to go with it. As the A7S is capable of shooting in S-Log 2, I wonder: is the Shogun still relevant? And if I have to keep it, should I still set the camera in the Log mode? My worries are that the Shogun record only the under-expose, milky footage from the S-log but without the possibilities of grading which are suppose to come along with it. Then it is possible some day we will have to shoot with C100 but that will become an other problem. Thanks in advance for your answers All the best
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18/21/25/35/40/50/75/100mm For Details Contact : sales@broadcastsolutions.com[
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I'm selling my Arricam LT package. The camera has been carefully handled and is in excellent condition. This is a rare deal as I haven't seen many Arricam LT's for sale for so cheap. Included in the package is: Arricam LT camera body IVS - Integrated Video System Anamorphic and spherical viewfinder Medium viewfinder extension Long viewfinder extension with magnification Viewfinder leveler Heated eyepiece Power bridgeplate with rods Adjustable quick release plate Mask frame glow module Studio mag to Lite mag adapter Top handle Power cable Adjustment hex tools The camera is currently setup for 4-perf. If you have any questions feel free to ask! Asking $20,000 but make me an offer. I'm definitely willing to negotiate.
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I'm considering starting a collection of 4x4 glass filters. Probably going to start with a basic ND set, and then move on to getting a set of Black Pro Mist. I was wondering if anyone has had any experience using Formatt filters? I'm not sure whether I should just look out for second hand tiffen filters? Obviously 4x4 filters are cheaper than 4x5.65, but what are your opinions on 4x4 filters?
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Is there anyone that have tested the Red Weapon 8K camera? What is the good and bad things about it? Henrik http://www.henrikameyer.com
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Hello, i sell my RED Scarlet (eligible for dragon update) : - RED Scarlet MX canon mount, ready to Dragon (430 hours) - RED Touch 5 pouces + Cable - RED Side SSD - RED Sidehandle - RED Sliding Top handle - RED Outrigger handle - REDmag 64go x 2 - RED station USB3/Firewire800 - Sound Adapter x A-Box - Top plate BERKEY SYSTEM - Bottom with 15mm rod adapter BERKEY SYSTEM - V-Lock plate adapter CINEMA OXYD - Bridge plate type TILTA - Dovetail type TILTA - Shoulder rig type TILTA - Adjustable handgrip type TILTA - Baseplate type TILTA with 19mm rod - Topplate type TILTA with 19mm - 4 x 19mm rod - 2 x 15mm rod - Flight case camera - Pelicase accessories Price : 9000 euros more informations and pictures : jchris@me.com
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I've been on many shoots that used Camera carts, but not owning one, most of the time the production just rented one for me. I'm about to make a decision - buy a camera cart for my AC gigs or just keep on letting productions rent one. The way I see about the carts are that you probably will never make money off of it. Yes it's nice to have one, but there are too many rental houses that rent out carts for dirt cheap... and as a owner/operator, I probably will never get the money you invested (perhaps in a very long run.) Owning a piece of gear has got to be a business choice, so from a business stand point when I know I cannot beat the rental company's prices, should I own one and underbid them by biting the bullet, or save the money for something else? What are your thoughts? -
We have several of the new Panasonic Varicam 35 4K Cameras available, Demo units, less then 10 hours, full warranty contact for details bvw@vidgear.com 760-200-3634
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Hi all. I wonder if anyone owns the Nikon G to BMPCC Speed Booster from Metabones? It says it works with Nikon G lens. But my question is: Would this work with a Zeiss ZF.2 Nikon mount? I've seen reviews of many people mentioning only Nikkor an Sigma lenses used with this adapter. But I need to know if it works with the Zeiss. Thanks, Flavio
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Hey! I'm Marco TOMA Tomaselli italian up and coming cinematographer now based in Los Angeles. I got an offer to work in a big union show as AC and because I'm new to the union's world I got some question that I not found answers yet. I'm applying to IER first but I'm not sure how classify myself. In the last year 85% of the gigs I have is as cinematographer, 5% as cam op and 10% as ac. By the way I got enough hours in the last 3 years in each of the 3 positions. I know that when I'll join the union it has to be as you are classify into the roster and I want to be sure that it will be the right one. I want to ends up being a union cinematographer. I know that the contacts I have will hire me as AC (as CamOp in the best situation) and if I join as cinematographer but I'll work for more than 40 days as AC, I'll automatically downgrade. What the best classification to work with freedom in the camera dept? Can I join as Camera op so I work both AC and in the future as Cinematographer? Thanks a lot, Toma. -
Three Strada Cranes 2-85' & 1-87' $125,000.00 Each One Akela Crane 85' $75,000.00
