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  1. $22,000 $27,000 w/ Lens Hello, Bought an XTR Prod from Visual Products back in May. Did not get any use out of it with the strike. It was purchased and has sat in its case. Looking to recoup some of the funds spent. It has been fully serviced by VP and not used since. I also have a Canon 8mm-64mm Hurt Locker Zoom that I can bundle in as the case contains a spot for it. Here is a link to the Sharegrid listing. Price isn’t updated. It is $22,000. Cheers! Aaton XTR Prod w/ PL Mount (2) Custom Flight Cases (1) 1.78 Viewing Screen (1) Visual Products HD Color Tap (3) 400’ DX Magazines (3) 12v Onboard Battery and Abel Charger (1) Walnut Handgrip and Cable (2) Standard 15mm Steel Rods (2) Short 15mm Steel Rods
  2. Hi, I'm new here and this is my first topic in this website. I came here from google search engine by a chance, but I'm so glad to find this great website. I'm a photographer and I'm using Nikon gear for my business. anyways, I was searching for filmmaking and cameras that used in Hollywood movies, but I got confused about their prices !!! please can any one explain to me why to pay 10000$ by week to rent Arri Arricam or Panavision cameras when I can buy Sony 7S with 5 great prime lenses and all filmmaking accessories in that amount of money ?? ok I know they have more options but all of them use 35mm sensor !! and the 7S have the best low light capability out there !! also, there is a lot of pro 4k cameras from Sony or Panasonic and others with reasonable prices !! can anyone please explain ? :huh: thanks very much
  3. Arriflex 416 Plus Camera Package..... REDUCED $68K USD Here is a link to the product on our website : https://broadcastsolutions.com/product/arri-416-plus-s16mm-camera-kit/ 1x ARRI 416 Plus Body (WHITE CODE Antenna) 1x ARRI 416 IVS PAL 4x 400ft Magazine 1x ELOKUVAKNOEPAJA Gold Mount Battery Plate w/ Built In Wicam Analog – HD Video Converter 2x Arri OBB-2 416 Batteries And Charger 1x Arri UMC Antenna 1x Arri Rubber Eyecup 1x Arri Heated Eyecup 1x Eyepiece Extension 1x Duvetail 1x ARRI LWS-5 1x ARRI BP-10 1x SRB-2 1 LRB-2 1x Steadicam Plate 2x 15mm Rods 1x ARRI 416 Shutter Tool 1 1x Ground Glass 1.78 1x Rolling Pelican
  4. Arri Amira Package 5K Hours omar@raw-entertainment.com $14,000
  5. Arricam ST 3 perf Package with Arri HD Tap $75,000 Email me for details omar@raw-entertainment.com
  6. Hello, I'm looking to buy a cinema camera in this range of price and the 2 options I have come to are between the new red vraptor, and a old used red dragon 8k vv, which would be the better bet? could I get decent money renting the dragon vv? I'm in the DMV area of the US btw. Now why these cameras? Well it's because I actually like the look of red cameras (it just appeals to me more) and for my workflow I like having the 8k (personally speaking, I know I will get some up my ass for this tho), and I can use Leica m mount lenses so that kinda alot of other options are out of the running. I know the vraptor absolutely has a technical advantage over the dragon in every way and it has great image quality, but I like the gritty look and aesthetic of the dragon sensor with the legacy color science, to me it exemplifies what I associate with the look of red cameras the most and I'd have to do some work in post to get that out of the vraptor since you can't choose legacy color when shooting but can only work on that through selecting legacy color in redcine-x (not the end of the world I realize, but prefer to go with something I know will give me the aesthetic I want as I haven't seen any footage matching the dragon from the vraptor), and I also have no option for hdrx or any resolution options besides whole numbers on the vraptor. Basically I'm dealing with the age old conundrum of practicality vs aesthetics and I don't know where to go. If anyone has some advice, please give it to me, also if you have also pondered how to make the vraptor look like the older red cameras and succeeded in matching them based on the dragon, please tell me your ipp2 settings.
  7. F35 Camera body HDVF-C35W Viewfinder Assistant Panel Control Cable U-Handle Top Handle w/Viewfinder Mount Viewfinder Offset Top cheese Plate w/15mm Rod Two Rear Cheese Plates 15mm Lightweight Bottom Plate/Spacer Camera 4:4:4 Interface Box Anton Bauer Battery Plate 8-Pin Lemo power cable 8' 8-Pin Lemo power cable 30' Hard Custom Case
  8. I’m looking for a good condition Xtera or Sr3, either or. I’d love to hear your opinions on which camera would be the best option for me too, eventually I’ll be buying another camera which will most likely be the other camera I have in the running or another one of the same which might be quite a hassle since Xteras are somewhat rare. George Moran
  9. Looking For : Grass Valley LDX-C86 Cameras. C series only. Please contact me with pricing and details.
  10. Does anyone have arri 2 c for sale. Looking for price in between 300-1000
  11. FOR SALE: PHOTOS AND INFO FOR ALL ITEMS CAN BE SEEN ON OUR WEBSITE: https://fjsinternational.com/ Sachtler Baby Legs Package Price: USD $ 1,750.00 Zeiss Supreme Lens Full Prime Lens Set of 7:25,29,35,50,65,85,100mm NEW Price: 105,000 Euros- USD $123,000.00 Arri Signature Full Frame Lens Set of 6: 18,29,35,47,75,125mm NEW Price: 127,296 Euros- USD $144,000.00 Cooke S7i Set of 7: 25,32,40,50,75,100,135mm MINT Price: 163,000 Euros Cooke S7i Anamorphic Set of 5: 40,50,75,100,135 2X Price: USD $114,000.00 Cooke S5i Set of 8: 18,25,32,40,50,65,75,100mm Price: USD $159,000.00 Cooke S5i Set of 7: 18,25,32,40,50,65,75mm Price: USD $145,000.00 Cooke S4 Set of 11: 14,18,21,25,27,32,40,50,75,100,135 Imperial Price: USD $109,990.00 Cooke S4i Set of 9: 18,25,35,40,50,65,75,100,135 Metric Price: 115,000 Euros Cooke S4i Set of 8: 18,27,32,40,50,75,100,135 Imperial Price: USD $96,000.00 Cooke Mini S4i Set of 6: 18,25,32,50,75,100mm Price: USD $44,500.00 Cooke Mini S4i Set of 9: 18, 25, 32, 40, 50, 65, 75, 100, 135mm(40 & 60mm Uncoated) Price: 39,000 Euros Cooke Mini S4i Set of 6 Lens: 18,25,32,50,75,100mm Price: USD $29,950.00 Cooke Anamorphic 35-140 Zoom Lens MINT 45,000 GBP Master Prime Set of 8: 18,21,27,32,40,50,75,100mm Price: USD $125,000.00( HUGE PRICE REDUCTION) Master Prime Set of 7: 14,25,32,50,75,100mm Price: USD $136,000.00 Master Prime Set of 7: 18,25,35,50,75,100,135mm Price: 119,000 Euros Master Prime Set of 6: 16,25,35,50,75,100mm Price: USD $119,900.00 Master Prime Set of 6: 16,21,32,50,75,100mm Price: USD $ 99,000.00 Ultra Prime Set of 6: 16,24,32,50,85,135 Metric Price: USD 39,900.00 Ultra Prime Set of 6: 16,24,32,50,85,135 Metric Price: 31,500 Euros Ultra Prime Set of 5: 16,24,32,50,85 Metric Price: USD $34,000.00 Arri Swing Tilt Shift Set with 4 Lens: 18,20,60,90mm Price: USD $32,000.00 Canon CN30-105 and 15.5-47mm Zoom Package Price: USD $20,000.00 Canon CN-E 30-300mm300mm T2.95-3.7L SP Cinema Lens PL Mount (90 Day Warranty) Price: USD $23,500.00 Angenieux Optimo 28-340 Zoom Imperial Price: USD $68,000.00 Angenieux 24-290 Zoom Package Price: $35,000.00 Elite Anamorphic Set of 6: 24.5(MK5), 40(MK4), 50(MK5), 75(MK4), 100(MK4), 250(MK5) ( HUGE PRICE REDUCTION) Price: USD $88,000.00 Fujinon Cabrio Zoom 85-300mm Price: USD $21,500.00 Fujinon Cabrio Zoom 19-90mm Price: USD $21,500.00 Kowa Anamorphic Set of 4: 40,50,75,100mm Price: USD $ 88,000.00 Kowa Anamorphic Set of 4: 40, 50, 75, 100mm Price: USD $ USD 77,000.00 Optimo 24-290 Price: USD 35,000.00 Zeiss Super Speed S16 Set: 9.5, 12, 16,25, 50mm Price: USD $12,900.00 Zeiss Super Speed S16 Set: 9.5,12,16,25,50mm MINT Price: USD $12,950.00 Zeiss MK2 Super Speed Set of 5: 18,25,35,50,85mm IMPERIAL Price: USD $47,000.00 Zeiss MK2 Super Speed Set of 5: 18,25,35,50,85mm IMPERIAL Super Clean Price: USD $61,500.00 Zeiss MK3 Set Of Super Speeds: 18,25,35,50,85mm IMPERIAL Super Clean Price: USD $86,500.00 Zeiss MK3 Set of Super Speed Set: 18,25,35,50,85mm IMPERIAL Price: USD $89,000.00 Zeiss MK3 Set of Super Speed Set: 18,25,35,50,85mm IMPERIAL Super Clean Price: USD $80,000.00 Zeiss MK3 Set of Super Speeds: 18,25,35,50,85mm IMPERIAL Price: USD $77,000.00 Zeiss MK3 Set of Super Speeds: 18,25,32,50,85mm IMPERIAL Price: USD $62,500.00 Zeiss Standard Speed Set of 11: 10,14,16,20,24,32,40,50,85,100,135mm PL Mounts Price: USD $54,000.00 Leica Thalia Set of 6: 30,35,45,70,100,180 PL Mount MINT Price: USD $127,000.00 GL Optics Nikkor Lenses: 20,24,28,35,50,85,105mm PL Mount Rhoused Price: USD 39,500.00 (We are selling on an ongoing basis) Scorpio 12 Foot Motorized Arm Price: USD $180,000.00 (Includes Shipping)
  12. Panavision and its family of companies return to the EnergaCamerimage International Film Festival from November 9-16 in Torun, Poland, with an immersive, end-to-end experience for attendees. Torun’s newly renovated Karczma Damroki facility, across the street from the Jordanki Festival Center, will be transformed into an interactive festival space called PanaVillage and will showcase the integrated technologies, products, and services from Panavision, Panalux, Light Iron, LEE Filters, and Direct Digital. “We are giving filmmakers the opportunity to experience our broad array of tools in a simulated production environment,” says Kim Snyder, Panavision president and CEO. “Our global team and product experts look forward to engaging with attendees in a hands-on experience with our end-to-end offerings.” At the PanaVillage, guests will interact with Panavision’s complete ecosystem of cameras and lenses, lighting, filters, gels, grip, and remote systems. Visitors will be able to fully control and monitor an 8K Millennium DXL2 large-format camera mounted on a SuperTechno 30 crane, using an innovative new wireless fiber technology with a range of more than a kilometer (0.6 miles). Mounted in front of a Primo 70 lens, Panavision’s LCND filter offers six stops of variable density. Guests can remotely adjust the camera, iris, and LCND filter while monitoring 4K video inside the PanaVillage on a LINK HDR Cart. Panavision and Light Iron’s LINK HDR system, which debuted at Cine Gear Expo Los Angeles earlier this year, is now being utilized on feature and episodic projects. PanaVillage guests will experience how the Panavision LINK HDR cart and Light Iron LINK HDR dailies and finishing services put the power of creating HDR images into the hands of all creatives – including cinematographers, editors, and colorists – throughout the entire imaging chain. While inside the PanaVillage, attendees will have the opportunity to experiment and craft unique looks using the DXL2 camera and the more compact DXL-M system. A selection of large format lenses, including the T1.4 Panaspeeds, will be available to frame the scene. Guests can illuminate the scene and control the lighting with a variety of Panalux and third-party options. LEE Filters’ full collection of lighting gels, including the expanded range of Zircon LED gels, will be available to further modify the scene. PanaVillage visitors will also encounter LEE Filters’ ProGlass CINE IRND range of neutral-density filters and the LEE100, a lightweight, high-performing 100mm photographic filter mount system. Experts from Direct Digital will be on hand to discuss stills and motion rental services. Guests looking to purchase consumables and merchandise can find the Panastore in the main Jordanki Festival Center. Additional micro-workshops hosted by the Panavision group will be programmed throughout the week and real-time details will be shared on Panavision’s social media accounts. This year, Panavision is proud to sponsor a cinematic retrospective from EnergaCamerimage Lifetime Achievement Award recipient John Bailey, ASC. On November 12 at 15:00h at CinemaCity, Bailey will present insights from his impressive career, spanning more than 40 years with credits including Ordinary People, The Big Chill, In the Line of Fire, American Gigolo, A Walk in the Woods, Mishima, and The Accidental Tourist. Panavision’s long-standing relationship with Bailey resulted in the 2004 creation of the AWZ2, or the “Bailey Zoom,” the first modern zoom to use anamorphic elements in front of the lens. For more information about Panavision’s end-to-end offerings, visit www.panavision.com. To learn more about EnergaCamerimage, go to https://camerimage.pl/en/.
  13. LEE Filters, the premier global provider of filters for photography, cinematography and lighting design, has appointed a trio of industry experts to its North American team. Morgan Prygrocki will be charged with leading the company’s U.S. office as general manager, and Patrick Corcoran and Richard Andres will serve in business development roles for the west and east coasts, respectively. Paul Mason, LEE Filter’s managing director, says, “As LEE Filters continues its worldwide growth, the addition of Morgan, Patrick and Richard demonstrate our commitment to the U.S. market. These talented industry professionals bring a broad range of capabilities to enhance our sales and support services to the professional photographic and cinematography communities. We’re excited to continue to build upon our industry-leading position and develop deeper relationships and partnerships throughout the U.S.” Prygrocki is responsible for all North American business. She comes to LEE with robust industry relationships from her previous senior level roles at Ncam Technologies and RED Digital Cinema. She is based in California at LEE’s Burbank, California, location. “LEE is a trusted brand and dedicated partner in the industry, and I’m excited to lead our North American team in delivering the highest-quality products and services to our customers. With the addition of Richard and Patrick, we are augmenting our presence within the community of artists and creatives who need top-tier tools.” As Business Development Manager–West Coast, Corcoran brings extensive experience working with professional filmmakers. He joins LEE from SHOTOVER camera systems and RED Digital Cinema. Andres, Business Development Manager–East Coast, comes to LEE with more than 20 years of experience in the stills photographic, rental and studio sectors. He previously worked at Foto Care in New York. This expansion follows LEE Filters’ recent addition of Lilian Tran as Social Media and Marketing Coordinator in the U.S. in July, enabling LEE to establish global social media coverage. This week (October 24-26), LEE Filters will be exhibiting at PHOTOPLUS at the Javits Convention Center in New York City. Come meet the new team on Stand #152. For more information about LEE Filters visit www.leefilters.com.
  14. I recently came across a well known DP's story on Instagram in which it was seen two cameras were stacked on top of each other. It was noticable that both the cameras had different magnifications (different lenses). I can't help but wonder why he might have done this given that these cams shoot 4k/6k or so, he might as well have just cropped in as required. Would be great if someone with experience could explain why this is done. I have attached a screenshot for reference.
  15. RED DIGITAL CINEMA® announced today that its award-winning HELIUM® 8K S35 and GEMINI® 5K S35 sensors will be incorporated into the RED RANGER® camera ecosystem. These two new alternatives create a robust lineup for creators who prefer an integrated, all-in-one system to the more modular RED DSMC2® camera. The RANGER HELIUM 8K S35 and RANGER GEMINI 5K S35 is available now via RED’s global network of resellers, participating rental houses, and directly through RED. The cameras will be on display for the first time at IBC in the RED meeting room on the fourth floor of the Elicium at the RAI Amsterdam, from September 13-17. Designed to meet the needs of high-end productions, the RED RANGER MONSTRO 8K VV has been well received by cinematographers since its launch earlier this year, and remains a rental house-only product. All three sensor variants of the RED RANGER camera system include the same benefits of the compact, standardized camera body, weighing around 7.5 pounds (depending on battery). The system can also handle heavy-duty power sources to satisfy power-hungry configurations, and boasts a large fan for quiet, more efficient temperature management. The RED RANGER camera system consists of three SDI outputs (two mirrored and one independent) allowing two different looks to be output simultaneously; wide-input voltage (11.5V to 32V); 24V and 12V power outs (two of each); one 12V P-Tap; integrated 5-pin XLR stereo audio input (line/mic/+48V selectable); as well as genlock, timecode, USB, and control. Both V-Lock and Gold Mount battery options are supported. As with all current RED cameras, the RANGER can simultaneously record REDCODE RAW plus Apple ProRes or AVID DNxHD or DNxHR at up to 300 MB/s write speeds. It also features RED’s end-to-end color management and post workflow with the enhanced image processing pipeline (IPP2). RED now offers two separate but equally robust product lineups that give content creators more creative choices. The DSMC2 ecosystem continues to provide the most dynamic and modular cinema camera for users who value maximum flexibility, allowing their imaginations to run wild with configuration options. RED RANGER is the perfect option for those that prefer a less complex and more standardized alternative. “In collaboration with rental houses to bring the RANGER MONSTRO to market, we have heard great feedback from customers, inspiring these two new variants,” said RED Digital Cinema President Jarred Land. “We’re excited to offer the RANGER line-up to a wider variety of professional productions and look forward to seeing the amazing images that are created.” RANGER HELIUM and RANGER GEMINI ship complete with: • New Production Top Handle • Shimmed PL Mount • New LCD/EVF Adaptor D with improved cable routing when used on the left side of the camera • New 24V AC power adaptor with 3-pin 24V XLR power cable, which can also be used with 24V block batteries • Lens mount shim pack • Compatible Hex and Torx tools Additionally, RED plans to introduce Canon EF Mount versions of both RANGER HELIUM and RANGER GEMINI later this year. Pricing for the two new variants is $29,950/€27,450/£24,750 for RANGER HELIUM and $24,950/€22,850/£20,650 for RANGER GEMINI. Go to www.red.com/red-ranger for more information, or visit your local RED Authorized Dealer.
  16. Panavision, the world-class provider of end-to-end solutions, will return to Cine Gear Expo (May 31-June 1) at The Studios at Paramount to showcase the latest innovations in the company’s ever-expanding production and post production ecosystem. Panavision, Light Iron and LEE Filters will display an array of integrated technologies and systems at booth S408 on Stage 3 – ranging from lenses, cameras and filters, to state-of-the-art production and post production workflows – that illustrate Panavision’s commitment to providing the most versatile and powerful storytelling tools. “At Panavision, our vision is to support filmmakers with solutions that expand creativity and efficiency,” says Kim Snyder, president and CEO of Panavision. “We’re always focused on adapting the tremendous power of technology to the needs of the visual artist. We’re proud and excited to demonstrate our latest advancements.” Among the breakthroughs on display are Panavision and Light Iron’s new LINK HDR system. Creatives are producing for HDR-capable distribution platforms more than ever before as consumers seek premium viewing experiences. LINK HDR was developed to address the challenge of viewing HDR (high dynamic range) images throughout the production and post production process. Offering HDR and SDR viewing options in tandem, LINK HDR provides cinematographers, directors, editors and creative talent throughout the imaging chain the ability to view their image at the same quality delivered to consumers. The LINK HDR system consists of: Panavision LINK HDR On-Set Cart – a modular cart outfitted with various monitoring configurations that offers creatives the ability to view HDR and SDR live from the camera. Light Iron LINK HDR Dailies – an NLE process that creates HDR and SDR deliverables simultaneously, which allows editors to cut, toggle between, and export in either format. Light Iron LINK HDR Finish – a combination of creative talent, technical expertise, and leading technologies that link the creative decisions made on-set to the HDR mastering process for delivery to various HDR platforms. “As adoption rates of the HDR format rapidly grow, it is more critical than ever for creatives to view a consistent image from on-set through the finishing suite,” notes Light Iron Supervising Colorist Ian Vertovec. “We want filmmakers to have all the tools they need for this new deliverable. The components of LINK HDR were designed with them in mind.” Panavision’s Millennium DXL2 and DXL-M camera systems will also be showcased at the Panavision booth, demonstrating the value of this expanding ecosystem. With new industry developments, the DXL2’s 6G 4K SDI outputs, which allow direct connection to a Teradek Bolt 4K with a single SDI cable, can now be fully utilized. The latest enhancements to the DXL2 also include: an integrated C-Motion F.I.Z. module allowing the use of Arri WCU4 wireless lens control handsets with full lens mapping support; a proxy workflow that allows easy creation of traditional dailies while archiving 8K files for DI and VFX; a wireless audio module adding expanded audio capabilities; and DXL Control for iPhone and Android. The DXL-M, which marries the modularity and connectivity of the DXL with the smaller size and weight of RED’s DSMC2 cameras, is now available to filmmakers. In addition to the Primo HDR viewfinder, DXL menu system and LiColor2, the DXL-M now offers 2x2 SDI outputs delivering two independent monitoring paths across 4x HD-SDI outputs. Along with added accessories, battery elevator and control upgrades, these advancements add to the efficiency and flexibility of the kit. The result is a fully-equipped camera that is conveniently adaptable to any shooting scenario, including drone, remote head shots and situations where space is at a premium. Panavision’s LCND, a variable liquid crystal neutral density filtration system, will be presented with expanded new features. LCND is now wirelessly controllable via the Preston handset and offers functionality that translates to creativity on the set. The ability to maintain a given stop under changing lighting conditions by riding the ND filter instead of the iris adds powerful image control options at the moment of photography. LCND also has manual controls and a 24-hour internal battery built into the single filter tray. Panavision’s longstanding emphasis on delivering superior lens quality and unmatched selection continues to be a priority as it serves the artistic needs of today’s creative community. At Cine Gear, filmmakers can examine the company’s proprietary portfolio of optics, including the Primo-X (weatherproof and compact drone and gimbal solution), Panaspeed (large format, high-speed T1.4 with the classic Primo look), H-Series (vintage portrait look for spherical large format), and UltraVista (1.65x large-format anamorphic) lines, as well as other lenses in Panavision’s large-format offerings. In addition to exhibiting, Panavision, in partnership with RED Digital Cinema, will present a panel featuring Oscar®-nominated cinematographer John Schwartzman, ASC. Panavision’s SVP of Optics Dan Sasaki will join Schwartzman as he discusses his approach to visual storytelling and explores the fusion between visual concepts and tools. Schwartzman will reveal his decision-making process from pre-production to post on such projects as The Highwaymen and the upcoming Last Christmas, on June 1 at 11:45 a.m. in the Sherry Lansing Theater. LEE Filters will highlight the LEE100, a newly updated 100mm filter mount system that boasts lighter weight and improved performance. The LEE100 Filter System incorporates a rotation lock as well as a newly designed clip-on polarizer filter for ease of use. Additionally, LEE’s full collection of lighting gels, including the expanded range of Zircon gels specifically designed for fine-tuning LED fixtures, will be touted, as well as the ProGlass CINE IRND range of neutral-density filters, precisely built to meet the exacting needs of cinematographers. “The advancements on display at Cine Gear exemplify our commitment to providing end-to-end solutions that put creative flexibility in the hands of filmmakers,” says Snyder. “Each tool is conceived as an element of a unified ecosystem designed to deliver customizable solutions to meet any need or budget. We’re looking forward to the opportunity to present the results to our friends and colleagues in the filmmaking community, and we can’t wait to see how they’re used in the visual storytelling of tomorrow.”
  17. Please email sales@broadcastsolutions.com for pricing and details. Canon EOS C700 FF Camera Packages Qty.-2 AvailableCanon EOS C500 EF & PL Mount Camera Packages Qty.-2 Available
  18. RED Digital Cinema® released its RED R3D® SDK and accompanying REDCINE-X PRO® software with accelerated decode and debayering on NVIDIA CUDA® platforms. By offloading the compute-intensive decoding and debayering of RED R3D files onto one or more NVIDIA GPUs, real-time playback, edit and color grade of 8K footage is now possible. Benefits and efficiencies of this new software-hardware combination during the post-production process include: • 8K real-time 30 fps or greater playback performance • Up to 10x faster transcoding, depending on the format and content • Improved efficiencies and quality control within the content review process • Creative freedom using flexible R3D files instead of proxy files 8K performance is available with NVIDIA Quadro® RTX™ 6000 and 8000, GeForce® RTX™ 2080 Ti and TITAN RTX™ GPUs when coupled with a moderately configured PC. Creators can achieve additional performance improvements with multi-GPU configurations and may see noticeable gains even with older NVIDIA GPUs. Also, new NVIDIA RTX laptops from the world’s leading computer manufacturers, including Razer, Acer, Alienware, ASUS, Dell, Gigabyte, HP, Lenovo, MSI and Samsung, provide real-time playback at up to 8K and offer flexibility in choosing the right tools to fit a variety of budgets. Support from major NLEs and other SDK integrators is expected soon.
  19. FJS International is brokering a sale of a large inventory from a European rental company. You can buy items individually. See complete list here: https://fjsinternational.com/fjsaprilinventorysale.html
  20. Leica Camera has created a fitting tribute to the world of cinema with the new release of the Leica M10-P “ASC 100 Edition”, celebrating the 100th anniversary of the American Society of Cinematographers. Comprised of a Leica M10-P camera and a Leica Summicron-M 35 f/2 ASPH. lens, the memorable set offers two specially tailored Cine Look modes built into the camera’s software that make it a focused professional tool for cinematographers and filmmakers. The set also includes a Leica Visoflex electronic viewfinder and a Leica M-PL-Mount Adapter that allows the use of almost all PL mount cine lenses available on the market. In collaboration with some of the world’s most influential cinematographers and members of the ASC, Leica has developed the new Cine Look feature, which provides directors an exceptional visual experience. The “ASC Cine Classic” mode simulates a classic, analog 35mm motion-picture film look, while the “ASC Contemporary” mode delivers the current digital style of contemporary movies. Additionally, aspect ratios that are used in cinematography can also be selected from the camera’s menu. Once activated, the selected aspect ratio is displayed as a bright-line frame in Live View mode. The Leica M10-P “ASC 100 Edition” offers cinematographers and directors the freedom to view and assess scenes with any desired lens before filming even begins. Founded in 1919, the American Society of Cinematographers is the world’s longest-standing artistic, technical and professional organization dedicated to the advancement of cinematography. Just like Leica, this extraordinary society has influenced and shaped how people of all cultures see the world for more than 100 years. This limited-edition release is a modern take on Oskar Barnack’s original vision of the “Ur-Leica” prototype camera as an aid to cinematography, now reiterated in the unique design of the Leica M10-P ‘ASC 100 Edition’. Reduced simply to the essentials, blacked-out engravings on its black chrome surface accentuates the camera’s minimalistic feel which is further emphasized with the body leathering, similar to that of the Leica SL. The gold-colored anodized finish of the Leica Summicron-M 35 f/2 ASPH. lens reinterprets the brass lens of the original “Ur-Leica” in a contemporary way. The unique aesthetic of the Leica M10-P “ASC 100 Edition” is also complemented by the ASC logo on the top plate. The combination of the included electronic viewfinder, M-PL-Mount Adapter, Cine Look pre-sets and aspect ratio options enables the use of the camera as a director’s viewfinder, making it an extraordinarily versatile and useful tool for filmmakers. And together with the Leica FOTOS App, location scouting can be made much easier, as results can be shared and discussed immediately with everyone involved in the filming project. The Leica M10-P “ASC 100 Edition” will be available in autumn 2019.
  21. Today, RED Digital Cinema® introduces the DSMC2® Touch 7.0” Ultra-Brite LCD Monitor to its line of innovative camera accessories. The new RED® DSMC2 Touch 7.0” Ultra-Brite LCD Monitor is a robust, optically-bonded touchscreen with Gorilla® Glass that provides the most intuitive way to navigate menus, adjust camera parameters, and review .R3D clips directly out of the camera. It offers a brighter, high-definition viewing experience for recording and viewing footage on DSMC2 camera systems, even in direct sunlight. A 1920x1200 resolution display panel provides 2,200 nits of brightness to overcome viewing difficulties in bright outdoor environments, and the high pixel density (at 323 ppi) and 1200:1 contrast ratio deliver exceptional image quality. The Ultra-Brite display mounts to RED’s DSMC2 BRAIN®, or other 1/4-20 mounting surfaces, and provides a LEMO connection to the camera, making it an ideal monitoring option for gimbals, cranes, and cabled remote viewing. Shooters can use a DSMC2 LEMO Adaptor A in conjunction with the Ultra-Brite display for convenient mounting options away from the DSMC2 camera BRAIN. A demonstration of the new monitor, priced at $3,750 (U.S.), can be seen here: https://youtu.be/sF2PmdoAZoM Link to Ultra-Brite images here.
  22. RED Digital Cinema announced it is further simplifying its product portfolio with the availability of the DSMC2® DRAGON-X™ 5K S35 camera. RED also announced the DSMC2 PRODUCTION MODULE and DSMC2 PRODUCTION KIT, which are coming soon in early 2019. The DSMC2 DRAGON-X camera uses the award-winning DRAGON sensor technology found in many of RED’s legacy cameras with a evolved sensor board to enable RED’s enhanced image processing pipeline (IPP2) in camera. In addition to IPP2, the DRAGON-X provides 16.5 stops of dynamic range, 5K resolution up to 96 fps in full format and 120 fps at 5K 2.4:1. Consistent with the rest of RED’s DSMC2 line-up, DRAGON-X offers 300 MB/s data transfer speeds and simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHD/HR. The new DSMC2 DRAGON-X is priced at $14,950 / €13,800 / £12,100 and is also available as a fully-configured kit priced at $19,950 / €18,400 / £16,150. The kit includes: • 480GB RED MINI-MAG • Canon lens mount • RED DSMC2 Touch LCD 4.7” Monitor • RED DSMC2 Outrigger Handle • RED V-Lock I/O Expander • Two IDX DUO-C98 batteries with VL-2X charger • G-Technology ev Series RED MINI-MAG Reader • Sigma 18-35mm F1.8 DC HSM Art Lens • Nanuk heavy-duty camera case Both the camera and kit are available today at red.com or through RED’s Authorized Dealers. RED also announced the new DSMC2 PRODUCTION MODULE. Designed for professional shooting configurations, this accessory mounts directly to the DSMC2 camera body and incorporates an industry standard V-Lock mount with integrated battery mount and P-Tap for 12V accessories. The module delivers a comprehensive array of video, XLR audio, power, and communication connections, including support for 3-pin 24V accessories. It has a smaller form factor and is more lightweight than RED’s REDVOLT EXPANDER with a battery module. The DSMC2 PRODUCTION MODULE is available for order and is expected to ship in early 2019 for $4,750 / €4,350 / £3,800. It will also be available as a DSMC2 PRODUCTION KIT that will include: • DSMC2 PRODUCTION MODULE • PRODUCTION HANDLE • DSMC2 PRODUCTION TOP PLATE The DSMC2 PRODUCTION KIT is also available for order and is expected to ship in early 2019 for $6,500 / €5,950 / £5,200. SCARLET-W owners may upgrade to DSMC2 DRAGON-X for $4,950 / €4,600 / £4,050 through RED Authorized Dealers or directly from RED.
  23. RED Digital Cinema will showcase its DSMC2™ camera line-up at IBC in Amsterdam from September 14 - 17. Located in Hall 13, Elicium Tower, 4th Floor, RED will feature its DSMC2 camera brain with three sensor options – MONSTRO 8K VV, HELIUM 8K S35 and GEMINI 5K S35. Additionally, RED will demonstrate an 8K workflow, covering 8K REDCODE RAW, HDR, and its enhanced image processing pipeline (IPP2). RED experts will be available to answer questions and offer insight into the possibilities for efficiently producing 8K projects. The DSMC2 camera BRAIN includes high-end frame rates and data rates regardless of the sensor chosen. RED’s modular camera system 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 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 flexibility of RED’s modular camera designs with accompanying accessories and integration solutions can also be seen on the show floor through a variety of manufacturers, including Sigma, Cooke, Zeiss, Angenieux, Schneider Optics, Teradek, CoreSWX, Fujifilm and Motion Impossible. Projects shot on RED include the upcoming Voyage of Dr. Doolittle (Guillermo Navarro, ASC), A Million Little Pieces (Jeff Cronenweth, ASC), Maleficent 2 (Henry Braham, BSC), and King of Thieves (Danny Cohen, BSC), among many other productions, including Eighth Grade (Andrew Wehde), Mindhunter (Erik Messerschmidt), Stranger Things (Tim Ives), Godless (Steven Meizler), GLOW (Christian Sprenger), and House of Cards (David M. Dunlap), to name a few.
  24. Hi there, I'm currently on the hunt for the best entry level camera, lens, tripod and slider for filming/photographing landscapes. I have some money to spend but would still like to not break the bank entirely. If anyone can suggest what they think is the best combo of gear I would be super appreciative. Thanks in advance! Andrew
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