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Canon EOS C700 FF Camera Canon Cinema EOS C700FF Body PL Mount Canon EVF-V70 OLED Viewfinder for C700 ARRI Pro Set 19mm ARRI VF attachment C700 VF Cable 4 Pin Power Cable 2 x Sandisk Cfast 2.0 128GB cards Lexar Cfast Reader ARRI Dovetail plate 12” Ridgid Aluminium CustF.S. Canon EOS C700 FF Camera $22K USom Case 35mm Global Shutter Sensor (Original)

For Sale : Canon EOS C700 FF Camera Package. 2 Available Email sales@broadcastsolutions.com for pricing and details. Canon Cinema EOS C700FF Body PL Mount Canon EVF-V70 OLED Viewfinder for C700 ARRI Pro Set 19mm ARRI VF attachment C700 ) VF Cable Power Cable 2 x Sandisk Cfast 2.0 128GB cards Lexar Cfast Reader ARRI Dovetail plate 12” Ridgid Aluminium Custom Case

Selling my Sekonic Spectromaster C-700 Spectrometer/Colour Meter. It's in mint condition and very lightly used. Comes with its carry case (and I think I might have the original retail box as well). Located in Melbourne, Australia, but happy to ship worldwide. $1,190 USD / $1,750 AUD + shipping

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

Starting out as Original Cine in 1989 renting 16mm and 35mm film equipment from a small cottage in Albert Park, The Vision House has been built on years of industry experience to become a premier boutique rental house based in Port Melbourne, Australia. Since its inception The Vision House has been growing every year with our inventory constantly being updated. We now offer a range of digital cameras including the Red Monstro Vista Vision, Red Weapon 8k, RED Gemini 5k, Alexas – Mini, Amira & SXT, Canon C700 Full Frame (PL Mount), Canon C200 (EF Mount) as well as the Phantom Miro LC320S high speed camera. Also offered is a large range of lenses including Canon L Series, Canon CN-E, Zeiss Compact Primes, Zeiss Super Speeds, Zeiss Standards, Zeiss Supremes, Arri/Zeiss Ultra Primes, Cooke S4i, Cooke 5i, Cooke Anamorphics, Leica M0.8s, Leica Summicrons, rehoused Mamiya 645 (PL Mount) and Kowa Anamorphic Lenses (Rehoused by P&S Technik and the new Evolution Series). In addition to prime lenses The Vision House also has numerous zoom lenses including the majority of the Angenieux Optimo range as well as various Zeiss zooms - covering both S35 and Full Frame/Vista Vision. An extensive range of support equipment is available that compliments the camera and lens inventory including tripods (from Ronford Baker to O’Connor), Remote Heads (Arri SRH-3 - Stabilised & PowerPod Classic - Non Stabilised), Gimbal Systems (Arri MAXIMA), filters, lighting as well as a range of camera accessories. Our aim at The Vision House is to provide the best equipment possible for you based on your specific job. Our long association with the Melbourne film and commercial industry coupled with our previous production house experience has enhanced our knowledge base, allowing us to offer informed advice to new and existing customers. http://www.thevisionhouse.com.au 195 Rouse Street, Port Melbourne Victoria, Australia, 3207 ph: +61 3 9676 2732 email: rentals@thevisionhouse.com.au

Hi, You can see our video test of C700 cameras and making of on: Test in natural locations Technical test on set Making Of I hope it is of your interest. Regads Alfonso Parra AEC, ADFC www.alfonsoparra.com

Hello all, My name is Robert, currently heading into my graduate thesis film production, with a question about shooting two different cameras over one production. During prep with the director, the idea of shooting 2 cameras came up as I was camera testing with a Canon c700 and the Canon Cine Primes, which I have decided to use as an A camera. As it stands, our budget won't allow for a second c700 to act as B camera, however we currently have an f55 w/ Ultra Primes reserved from the school's equipment house. Having tested both cameras, I know that each camera possesses different characteristics and will not match right off the bat. That being said, does having a two-camera setup where the cameras are inherently different make sense given the differences in specs (color space, dynamic range, codex etc.)? Is it feasible given that it can be adjusted in the DI, and would it be possible to get the cameras close during production. Because of the different characteristics and looks, I have toyed with the idea of using each camera situationally based on their given strengths, but in some cases I would need to have a B camera available to support the A camera. I realize that I may be giving myself more work in the long run, and I'm sure there are things I am missing, but I would greatly appreciate any idea, advice and expertise on the topic. Thanks in advance, RC