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Found 38 results

  1. 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)
  2. 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/.
  3. 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.
  4. 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.
  5. 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.
  6. 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.”
  7. 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
  8. 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.
  9. 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
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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
  15. Alexa Plus Package w/ Tons of Extra Cables and Accesories I'm selling my Alexa Plus which includes lots of extra cables and accesories. Some of these extra cables are brand new in the packaging. 1 Arri ALEXA Plus Digital Cinema Camera Arri High Speed License 120FPS / Arri Anamorphic De-Squeeze License / 2k Firmware 1 Arri ALEXA PL Mount 1 Arri ALEXA VMB-1 Viewfinder Mounting Bracket 2 Arri ALEXA Viewfinder Cable Short (0.35mm/1.2ft) KC 150-s 1 Arri ALEXA Viewfinder Cable Medium (0.65m/2.1ft) KC 151-S 2 Arri ALEXA Ethernet Cable (3.00m/9.8ft) KC 153-S 2 Arri XLR Sound Adapter Cable 3 Arri ALEXA 12V Accessory Cable 1 Arri Alexa 12V Accessory Cable (NEW) 1 Arri BPA-1 Bridge Plate Adapter for ALEXA 1 Arri WA-1 Wedge Adapter for ALEXA 2 Arri LB-1 Leveling Block for ALEXA (1 is NEW) 1 Arri BP-12 Bridge Plate Set (19mm) 1 Arri SP-3 Shoulder Pad for ALEXA (not in photos) 1 Arri CCH-1 Center Camera Handle for ALEXA 1 Arri HEB-2 Handle Extension Block for ALEXA 1 Arri ALEXA Anton Bauer Battery Adapter Back for Gold Mount 1 Wedge Adapter for Dock Stye Plate (not in photos) 1 24V AC Power Supply 1 Antenna for Alexa Plus 4 64GB Sony SXS Cards 1 Sonnet Express Thunderbolt Card Reader 1 24" Thunderbolt Cable 1 Innerspace Case for Alexa Plus 1 TV Logic 5.6" Monitor with Cable 2572 hr Asking USD Was $24,000.00. Now $17,000.00 Available in NYC and shipping domestically Pictures available upon request. PM or email for details at hunter.r.baker@gmail.com Thanks, - Hunter
  16. Panavision, the motion picture industry’s most respected designer, manufacturer and provider of state-of-the-art cinema lenses and high-precision camera systems and innovative post production technologies, will bring its Millennium DXL 8K Camera to the 2017 National Association of Broadcasters (NAB) Show, which runs April 24-27 in Las Vegas. Technology leaders from Panavision and its subsidiary Light Iron will also offer their insights and expertise during panel discussions throughout the show. Developed through an unprecedented collaboration of three companies, the Millennium DXL brings together large-format optics and modular accessories from Panavision; an 8K sensor from RED Digital Cinema; and new color science and optimized workflow from Light Iron. The DXL camera has been renting since January. Hands-on demonstrations of the DXL will take place at the following locations during NAB: LEE Filters, A Panavision Company (Booth C11746)with LEE’s new remarkably color-accurate ProGlass Cine IRND Filters. Vitec Videocom (Booth C6025)Freefly Systems (Booth C2922)NAB attendees will have an opportunity to hear from some of the experts and designers behind Panavision’s cameras and lenses, and post innovator Light Iron. Following are the discussions Panavision and Light Iron will participate in: (All locations are at the Las Vegas Convention Center unless otherwise noted.) On the Verge: How Innovation Threatens the Future of Broadcast: OTT distributors Netflix and Amazon are implementing technological innovations that are being chosen by a new generation of content creators. How will that impact traditional broadcast and cable companies?Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron Saturday, 4/22, 3:20-3:55pm LVCC Room N262-N264 Is Cinephilia Dead or Is It Just Expanding? A unique gathering of panelists discuss the infinite palette of technological possibilities and its role in the art of cinema and movie distribution.Panavision Panelist: Michael Cioni, SVP of Innovation, Panavision and Light Iron Sunday, 4/23, 9:15-10:15am LVCC Room S222-S223 DXL on Tap – Reduser Meetup Join SVP of Innovation, Panavision and Light Iron Michael Cioni and other DXL experts for a casual chat about 8K, VV, and Light Iron Color.Sunday, 4/23, 5:00-7:00pm MGM Grand Hotel - Lobby Bar (3799 S. Las Vegas Blvd.) Where Is the Content “Puck” Going to Be? Silicon Valley’s influence over the marketplace is changing not only how content is delivered, but the type of content produced.Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron Monday, 4/24, 12:45-1:15pm LVCC The Studio @ B&H - Booth C10415 Understanding Optics for 8K Panel: Al Collins, from Panavision, and Matt Duclos, from Duclos Lenses, offer thoughtful guidance on large-format optics, anamorphic vs. spherical glass, and what this all means for the average filmmaker.Panelist: Al Collins, Optical Technician, Panavision Tuesday, 4/25, 9:30-10:45am LVCC Room S2227 ASC Lens Committee Update & Trends in Optics: After an update on the ASC Lens Committee, American Cinematographer contributor Jay Holben will have a conversation with Dan Sasaki about the increased use of vintage and large-format lenses.Speaker: Dan Sasaki, VP of Optical Engineering, Panavision Tuesday, 4/25, 9:30-10:15am LVCC Tiffen Booth - C6019 Do We Have Stockholm Syndrome with Apple? Apple fans rejoiced after a recent announcement about the potential future of MacPros. Now is the time to continue to press Apple for the functionality needed to push the boundaries of creativity.Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron Wednesday, 4/26, 10:00-10:20am LumaForge Suite @ Courtyard Marriott (3275 Paradise Road) Digital Cinema Trends, 4K, 8K, HDR, VR at 2017 NAB Panel: As another NAB comes to a close, a lively panel of experts will discuss how this year’s exhibits align with the professional world of content creation.Panelist: Josh Haynie, VP US Operations, Light Iron Wednesday, 4/26, 3:15-4:00pm LVCC The Studio @ B&H - Booth C10415 For more information about the Panavision Millennium DXL, visit www.panavision.com. For more information about Light Iron, visit www.lightiron.com
  17. TP Zelins

    RED Scarlet-W

    Looking to purchase the new RED Scarlet-W (10K Brain-only). Have not worked with RED much before. Looking to up my gear. Seen some footage from this new DSMC2 line and looks great! Deciding between this and the C300 Mark II. Has anyone worked with this yet?
  18. Hey there! I'm sorry if this is too many questions at once, but I figured it would be better to just lay my initial questions all out at once instead of peppering them throughout the thread over time. I graduated from college this May with an English degree and a minor in Communications, and I want to go to film school as a graduate student. In order to do this, I need a short film (I'd really like to go to USC). However, my university didn't/doesn't exactly have a cutting-edge film program, so I'm a little flustered. Here's a bit of background about my short film project. It concerns a young woman going to a bar in the early hours of her 21st birthday (it's like 12:08 AM) and ordering her first-ever drink. It's going to be shot without dialog--it will be all body language and sound effects, like a Pixar short, if that makes sense. I want the look of the film to be "objective" (I know that's not a real thing in film) except for a couple of wide-angle shots and a deep focus shot which pulls back over the bar to establish that she's in a bar (if there's a way to do this without deep focus, let me know). I'd also like to do something like this shot from The Music Man (https://youtu.be/CC33O52pGUg?t=2m43s). I don't know how they did it, but I suppose you can cheat it in post if you're a good/patient enough rotoscoper. Anyway, I was looking into what kind of camera I should use to film this project. I've saved up a bit of money and I want to get the best camera possible for the job without requiring me to learn a textbook-worth of information or have tons of hands-on time with the camera before I use it. Since I'll be filming in a real bar (sadly, I haven't saved up enough money to build one from scratch on a soundstage) at night, there will be low light and the possibility of competing color temperatures (since I can't exactly tear out any lights). I'd also prefer to go for as filmic a look as possible. I would shoot the project on film if I could, but I super-don't know enough about film to do that. For this reason, I was looking at either the RED camera or the ARRI Alexa XT. After reading about the RED, I came away with the impression that it was a very particular camera that had kind of a steep learning curve, and that the ARRI Alexa XT would be much easier to shoot with, although I don't know if it's easy enough. My experience has mainly been with that one miniDV Canon SD prosumer camera that everyone had. I also would like to shoot Open Gate ARRIRAW for the project to maximize the pixel count for upscaling to 4K. Since I live near Atlanta, I'm looking at renting from here: http://pce-atlanta.com/. Here is their list of cameras and lenses (PDF): http://www.pce-atlanta.com/pdf/Camera%20Catalog_4_8_2013.pdf. I'm going to be renting the camera and lenses for a weekend. So my first question is: how feasible is this? Especially as I've never used the Alexa before and I'm not an experienced color corrector. Can you just drop ARRIRAW footage into the free version of Da Vinci Resolve or Adobe SpeedGrade and get good results just by messing with a few presets, or is it going to be a month of tedious work? Because I don't have the time to devote every day to it, especially as I'll also be doing foley work. My second question is this: ARRIRAW is flat footage, correct? So how do you know how the colors are going to look when using the monitor? My third question is: how much is that Codex docking station that plugs into the USB 3.0 connection on a MacBook Pro? I've been unable to get a straight answer from their website. And do I need to buy a software license to transfer the ARRIRAW files to a hard drive using it? My fourth question is this: what kinds of lenses should I use? I was thinking of just getting a zoom lens, since that would be cheaper, but would I be able to pull off that deep-focus shot with it? And ARRI's website tells me that shooting in Open Gate ARRIRAW can be a problem because a lot of lenses don't fully cover the sensor area. Do any of the lenses on that list qualify? I'd rather not abandon the Open Gate part of my plan, but I'd sooner abandon it than abandon the Alexa XT (although if I weren't shooting in Open Gate ARRIRAW I guess I could switch to an Alexa with the XT module), so if I have to, I will. My fifth question is: do I need to get a new tripod? I mainly have the kind which you can use for still camera work or for that relatively light Canon prosumer camera I mentioned. Is the Alexa XT a heavy camera? My sixth question is: lighting. I don't understand it. I have a lot of questions about it. I'm considering just using the available light for this reason. For instance, I understand the three-point lighting method (or I think I do, anyway) and I understand how it's easy to do in close-up, but what happens when you cut to a long shot from a different angle, exposing where the lighting rigs would be? My seventh question is: how do I keep it from looking like TV? Let me elaborate on that. I initially thought that aspect ratio played a part in making TV look like TV, but Better Call Saul looks like a movie to me, and Witness for the Prosecution, mistakenly presented in 16:9, looked like a movie as well--not like TV. So my theory is that it has something to do with coverage and composition (and maybe editing and lighting, too). I want my short film to look like a film. What are some common pitfalls I should avoid if I don't want my film to be mundane? I think that's it for now. If you guys could do me a favor and keep checking this thread, I'm sure I'll have more questions. Thank you so much for your time. Also, please let me know if in the future I should make separate topics for questions with separate subject matter. I just didn't want to clutter up your forums.
  19. Hello all, So I film on the Blackmagic Pocket Cam, which is infamous for how fast it heats up. Now I've never had a problem with it overheating, I have generally been filming in A/C cooled indoor areas. However, I'm beginning production for an upcoming film, and most of the filming will be done outside... oh, and lest I forget, I happen to live in the great state of Texas where the average Summer temp. is around 96 degrees Fahrenheit. I'm a little worried about it overheating in the outdoor temperatures. So my question is: how do you keep a camera cooled down without damaging it with ice/water?
  20. Hi, I just started up a wedding video services this year, and I'm just barely building up my clientbase for now. I currently have 15 weddings to shoot this year but I only charge very low. I already bought 2 decent cameras and some lenses. Do you think buying expensive sliders, gliders, crane and all that stuff is recommended now or should I just rent them for now? Just really need your opinions on this one guys. :) Thank you very much.
  21. Super 8 kit for sale. All carefully serviced, film tested, with clear lenses and in fully working, near mint condition. Minolta XL-84 - £149.99 (RL button intentionally removed) Canon AF514XL-S - £124.99 Canon 514XL-S + 43mm C8 wide lens - £99.99 Sankyo XL-620 - £99.99 Sankyo XL-420 - £74.99 Bolex Aspheron 4mm (55mm thread) Wide Lens - £34.99 Canon 43mm C8 wide lens - £49.99 Canon 67mm C8 wide lens - £99.99 Prices in GB Pounds Sterling. Based in London UK. billrodgersfilms@hotmail.com
  22. 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
  23. I was having a nice conversation with a camera owner and he mentioned to me, according to conversations he had with other camera folk, that movie film cameras are set to appreciate in the near future and I wanted to post this to get some feedback from the community here. I do agree with him, since these cameras are not being made anymore, film is still available and people enjoy the film look and working with film. These cameras could turn into a nice commodity and maybe hard to get your hands on in the future. Love to hear your thoughts, Alexander
  24. Hi Cinematography.com I thought you guys would be interested in our awesome camera accessories sale. Up to 50% off of camera accessories for DSLR and compact cameras. These professional quality products will allow you to take your filmmaking and camera skills to the next level. http://www.genustech.tv/collections/specials Also check out our awesome mini jib. A compact lightweight camera jib that allows you to pull of those smooth cinematic shots you want. http://www.genustech.tv/collections/camera-jibs/products/camera-mini-jib
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