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he AG Neovo 17″ LCD Monitor comes equipped with a hard glass front screen that is resistant to scratches and accidental damage. Together with its contemporary design, this makes it a good option for home or business users in need of style and durability.
This monitor offers a good resolution of 1280 x 1024, a crisp contrast ratio of 800:1, and a superior brightness of 300 cd/m2. Dual analog and digital inputs offer compatibility with a range of computers and DVRs. A pair of built-in speakers provides quality sound while a side-panel earphone jack offers the option of listening in private.
Supporting 4K resolution on Super 35mm sized sensors, the Angenieux 16 to 40mm Optimo Style Zoom Lens with PL Mount is patterned after the Angenieux Optimo DP series of zoom lenses and features a 2.5x zoom range of 16 to 40mm. The lens features internal focus design for a constant length as focus is changed and exhibits no signs of breathing during focus pulls.
The focus ring rotates through 320° of rotation, providing room for over 20 precise witness marks. The lens is lightweight for its zoom range at only 4.2 pounds and features a 114mm front outside diameter, which fits many optional production matte boxes. The lens comes standard with an ARRI PL mount, but optional lens mounts are available. The lens incorporates industry standard zoom and focus gears for interfacing with optional zoom motors, follow focus units, and Angenieux optional ASU servo unit.
- Fast aperture of T2.8 with no ramping as you change focal length
- 320° focus rotation with over 20 precise focus witness marks and no breathing
- Optical design optimized for large format single sensor cameras
- Calibrated focus marks in feet or meters
- Standard PL mount lens; Panavision, Canon EF, or Nikon F mounts optional
- Expanded capabilities with optional Optimo 2x and 1.4x range extenders
Complementing the 16-40 T2.8 and 30-76 T2.8, the Angenieux 48-130mm T3 Optimo Style Zoom Lens offers a 2.7x zoom range inside a compact lens while maintaining a relatively fast aperture.
Optically, this lens natively covers Super 35 formats, up to 34.6mm diagonal, including the RED Helium 8K sensor. Its light weight ensures that it can be used in payload-conscious situations, including scenarios with gimbals, remote heads, and steadicams. Coatings applied to the glass elements reduce flare and ensure that the lens will color-match with other Optimo and Optimo Style lenses. Precise focus mechanisms inside the lens reduce breathing and space.
Mechanically, the native PL mount interfaces with digital cinema cameras that use a standard ARRI PL mount. Other mount options, such as Canon EF or Panavision PV are available separately. The focus, zoom, and iris rings all feature 0.8 MOD cinema-standard gearing for lens control accessories, and the focus ring has a long 320° throw with 20 witness marks for precise focus pulls. A 114mm front diameter ensures compatibility with standard matte boxes and filters.
Whether you’re shooting a feature film or a cinéma vérité documentary, cinematographers of all types can benefit from having a longer focal length lens that can be easily deployed and transport.
Lightweight, robust, and ready for production, Chrosziel‘s MB 450R2 Matte Box can complement a wide range of cameras, from smaller camcorders or mirrorless cameras, up to larger cinema cameras and ENG camcorders with an outer lens diameter of up to 114mm (lenses with a diameter smaller than 110mm may require additional accessories for full compatibility). With the included top flag and 16:9 mask, glare from outside the frame can be effectively controlled for improved contrast and reduced ghosting in the recorded image. Further control can be achieved through the separately available side and bottom flags.
Lightweight, robust, and ready for production, Chrosziel‘s MB 450R2 Matte Box can complement a wide range of cameras, from smaller camcorders or mirrorless cameras, up to larger cinema cameras and ENG camcorders with an outer lens diameter of up to 114mm (lenses with a diameter smaller than 110mm may require additional accessories for full compatibility). With the included top flag and 16:9 mask, glare from outside the frame can be effectively controlled for improved contrast and reduced ghosting in the recorded image. Further control can be achieved through separately available side and bottom flags.
The completely modular Cine.1 Matte Box from Chrosziel is built to be strong yet lightweight to fit into your handheld or studio camera rig. Having a matte box on the front of your lens allows you more flexilbility in lighting your scene by blocking light sources just out of frame from directly entering the lens, which can cause the lens to flare, and introduce image artifacts. This particular iteration of the Cine.1 series can be mounted directly on the lens with the integrated clamp, and is configured with two filter stages, however, it can be configured to hold either one or three filters with addition or removal of filter stages.
Included Top Flag
The Chrosziel StudioRig Cine is a professional dual-sided follow focus for precise focus actuation on high-end cinema lenses. As a dual-sided follow focus, with a separately available second handwheel, this StudioRig Cine can be used to actuate focus from either side of the lens. The rod clamp secures to 15mm rods that are spaced in accordance with the 15mm LWS standard.
4-in-1 sweep, function & pulse generator and frequency counter
Adjustable waveforms for sine, block, sawtooth and DC output
0.1Hz to 10MHz, adjustable through 7 channels
Built-in 7 digit frequency counter (up to 110MHz), internal and external
Internal and external linear sweep function adjustable from 1:1 to 100:1
Variable symmetry for generating sawtooth and square waveforms
TTL square wave output
Variable symmetry for generating sawtooth and square waveforms
The Fujinon MK18-55mm T2.9 Lens in E Mount is a lightweight cine-style zoom lens for E-mount cameras with a Super 35mm-sized sensor. It features a mechanical design with three independent lens control rings: focus, iris, and zoom. Each ring incorporates a cine-style gear with a 0.8 MOD for interfacing with standard cine -style lens accessories. The focus ring features approximately 200° of rotation, which provides room or precise focus pulls, and the iris is clickless, enabling smooth iris pulls. The lens also incorporates a macro mode for close focusing capabilities.
The lens is color matched to other Fujinon lenses such as the HK, ZK, and XK series, which enables smooth intercutting between lenses. The 85mm front enables use with many cine-style matte boxes via use of optional step up rings (rings not included). The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range. It is designed for camera’s with a Sony E mount, so it has a short flange focal distance, but the lens allows for flange focal distance adjustment so you can fine tune it to the camera you are using the lens on.
he Fujinon MK50-135mm T2.9 Lens in E Mount is a lightweight cine-style zoom lens for E mount cameras with a Super 35mm-sized sensor. It features a mechanical design with three independent lens control rings: focus, iris, and zoom. Each ring incorporates a cine-style gear with a 0.8 MOD for interfacing with standard cine -style lens accessories. The focus ring features approximately 200° of rotation, which provides room or precise focus pulls, and the iris is clickless, enabling smooth iris pulls. The lens also incorporates a macro mode for close focusing capabilities.
The lens is color matched to other Fujinon lenses such as the HK, ZK, and XK series, which enables smooth intercutting between lenses. The 85mm front enables use with many cine-style matte boxes via use of optional step up rings (rings not included). The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range. It is designed for camera’s with a Sony E mount, so it has a short flange focal distance, but the lens allows flange focal distance adjustment so you can fine tune it to the camera you are using the lens on.
he BrightCast Variable 15-345 Flexible Bi-Color LED Panel with V-Mount Battery Plate from Kamerar is a 12 x 12″ light source that allows you to bend it into the shape that best suits your subject permitting placement in tight spaces where traditional fixtures just can’t go. The 15-345 has all the benefits offered by LED use including low power draw and cool running temperature, but it’s also dimmable and has a variable color temperature from approximately 3200 to 5600K or anywhere in between, while maintaining a high CRI of 98 in the tungsten range and 97 in the daylight range. This feature allows you to light creatively, match other fixtures, or deal with the ambient light conditions.
The rugged, shock-proof, BrightCast Variable 15-345 panel is IP67-rated water-resistant and can even withstand submersion in water up to 3.28′ deep (panel only). With an integrated 5/8″ tilting stand mount, the power supply runs on 100-240 VAC mains power via an AC adapter, making it ready for worldwide use, but you can also run on pro batteries when mains power is unavailable thanks to the U-Mount control frame. The V15-345 rolls into a cylinder to fit in the included padded, compact carrying case along with its accessories.
Flexible, Yet Rugged
Shape Your Light
256 Bi-Color LED Chips
Complete Color Control
Designed for the digital cinema market, the Leica 15mm T2.0 Summicron-C PL Mount Lens (C for cinema) features a stainless steel PL mount and provides a smaller, lighter, albeit slower option to the renowned Summilux-C series of lenses.
The 15mm focal length is a common choice for a wide angle lens in the Super 35 format as it provides a strong wide-angle effect without extreme distortion. The small size of the lens makes it suitable not only for regular production but also for stabilized rigs, aerial cinematography, and stereoscopic 3D capture. Projecting a useable image circle of 36mm in diameter, it is compatible with a variety of cameras that have sensors that are slightly larger than Super 35. The T2.0 maximum aperture is consistent among the range, so there is no concern about exposure variations when cutting between Summicron-C lenses. Each lens incorporates geared focus and iris control rings, which share the same position, so swapping lenses can be done without having to adjust your follow focus or lens control system.
The lens features an internal focus design, which means a non-rotating front perfect for clip-on matte boxes. A generous number of focus marks are distributed along the dual focus scales, and the 300° of focus rotation provides for accurate focus pulling. The 95mm diameter front,weight, and length is standard across most Summicron-C lenses.
Ready for the Future
High Optical Performance
The Nikon D3x SLR Digital Camera (Body Only) provides incredibly high resolution images, with superb performance, and boasts an array of refinements that enhance performance and improve the user experience. Such features include, Super-high Resolution, the Nikon EXPEED image processor that powers the cameras high performance and its Scene Recognition System, refined viewfinder performance with a Virtual Horizon Indicator; a large LCD with a wide viewing angle and that can provide Live View Shooting, significantly increased battery life; and a wide range of firmware enhancements.
Housing a high-resolution 5.7K image sensor capable of rendering smooth 4K images inside a compact body, Panasonic‘s AU-EVA1 Compact 5.7K Super 35mm Cinema Camera is a flexible camera system ready for documentary, cinema, and live event production. The 5.7K sensor is used to super-sample internal recordings, resulting in higher resolving images with less noise and artifacting when compared to non-super-sampled recordings. Panasonic’s acclaimed Dual Native ISO technology is also incorporated into this sensor. Dual Native ISO uses alternative circuitry within the sensor, rather than adding gain or shifting the gamma of the original signal output, to increase sensitivity while maintaining a high signal-to-noise ratio. The standard native ISO is 800, which works for most production situations. This can be switched to 2500 when working in dim scenarios.
Canon EF mount is part of the Xenon FF set of lenses. FF stands for full frame, and every lens in the set covers a full frame image sensor without vignetting and is designed for 4K image capture. The Xenon FF lenses are color matched to a standard at the factory, minimizing color shift when changing lenses. They feature a 14-blade iris, providing natural looking bokeh, with circular out of focus highlights, 300° of lens barrel rotation, and share lens gear positions and size.
The lens features a barrel with a large circumference, providing wide spacing for focus marks. Opposing focus scales provide properly oriented focus marks on both sides, so an assistant can pull focus from either side of the lens. Lens gears for focus and iris allow you to use the lens with industry standard lens accessories. The 100mm features a removable lens support bracket, so you can use an available lens support if you wish. The lens is designed to allow a lens technician to swap mounts between available Canon EF, ARRI PL, and Nikon F, avoiding adapters and solidly mounting the lens to your camera.
Lens Barrel Rotation
The EK 3241 has a switching bandwidth of 36 MHz and frequencies that can be tuned in steps of 5 kHz, making the true-diversity receiver the perfect partner for Sennheiser’s current transmitter models SKM 5200-II and SK 5212-II.
Frequency-agile products are in greater demand than ever as frequency resources become increasingly scarce. We have therefore developed a new tuner module for this true-diversity camera receiver and given the lightweight EK 3241 (200 g) the capacity for reliable, flexible RF wireless transmission: 32 custom frequencies have already been programmed within the switching bandwidth of 36 MHz; in addition, the user is free to program and store another 20 frequencies in steps of 5 kHz into the user bank.
The SQN-4S has been the unrivaled Industry-standard portable audio mixer since it was the first to arrive on the scene back in 1984.
The new SERIES IV is the culmination of an extensive development program to ensure that the SQN-4S remains at the forefront of location sound technology. Extending the control panel to include all the required functions on one face of the mixer has made it even easier to use than before.
Newly designed transformerless input amplifiers, larger output transformers for low distortion bass, virtually unbreakable analogue level meters, pre-fade listening, slating microphone, logic processing of many switching functions leading to a minimal length audio path, optional feed for four output channels and improved filtering and screening have all contributed to making it a welcome successor to its illustrious forbears.
Characterized by its versatile zoom range and bright design, the Nikon F-mount 17-50mm f/2.8 EX DC OS HSM from Sigma covers a wide-angle to portrait-length range and features a constant f/2.8 maximum aperture to excel in available light conditions. The optical design incorporates a pair of low dispersion elements along with a trio of aspherical elements to reduce a variety of aberrations and promote greater sharpness and clarity. A Super Multi-Layer Coating is also used to suppress flare and ghosting for improved contrast and color accuracy. Benefitting the optics, a Hyper Sonic Motor affords quick and quiet autofocus performance while an Optical Stabilizer minimizes the appearance of camera shake for sharper handheld shooting. Additionally, the lens is distinguished by its sleek profile, making it an ideal lens for walkaround and travel shooting.
Sony’s MCX-500 8-Input 4-Video Channel Global Production Streaming/Recording Switcher is much more than just a portable 8-input switcher. It is a global system that supports both 60 and 50 Hz production formats, so you can work with it virtually anywhere in the world. Four 3G-SDI inputs, two HDMI, and two composite (CVBS) inputs each feature a discrete frame synchronizer, allowing you to mix input sources. The unit internally processes the input footage at 1080i.
The MCX-500 combines a manual control surface with a touchscreen LCD that you can control locally or from a networked device. As you would expect from a professional mixer, cut, mix, wipe, and key effects are built into the unit. In addition to the program and multiview preview outputs, the switcher can also live stream to services such as Ustream via Ethernet, without requiring additional hardware. Likewise, the MCX-500 can record the program stream to an SD card, not included, via the built-in SD card slot. Beyond just the video switching capabilities, it is also a 5-channel audio mixer. You can control the switcher remotely via Mac, PC, or a tablet.
The Sony PDW-F1600 is an XDCAM HD422 recorder and player. Built upon blue laser technology, the XDCAM HD line of products takes advantage of non-linear workflow, while keeping the same archiving infrastructure professionals are accustomed to with tape-based formats. The player is ideal for transferring footage into non-linear workstations.