Arri Follow Focus FF4

Daily $

Arri Follow Focus FF4

Manufactured in sleek black metal, this special edition of our ubiquitous studio follow focus
unit combines a modern look with trusted engineering and a classic design.

Main Features

  • Follow focus system for use with film and cine-style lenses
  • Gear ratio of 1:2 is appropriate for a wide range of lens barrel sizes
  • Choice of three different focusing knobs (standard, hard stop, 2-speed)
  • Compatible with ARRI lightweight support as a slide-on unit
  • With adapter, compatible with studio rods systems 15 and 19mm
  • Compatible with a wide range of ARRI driver gears and knob accessories
  • ARRI reversing gear set available for use with Nikon and Leica lenses
  • Economical and robust

Arri MB18

Daily $

Arri MB18

Arri MB18

  • Filter Size: 4″ x 4″, 4″ x 5.65″, 4.5″ round
  • Vertical and horizontal filter frames available
  • 2, 3 and 4 trays stage available
  • Swing away mechanism
  • French flag holder
  • Requires studio bridge plate, not for 15 mm lightweight support
  • Top / bottom and side flags available
  • Set of 6 masks available

Arri LMB5

Daily $

Arri LMB5

Arri LMB5

Main Features

  • 2- or 3-filter metal filter stage guide
  • Combo 4×4 / 4×5.65″ filter frames
  • Compatible with all LMB-5/15 filter frames, Clamp Adapters and light shields
  • Wide angle hood easily removable on set with captive screws
  • Securing loop on main frame for crane and vehicle use

Accessories available

  • 5×5″ filter frames
  • Bottom Flag attachments
  • Carbon Top/bottom flag
  • Set of 5x mattes
  • 3/8″ top mount for accessories such as ultrasonic devices
  • Bottom mounted tray securing catch for crane and vehicle use

Arri MB14

Daily $

Arri MB14

Arri MB14

The MB-14 is a production matte box for 19 mm or 15 mm studio support, designed for wide-angle and large diameter lenses.
Maximum filter size 6.6″ x 6.6″ / round 6″. Standard configuration with 4-filter stage; several other filter stages possible
One of each filter frame pair toothed for operation by knob or flexible shaft Swing away 90° to the front, with top / bottom and side flags, set of masks and French flag holder.
Note: Requires 19 mm or 15 mm studio bridge plate or ARRI QR-HD1 baseplate. Not for lightweight support.

  • Maximum filter size 6.6″ x 6.6″ / round 6″
  • Standard configuration with 4-filter stage; several other filter stages possible
  • One of each filter frame pair toothed for operation by knob or flexible shaft
  • Swing away 90° to the front
  • Top / bottom and side flags
  • Set of masks and French flag holder
  • Wide carrier MB-14-W for lenses from 9.8 mm

Tilta Spider Grips

Daily $

Tilta Spider Grips

These Arri-rosette, or rod mountable hand grips can be positioned in any way you need to create rock-solid hand placements for your operator.

VCLX Anton Bauer Cine CA 560 Wh

Daily $

VCLX Anton Bauer Cine CA 560 Wh

VCLX Anton Bauer Cine CA 560 Wh

  • 14.4V and 28VDC Output
  • 560 / 336 Wh
  • Nickel Metal Hydride Technology
  • 4-Pin, 3-Pin XLR and 8-Pin Lemo
  • Cine Alta Version

Anton Bauer Dionics

Daily $

Anton Bauer Dionics

Anton Bauer Dionics

  • 91 Watt Hours Peak (83 Wh Typical)
  • 14.4VDC
  • 10 Amps
  • Maxx Warranty
  • Real Time LCD

Redman Main Stage

Daily $Call For Price

Redman Main Stage

If your production is more demanding and requires a larger space our studio is for you. Measuring in at 58 x 58 feet and 16 feet to the grid, you are able to bring in large cranes, lights, and large subjects (cars, boats, etc.). Our studio is fully equipped with 400 amps per leg of 3 phase as well, so no light is too big for this studio.   Pre-rigged with 11 Skypanel S60’s, 2 Arri L10’s, and 6 Image 85’s all wireless controlled from an iPad running Luminaire.

For more information on this studio give us a call!

Redman Photography Cyc Stage

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Redman Photography Cyc Stage

If your’e looking for a large photography stage with equipment rentals all in one house… this is the stage for you. With ample amount of power and space for small to large productions. Equipped with pre-rigged Skypanel S60’s for the backdrop you can make your studio what ever color you want with a touch of a button with the included wireless iPad and Luminaire application.

Take your photo shoot to the next level.

Redman Express Stage

Daily $Call For Price

Redman Express Stage

Our express stage is an incredible, sophisticated high tech insert studio. Its fully equipped with today’s latest lighting tools. Equipped with 2 Arri Skypanels that are fully operational wirelessly from the studios iPad. Change the color, and output with a swipe of your finger. We then have an Arri L7 and Skypanel S60 as a rim light that can also be completely controlled from the iPad. On the stages floor there is also another fully controllable LED light the Nila Boxer that is used as your key light for your talent. This stage was built for quick productions. Its simple bring your crew, camera, and talent, we got the rest covered.

To learn more about the express stage give us a call!

Profoto B1X

Daily $

Profoto B1X
  • 1 x B1X 500 AirTTL OCF Monolight
  • 1 x Li-Ion Battery Mk II for B1 and B1X
  • 1 x Battery Charger 2.8A
  • 1 x Bag XS
  • LED Modeling Lamp (130W Equivalent)
  • Better Battery: 325 Full-Power Flashes
  • Full 9-Stop High-Speed Sync Power Range
  • Flash Duration: 1/19,000 – 1/1000 Sec
  • 0.1 – 1.9 Sec Recycling

Accessories Available: OCF Magnum reflector   OCF Grid Set 

Profoto Pro-10

Daily $

Profoto Pro-10
To say the Profoto Pro-10 is fast is an understatement, with a breathtaking flash duration of up to 1/80,000 of a second. But what really sets the Pro-10 apart is that it’s the perfect fusion of speed and power – 2400Ws of power to be exact. The light output it generates is truly enormous and it provides a shorter flash duration than any other flash across the entire power range. This dramatically increases the scale of what you can shoot and freeze, everything from a water splash to a waterfall are perfectly frozen in time.
Recycling time is equally impressive. The Pro-10 can easily match the fastest cameras even when the light output is set high, making it easier to capture the perfect moment by shooting in bursts. Combine all of that with TTL and Profoto’s patented High Speed Sync (HSS) technology, and you have a flash that is capable of handling any and all lighting challenges. Ultimately the Profoto Pro-10 is so much more than the world’s fastest studio flash – it’s your imagination set free. It’s the speed to exceed.

Profoto 7A

Daily $

Profoto 7A
  • Consistent color temperature and exposure level at all power settings
  • 6 stop range in 1/3 and 1/6 step increments with two ergonomic dial controls
  • heavy duty, ergonomic design
  • Profoto special non-arching lamp head safety connectors

 

Profoto B4

Daily $

Profoto B4
B4 The Pro-B4 is our state-of-the-art battery generator. In some regards it even outperforms the best studio generators out there. Just try finding another generator that can freeze motion at 1/25,000 second or fire up to 30 flashes per second! That is why we are not afraid to label it a revolution on location.
  • Unrivaled flash durations on all power settings.
  • Selectable FREEZE mode available for extreme splash shots.
  • The world’s fastest recycling battery generator, allowing you to create never before seen sequence shots on location.
  • Next generation Li-Ion (LiFe) battery recharges to full power in only 45 minutes.
  • Battery can be charged while in use, which makes the generator equally useful in the studio!
  • Two individual outputs and 11 f-stop power range with control in 0.1 f-stop steps provides unbeaten precision and versatility on location.
  • Wireless sync and remote control with the Air system.

Profoto 7B

Daily $

Profoto 7B

7B

  • up to 250 full power flashes from a single battery cassette
  • full 7 f-stop range in 1/6 step adjustments
  • asymmetrical or symmetrical power distribution
  • 100 W model light

Acute 2400Ws & 1200Ws

Daily $

Acute 2400Ws & 1200Ws

Acute2

Packed with light. The Acute2 has been a popular choice for a longer period of time than any other currently available Profoto generator. There is a reason for that. Just try finding another generator with this much light packed into such a small and lightweight package. In addition, the Acute2 offers no less than three asymmetrical outlets, ready to be used in the studio or when you decide to take the studio to the location
  • Small and lightweight
  • Three lamp head sockets with asymmetric power distribution results in a wide variety of possible setups and creative freedom.
  • 6 f-stop power range.
  • Manual switch for use with either 100-120 V or 200-240 V mains outlets.
  • Proven reliability.

ProFoto Pro Head Plus

Daily $

ProFoto Pro Head Plus

The Profoto Pro Flash Head is compatible with our Pro 7, 7B2, 8, and B4 and Pro10 Power Packs. It features a circular, heavy duty quartz flash tube which surrounds the 250 watt modeling lamp. It provides even illumination and maximum light output. It accepts Profoto’s system of modular light shaping tools.
The Pro Head includes a Zoom Reflector, which slides and locks at your chosen position along the head’s chassis. This enables you to control the spread of the light emitted.

The included 16′ (5 m) head cable features Profoto special connectors for safety, security and convenience, and dual lead technology for reliable performance. All heads feature a 5/8″ stand adapter. This head includes a frosted, UV corrected glass dome

Single Tube Profoto Pro Head

Daily $

Single Tube Profoto Pro Head

Single Tube Pro Foto Pro Head

The Profoto Pro Flash Head is compatible with our Pro 7, 7B2, 8, and B4 and Pro10 Power Packs. It features a circular, heavy duty quartz flash tube which surrounds the 250 watt modeling lamp. It provides even illumination and maximum light output. It accepts Profoto’s system of modular light shaping tools.
The Pro Head includes a Zoom Reflector, which slides and locks at your chosen position along the head’s chassis. This enables you to control the spread of the light emitted.

The included 16′ (5 m) head cable features Profoto special connectors for safety, security and convenience, and dual lead technology for reliable performance. All heads feature a 5/8″ stand adapter. This head includes a frosted, UV corrected glass dome

 

ProFoto Pro Twin Head

Daily $

ProFoto Pro Twin Head

The Pro 7 Twin Head features two “U” shaped flash tubes. Two power packs may be attached to achieve twice the energy (a total of 4800 w/s). When fitting it to one generator, extremely short flash durations, or shorter recycling times are possible. Fits all Pro power packs.

ProFoto ProRing Flash Head

Daily $

ProFoto ProRing Flash Head

The Profoto ProRing Flash Head is a light source that encircles the lens and supports the camera via the included mount. The ProRing Plus is popular with fashion photographers for its unique catchlights, soft, flat output and nearly shadowless quality of light even when close to a background.

ProFoto Air Remote TTL (Nikon or Canon)

Daily $

ProFoto Air Remote TTL (Nikon or Canon)

Maximize the potential of your AirTTL-equipped flashes with the Air Remote TTL from Profoto. This powerful remote provides you with an outstanding set of features, including support for wireless power control and TTL, including high-speed sync, with Nikon and Canon cameras. Operating on a 2.4 GHz frequency, the Air Remote can sync with flashes up to 1000′ away with normal triggering and 330′ with TTL. TTL is useful because it offers automated shooting and exposure and brings the advantage of high-speed sync, enabling the use of shutter speeds up to 1/8000 second. Also, the controller has 8 channels and 3 groups, ensuring minimal interference with other nearby systems and equipment. Each group can be controlled independently from one another, permitting ±2 EV adjustment of power ratios for TTL systems and nine stops of manual control. You have access to remotely turn on/off the modeling lights or heads, making it easier to adjust lights in your studio. Additionally, there is a mini-USB port for installing firmware updates and it runs on just two AAA batteries.

ProFoto Air Remote Transciever

Daily $

ProFoto Air Remote Transciever

The Profoto Air Remote Transceiver is a proprietary radio slave transceiver designed to work with the Pro-10 2400W/s power packs, the Pro-B4 Battery Pack as well as the B1X Air series of monoheads. This transceiver can control an unlimited number of power packs and heads on eight channels. It can mount to your camera’s hot shoe, or sync to your flash terminal for firing.
Operating from two AAA batteries, at a frequency of 2.4GHz, the Air Sync has a range of 1000′ (300 m). It can sync up to 1/250 second with a focal plane shutter camera, and 1/500 second with a leaf shutter camera. Its triggering speed is over 100 fps.
The Air Remote can also be used in pairs or in conjunction with the Profoto Air Sync (one on camera and one on flash) to trigger flash units without built-in Air technology like our 7a’s

Pocket Wizard Transceivers

Daily $

Pocket Wizard Transceivers

PocketWizard Plus III The Plus lll Transceiver is the most reliable, feature-packed, easy-to-use solution for remote flash and camera triggering available. The Plus lll is an Auto-Sensing Transceiver which means it will automatically switch between transmit and receive as needed and is reverse-compatible with all PocketWizard radios, making it the perfect addition to existing gear. Whether new to remote triggering of camera’s and flashes or a top professional pushing gear to the limits, the Plus lll’s reliability, simplicity and performance make it the perfect tool for the job. 

 

PocketWizard Plus II The PocketWizard Plus II transceiver system does more than cut the cord. The PocketWizard Plus II can wirelessly trigger lights and/or cameras within a range of 1600 feet of the transceiver. Utilizing advanced wireless technologies, four 16-bit, digitally-coded channels are available for selective firing of lights, or when working in ‘crowded’ environments. If speed is a concern, images can be captured at a rate of up to 12 frames-per-second, which outpaces most currently-available cameras, pro or otherwise. Ultra-fast microprocessors allow for top sync speeds of 1/250th-second for focal-plane shutters and 1/500th for leaf shutters.The PocketWizard Plus II is compact, with a short, unobtrusive, rubberized antenna. The total height of the transceiver and antenna is less than 6.5”, and it weighs in at 6oz including the batteries. To ensure a secure fit to your camera or bracket, the Plus II features sturdy locking rings for hot shoes. Power is supplied by 2 AA batteries, which are good for about 60 hours of playtime. An optional AC adapter allows for continuous, unlimited shoot time.

Profoto ProFresnel

Daily $

Profoto ProFresnel
The Profoto ProFresnel Spotlight attachment features a large 30 cm front lens to supply a great lighting effect, and the light is focused by pushing the lamp forward or backward. It is similar to those used in theatrical and movie lighting. For highly focused light at short or long distances. It accepts barndoors for control of the light edges. Accepts all Acute, ABS, AB, PAB, Twin Lampheads, Pro Heads and all ComPact units. Accepts Profoto ComPact’s, Acute2, Pro-7 heads and Tungsten/HMI.

Elinchrom Octabank

Daily $

Elinchrom Octabank

Product Highlights

  • Works to Diffuse & Even Out Light Spread
  • EL Folding Construction for Fast Setup
  • High Output Silver Interior Fabric
  • Compatible with up to 650W Halogen Lamps
  • Internal and External Diffuser Included
  • 360° Rotating System
  • Optional Elinchrom and Profoto Adapters
  • Includes Carrying Case

Profoto Beauty Dish (Softlight Reflective)

Daily $

Profoto Beauty Dish (Softlight Reflective)

Product Highlights

  • 65 Degree Spread
  • For All Profoto Flash Heads
  • Built-in Speedring

Chimera Soft Boxes

Daily $

Chimera Soft Boxes

We offer all the Chimera soft boxes you could need for your next photo shoot. Call us to get full inventory.

Hard Reflectors

Daily $

Hard Reflectors

The name “hard reflectors” reveals two important characteristics of these Light Shaping Tools. First of all, the reflectors themselves are hard – lathed in high-quality metal and extremely durable. Secondly, they create generally a harder light with a more distinct fall off than, for instance, a softbox or an umbrella.

Photek Softlighter

Daily $

Photek Softlighter

An umbrella that can be quickly transformed into a softbox, the 46” and 60″ SoftLighter Umbrella from Photek is built on a redesigned classic umbrella with a fiberglass frame and white reflective fabric that is free from contaminates that might add an unwanted color cast to your light output. The unique modifier includes a diffuser that fits tightly over the open side of the umbrella and accepts flash heads 7.25″ or less in diameter – instant softbox! The combination of the light bouncing off the umbrella and through the diffuser yields a soft, flattering quality of light and since closer is softer, a portion of the shaft is removable so that you can work closer to your subject.

Umbrellas

Daily $

Umbrellas

Umbrellas are the backbone of many photographers’ toolboxes, and understandably so. Umbrellas are affordable, easy to work with and very easy to transport. But Profoto Umbrellas are not just average umbrellas. Available in 12 unique versions and made with high-quality fabrics and surface-treated metallic elements, Profoto Umbrellas will provide a superior light and last for years to come. We have umbrellas in varying sizes from 41inch to 72 inch.

Westcott Scrim Jim Kits

Daily $

Westcott Scrim Jim Kits

The Westcott Large 72″x72″Scrim Jim Reflector Kit diffuses and reflects light in a modular, collapsible, portable kit allowing you to create three different frame sizes. We offer multiple sizes to fit your production needs.

Sun Swatters / Sun Bounce

Daily $

Sun Swatters / Sun Bounce

Fashion photographers, who pretty much invented the location shoot, have known for a long time that when it comes to light, natural is best – provided you can control it. The Sun-Swatter Pro Starter Kit from Sunbounce is part of a system that does just that. Resembling a huge fly-swatter, this 4 x 6′ light shaper stretches a translucent screen across its high tensile strength aluminum frame. A couple of minutes of easy setup gets you a very large patch of bright open shade with manageable contrast, instead of glaring deep-shadowed sunlight broiling your subject. While the Sun-Swatter is easily handheld by its frame a better option is the included a Boom Stick extension handle. Also included are a grip head for stand mounting and a set of clips to tighten the fabric. The kit fits neatly in the included soft carrying case.

Accessories

Daily $

Accessories

Beach Cart Make traveling with your gear easy with a beach cart. Folds up small for travel and holds all your equipment in safe easy to wheal cart.  

ARRI Signature Primes

Daily $

ARRI Signature Primes

ARRI’s Signature Prime lineup sets a new standard in the world of cinema optics. Their unique optical design produces extremely sharp, yet natural images with nearly no focus breathing.

Front Diameter: 114mm

Call or email info@redmanmovies.com for availability and pricing.

Cooke S7/i Primes

Daily $

Cooke S7/i Primes

The “Cooke Look” is famous in the world of cinematography, and is now available for all of your large format needs. The S7/i primes are a beautiful, in-character addition to Cookes spherical line of lenses.

Front Diameter: 110mm

Call or email info@redmanmovies.com for availability and pricing.

Leica Thalia Primes

Daily $

Leica Thalia Primes

Leica’s (Leitz) Thalia Primes bring the Leica look to Large Format and beyond! Known for their unrivaled engineering, the Thalias are no exception to the norm when it comes to Leica’s other cinema offerings, such as the Summilux-C’s.

Front Diameter: 95mm

Call or email info@redmanmovies.com for availability and pricing.

Zeiss Supreme Primes

Daily $

Zeiss Supreme Primes

The Zeiss Supreme Primes stay true to the pedigree of their manufacturer. These lenses deliver a beautiful balance between scientific excellence and pleasing images.

Front Diameter: 114mm

Call or email info@redmanmovies.com for availability and pricing.

Sigma Cine Primes

Daily $

Sigma Cine Primes

Sigma has cemented themselves as a fantastic, affordable option for those looking for clean, sharp optics with reliable mechanics. These lenses will cover all of our large format cameras through the full range of focal lengths.

Front Diameter: 95mm

Call or email info@redmanmovies.com for availability and pricing.

Angenieux 45-120 Cine Zoom

Daily $

Angenieux 45-120 Cine Zoom

45-120

The focus ring on the 45-120mm focus ring has a 320° focus rotation with over 50 precise focus witness marks and minimal breathing. Its compact size makes it ideal for use in handheld, crane, and steadicam situations.

FEATURES:

• An extremely fast aperture speed of T2.8
• 320° focus rotation with over 50 witness marks
• A superior level of optical performance across the entire range
• No ramping, minimal breathing
• Calibrated focus marks available in feet or meters (easily interchangeable focus ring)
• Available in PL mount

SPECIFICATIONS:

  • Focal Length: 45-120mm
  • Zoom Range: 2.7x
  • Geometric Aperture: f2.6
  • Photometric Aperture: T2.8
  • Length: 203mm
  • Front Diameter: 114mm
  • Weight: 4.3 lbs. (1.95kg)

 

Angenieux 24-290 Cine Zoom

Daily $

Angenieux 24-290 Cine Zoom

24-290

This lens produces impressive contrast and color reproduction that rivals the highest performing prime lenses.

FEATURES:

• An extremely fast aperture speed of T2.8
• Impressive contrast and color reproduction
• A superior level of optical performance across the entire range
• No ramping, no breathing
• 327° focus rotation with over 25 witness marks
• Available in PL mount (PV and Canon conversion mounts available from partner companies)

SPECIFICATIONS:

  • Focal Length: 24-290mm
  • Zoom Range: 12x
  • Geometric Aperture: f2.5
  • Photometric Aperture: T2.8
  • Minimum Object Distance: 4′ (1.22m)
  • Weight: 24.25 lbs. (11kg)

Angenieux 17-80 Cine Zoom

Daily $

Angenieux 17-80 Cine Zoom

17-80

This lens produces impressive contrast and color reproduction that rivals the highest performing prime lenses.

FEATURES:

• An extremely fast aperture speed of T2.2
• Impressive contrast and color reproduction
• A superior level of optical performance across the entire range
• No ramping, no breathing
• 329° focus rotation with over 25 witness marks
• Available in PL mount (PV conversion mount available from partner companies)

SPECIFICATIONS:

  • Focal Length: 17-80mm
  • Zoom Range: 4.7x
  • Geometric Aperture: f2
  • Photometric Aperture: T2.2
  • Minimum Object Distance: 1’9″ (.6m)
  • Weight: 11 lbs. (5kg)

Angenieux 25-250 HR Cine Zoom

Daily $

Angenieux 25-250 HR Cine Zoom

25-250 HR

The Optimo DP 25-250mm T3.5 10x Zoom Lens from Angenieux delivers optimized optical quality with low chromatic aberration, telecentricity, and low distortion for S35 digital cameras. With an image circle of 31.4mm diagonal, the lens is fit for illumination of S35 sensors. The lens is equipped with robust and precise zoom and focus mechanics with Angenieux rod guiding system design.
Optimized optical quality with low chromatic aberration, telecentricity and low distortion, ideal for high performance S35 digital cameras
Internal focus with minimal breathing
Image circle of 31.4mm diagonal for perfect illumination of the S35 sensors
Robust and precise zoom and focus mechanics with Angénieux rod guiding system design
Precise focus marks with easily interchangeable focus scale ring from feet to meters
Integrated filter holder for standard screw-in filters
Integrated net holder
Optional front protective glass
Designed for easy maintenance

Angenieux 15-40 Lightweight Cine Zoom

Daily $

Angenieux 15-40 Lightweight Cine Zoom

15-40 | MAIN FEATURES

  • Superb image quality from T2.6 open aperture
  • Compact and very light (1.92 kg / 4.2lbs)
  • Identical center of gravity on all Optimo lightweight zoom lenses enable quick lens interchange
  • Perfect homogeneity of color, contrast and resolution. Low distortion
  • No ramping, minimal breathing, very fast for 2.7x zoom ratios
  • Close focus of (2ft / 0.6m) facilitates shooting in tight locations
  • Internal focus, internal zoom, constant lens volume
  • Precise and ergonomic focus ring with scale rotation of 320 degrees & over 50 focus marks.
  • Interchangeable focus scale ring from feet to meters
  • Adapted to extreme production environments (back focus temperature compensation system from -20°C to +45°C)
  • Compatible with Optimo 1.4x and 2x extenders
    21-58mm T3.7 (with 1.4x)
    30-80mm T5.2 (with 2x)
  • Image coverage: S35+ (Ø 31.4 mm), expanded to Ø 35 mm when used with Optimo extenders
  • Available in PL mount. Easily interchangeable to Panavision, Canon EF, mounts
  • Compatible with ASU servo unit (integrated motors for FTZ remote control through industry standard control systems)

Angineux 30-76 Lightweight Cine Zoom

Daily $

Angineux 30-76 Lightweight Cine Zoom

30-76 | MAIN FEATURES

  • Constant T2.8 across entire zoom range
  • Well controlled distortion with no breathing
  • Compact and very light (1.92 kg / 4.2 lbs), ideal for handheld, Steadicam, compact gimbals
  • Superb image quality from open aperture, considered as “variable primes”
  • Color reproduction matches the highly acclaimed OPTIMO lens series
  • Internal focus, internal zoom no change in lens size
  • Precise and ergonomic focus ring with zoom scale rotation of 320 degrees & 20 focus witness marks (no interchangeability of focus rings from feet to meters)
  • Compatible with Angénieux Servo Unit (integrated motors for FTZ remote control through industry standard control systems)
  • Compatible with Optimo 1.4x and 2x extenders
    – 30-76+ext.1.4x = 42-106mm at T4 ; 30-76+ext. 2x = 60-152mm at T5.6
  • Superb image quality from open aperture, considered as “variable primes”
  • Adapted to extreme production environments (back focus temperature compensation system from -20°C to +45°C)
  • Available in PL mount. Easily interchangeable to Panavision PV, Canon EF mounts

Fujinon 19-90 Cine Zoom

Daily $

Fujinon 19-90 Cine Zoom

19-90 Cabrio

The Fujinon 19-90mm T2.9 Cabrio Premier PL Lens is a wide to telephoto zoom lens for Super 35mm cameras. The focus, zoom, and iris barrels are geared with standard 0.8 film pitch, which provides an interface for the removable ENG-style digital drive unit. The rear PL mount features electrical contacts for sharing Arri LDS and Cooke /i Technology lens data with the camera.

The detachable drive unit is an ENG-style hand grip with a zoom rocker switch, 16-bit encoding, and an interface for remote control via a wired or wireless controller from Fujinon or other compatible, third party manufacturers. When the drive unit is attached to the lens, a digital auto-aligning system quickly and accurately calibrates it to the zoom, focus, and iris gears. Power is provided by either an external connector or the PL mount’s “hot shoe” interface. Included with the lens is a 111mm clear protection filter that helps to protect the front of the lens.

T2.9 to T22 aperture with 9 iris blades for attractive bokeh
The 31.5mm diameter image circle covers up to Super 35mm sensors
Detachable, ENG-style, digital drive unit with zoom rocker switch
Industry standard 0.8 film pitch gears for focus, zoom, and iris control
Power and data/control connections to the camera via the rear PL mount “hot shoe”
16-bit encoding supports sharing LDS and /i Technology lens data with the camera
The barrel markings in metric or imperial measurements are switchable in the field
Glow-in-the-dark barrel markings make it easier to read measurements
200° focus barrel rotation and 120° zoom rotation
No shims are required to adjust the flange focal distance
Macro focus function available

 

Fujinon 30-80 Allura Cine Zoom

Daily $

Fujinon 30-80 Allura Cine Zoom

30-80 Allura

The Alura Zooms’ color characteristics, as well as their handling, are matched to existing prime lenses in ARRI’s outstanding repertoire. With the addition of these zooms, ARRI now offers the widest range of cine lenses for all professional production demands, including zooms, high speed primes, standard speed primes, extreme wide angle and telephoto primes, macro, extenders and diopters.

Main Features:

  • Matched Zooms
    • Matched wide and long PL mount zooms for an
      efficient shooting pace
    • Small size and low weight for quick and easy handling
      on the set
    • Optimized for digital and compatible with film cameras
    • Also available as a 3D matched pair
  • ARRI Lens Data System
    • Automatically provides lens metadata
    • Increases efficiency of VFX and 3D post
  • Fast and Steady
    • T2.8
    • Consistent aperture over entire zoom range
  • Outstanding Optical Performance
    • High resolution for 2K to 4K+ camera outputs
    • High contrast through minimized flares and veiling glare (FUJINON multi-layer EBC coating)
    • Greatly reduced chromatic aberration through the use of extraordinary dispersion glass
    • Large image circle of 31.5 mm covers all current digital cameras
    • Low geometric distortion and even field illumination
    • 9 iris leaves for round, out-of-focus highlights and a pleasing,
      organic bokeh
    • Consistent contrast, resolution and field illumination across the whole focus and zoom range
    • Matched to all other ARRI zoom and prime lenses
  • Consistent Optical Performance
    • Consistent contrast, resolution and field illumination across
      the whole focus and zoom range
  • Film Style Ergonomics
    • Compatible with film and digital ARRI cameras and accessories
    • Robust construction
    • Large, easy-to-read precision focus scales on both sides
    • Matched to existing prime lenses
  • Easy Servicing
    • Feet/meter focus scales can be exchanged
    • Zoom centering mechanism

Leica Summilux-C

Daily $

Leica Summilux-C

Leica’s Summilux-C marked the return of a legend to the world of motion picture innovation. Famed for their uncompromising quality and attention to detail, the Summilux-C’s utilize a groundbreaking, multi-aspherical optical design to minimize unwanted abberation, and give you the smooth, sharp image that we have learned to love from Leica. At T1.4 accross the lineup, these lenses are an amazing tool for any cinematographer.

Available Focal Lengths

  • 16mm – T1.4 – Front Diameter: 95mm
  • 18mm – T1.4 – Front Diameter: 95mm
  • 21mm – T1.4 – Front Diameter: 95mm
  • 25mm – T1.4 – Front Diameter: 95mm
  • 29mm – T1.4 – Front Diameter: 95mm
  • 35mm – T1.4 – Front Diameter: 95mm
  • 40mm – T1.4 – Front Diameter: 95mm
  • 50mm – T1.4 – Front Diameter: 95mm
  • 65mm – T1.4 – Front Diameter: 95mm
  • 75mm – T1.4 – Front Diameter: 95mm
  • 100mm – T1.4 – Front Diameter: 95mm
  • 135mm – T1.4 – Front Diameter: 114mm

ARRI/Zeiss Master Primes

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ARRI/Zeiss Master Primes

The pinnacle of ARRI and Carl Zeiss’ spherical lens developments; the Master Primes deliver unrivaled optical excellence, without sacrificing image quality at T1.3.

Available Focal Lengths

  • 12mm – T1.3 – Front Diameter: 156mm
  • 14mm – T1.3 – Front Diameter: 114mm
  • 16mm – T1.3 – Front Diameter: 114mm
  • 18mm – T1.3 – Front Diameter: 114mm
  • 21mm – T1.3 – Front Diameter: 114mm
  • 25mm – T1.3 – Front Diameter: 114mm
  • 27mm – T1.3 – Front Diameter: 114mm
  • 32mm – T1.3 – Front Diameter: 114mm
  • 35mm – T1.3 – Front Diameter: 114mm
  • 40mm – T1.3 – Front Diameter: 114mm
  • 50mm – T1.3 – Front Diameter: 114mm
  • 65mm – T1.3 – Front Diameter: 114mm
  • 75mm – T1.3 – Front Diameter: 114mm
  • 100mm – T1.3 – Front Diameter: 114mm
  • 135mm – T1.3 – Front Diameter: 114mm
  • 150mm – T1.3 – Front Diameter: 134mm

ARRI/Zeiss Ultra Primes

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ARRI/Zeiss Ultra Primes

One of the benchmark results of the ARRI/Zeiss collaboration. Ultra Prime Lenses retain their excellent image quality, even wide open, across the whole Super 35 frame. The T* coating ensures that color rendition is consistent across focal lengths and will match most Zeiss Cinema lenses. All lenses 20mm and longer all cover LF16x9 mode on Arri LF sensors.

Available focal Lengths

  • 8mmR – T2.8 – Front Diameter: 134mm
  • 12mm – T2 – Front Diameter: 156mm
  • 14mm – T1.9 – Front Diameter: 114mm
  • 16mm – T1.9 – Front Diameter: 95mm
  • 20mm – T1.9 – Front Diameter: 95mm
  • 24mm – T1.9 – Front Diameter: 95mm
  • 28mm – T1.9 – Front Diameter: 95mm
  • 32mm – T1.9 – Front Diameter: 95mm
  • 40mm – T1.9 – Front Diameter: 95mm
  • 50mm – T1.9 – Front Diameter: 95mm
  • 65mm – T1.9 – Front Diameter: 95mm
  • 85mm – T1.9 – Front Diameter: 95mm
  • 100mm – T1.9 – Front Diameter: 95mm
  • 135mm – T1.9 – Front Diameter: 95mm
  • 180mm – T1.9 – Front Diameter: 114mm

Cooke S4

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Cooke S4

Cooke Optics cemented itself in the world of cinematography with the Cooke Speed Panchros in the 1930’s. When the Cooke S4’s were released in 1998, they reinforced their pedigree, while revolutionizing the world of cinema optics. The Cooke S4’s remain one of the most widely used high-end cinema lenses in the world to this day.

Available Focal Lengths

  • 12mm – T2 – Front Diameter: 156mm
  • 14mm – T2 – Front Diameter: 110mm
  • 16mm – T2 – Front Diameter: 110mm
  • 18mm – T2 – Front Diameter: 110mm
  • 21mm – T2 – Front Diameter: 110mm
  • 25mm – T2 – Front Diameter: 110mm
  • 27mm – T2 – Front Diameter: 110mm
  • 32mm – T2 – Front Diameter: 110mm
  • 35mm – T2 – Front Diameter: 110mm
  • 40mm – T2 – Front Diameter: 110mm
  • 50mm – T2 – Front Diameter: 110mm
  • 65mm – T2 – Front Diameter: 110mm
  • 75mm – T2 – Front Diameter: 110mm
  • 100mm – T2 – Front Diameter: 110mm
  • 135mm – T2 – Front Diameter: 110mm
  • 150mm – T2 – Front Diameter: 125mm
  • 180mm – T2 – Front Diameter: 136mm

Cooke Mini S4

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Cooke Mini S4

The “Cooke Look” in a smaller package. The Mini S4’s are a different optical design than their big brothers, but are designed specifically to compliment the S4’s and deliver the same overall look and feel, while allowing for the flexibility that smaller lenses deliver.

Available Focal Lengths

  • 18mm – T2.8 – Front Diameter: 110mm
  • 25mm – T2.8 – Front Diameter: 110mm*
  • 32mm – T2.8 – Front Diameter: 110mm*
  • 50mm – T2.8 – Front Diameter: 110mm*
  • 75mm – T2.8 – Front Diameter: 110mm*
  • 100mm – T2.8 – Front Diameter: 110mm*
  • 135mm – T2.8 – Front Diameter: 110mm*

*Our Cooke Mini S4’s have been modified from their factory front diameter of 87mm.

Zeiss High Speed Mark III

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Zeiss High Speed Mark III

The famous Zeiss Super Speed Prime lenses have been in use for over 30 years, and are still a great choice for any project. Their extremely fast aperture of T1.3, small body and flattering image rendition, make them a favorite of many cinematographers.

Available Focal Lengths

  • 18mm – T1.3 – Front Diameter: 80mm
  • 25mm – T1.3 – Front Diameter: 80mm
  • 35mm – T1.3 – Front Diameter: 80mm
  • 50mm – T1.3 – Front Diameter: 80mm
  • 65mm – T1.3 – Front Diameter: 80mm
  • 85mm – T1.3 – Front Diameter: 80mm

Zeiss Standard Speed T 2.1

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Zeiss Standard Speed T 2.1

A standard in cinema optics since their release in the late 1960’s/early 1970’s, the Zeiss Standard Speed Primes are truly legendary, and provide a unique mixture of Zeiss’ optical perfection, and the characteristic imperfections of vintage lenses.

Available Focal Lengths

  • 10mm – T2.1 – Front Diameter: 156mm
  • 12mm – T2.1 – Front Diameter: 125mm
  • 14mm – T2.1 – Front Diameter: 114mm
  • 16mm – T2.1 – Front Diameter: 80mm
  • 20mm – T2.1 – Front Diameter: 80mm
  • 24mm – T2.1 – Front Diameter: 80mm
  • 32mm – T2.1 – Front Diameter: 80mm
  • 50mm – T2.1 – Front Diameter: 80mm
  • 85mm – T2.1 – Front Diameter: 80mm
  • 100mm – T2.1 – Front Diameter: 80mm
  • 135mm – T2.1 – Front Diameter: 80mm

Tiffen & Schneider Filters

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Tiffen & Schneider Filters

We have the best offerings of filters from the two best manufacturers (Tiffen & Schneider). We have all sizes and styles you need to achieve the look you’re going for. From 4 x 5.6 to 6 x 6 and, 138mm rounds. Call us to get your filters today!

Arri Alexa Mini LF

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Arri Alexa Mini LF

The Large Format addition to the Alexa Mini Range. This camera qualifies for Netflix’s 4k Original production list, while offering you all the physical benefits of the Alexa Mini, and more.

Arri Alexa Mini

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Arri Alexa Mini
Product ALEXA Mini
Camera type 35 mm format film-style digital camera with lightweight and compact carbon body, switchable active sensor area, support for ARRI MVF-1 viewfinder, built-in remote control capabilities via ARRI Electronic Control System and Wi-Fi, support for cforce motors, built-in motorized ND filters, interchangeable lens mounts and ARRI Lens Data System as well as Lens Data Archive.
Weight ~ 2.3 kg/5 lbs (camera body with titanium PL lens mount)
Sensor 35 mm format ARRI ALEV III CMOS with Bayer pattern color filter array
Active photo sites
(with surround view)
S16 HD: 1600 x 900 (1760 x 980)
HD: 2880 x 1620 (3168 x 1772)
2K: 2868 x 1612 (3154 x 1764)
3.2K: 3200 x 1800 (3424 x 1926)
4K UHD: 3200 x 1800 (3424 x 1926)
4:3 2.8K: 2880 x 2160 (3168 x 2160)
2.39:1 2K Ana.: 2560 x 2145 (3424 x 2202)
HD Ana.: 1920 x 2160 (3424 x 2202)
Open Gate 3.4K: 3424 x 2202 (3424 x 2202)
Exposure latitude 14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Exposure index EI 800 base sensitivity
Filters Built-in motorized ND filters 0.6, 1.2, 2.1
Lens mounts Titanium PL mount with L-Bus connector and LDS
EF mount
Recording media CFast 2.0 memory cards
Recording formats ProRes:
S16 HD: 1920 x 1080 (up-sampled from 1600 x 900)
HD: 1920 x 1080
2K Cine 16:9: 2048 x 1152
3.2K: 3200 x 1800
4K UHD: 3840 x 2160 (up-sampled from 3.2K)
4:3 2.8K: 2880 x 2160 (padded to 2944 x 2160)Anamorphic ProRes formats with 2x in-camera de-squeeze:
HD Anamorphic: 1920 x 1080*
2.39:1 2K Anamorphic: 2048 x 858*MXF/ARRIRAW (in-camera recording to MXF-wrapped ARRIRAW files):
2.8K 16:9: 2880 x 1620**
Open Gate: 3424 x 2202***MXF/ARRIRAW Open Gate modes with active image area matching 4:3 ProRes modes:
4:3 2.8K (OG 3.4K): 2880 x 2160 (Recording in Open Gate 3.4K)***
2.39:1 Ana. (OG 3.4K): 2560 x 2145 (Recording in Open Gate 3.4K)***
16:9 HD Ana. (OG 3.4K): 1920 x 2160 (Recording in Open Gate 3.4K)***
Recording codec ProRes 4444XQ, 4444, 422 (HQ), 422, 422(LT), MXF/ARRIRAW
Recording frame rates 16:9
ProRes HD 0.75 – 200 fps
ProRes S16 HD 0.75 – 200 fps
ProRes 2K 0.75 – 200 fps
ProRes 3.2K 0.75 – 60 fps
ProRes UHD 0.75 – 60 fps
MFX/ARRIRAW 16:9 2.8K 0.75 – 48 fps4:3
ProRes 4:3 2.8K 0.75 – 50 fps6:5*
ProRes 2:39:1 2K Ana. 0.75 – 120 fps8:9**
ProRes HD Ana. 0.75 – 120 fpsOpen Gate
MFX/ARRIRAW 3.4K Open Gate 0.75 – 30 fps* 4:3 cropped
** Center crop from anamorphic
(1) Minimum frame rate is always 0.75 fps
(2) The „recording resolution“ determines the number of horizontal pixels that will be recorded (the number of vertical pixels is dependent on the recording file type and sensor mode
Power input Lemo 8-pin, 10.5-34 V DC
Video outputs 2x HD-SDI out 1.5G and 3G: uncompressed HD video with embedded audio and metadata, 6G SDI in UHD and 3.2K recording modes.
Inputs SDI-Genlock (optional activation through ARRI Service), Timecode (in and output)

 

Arri Amira

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Arri Amira
Product AMIRA
Sensor Type 35mm format ARRI ALEV III CMOS (28.17×18.13)
Recording Pixel Count 1920×1080 ProRes HD and HD outputs, 2048 x 1152 ProRes 2K, 3200×1800 ProRes 3.2K, 3840 x 2160 Pro Res 4K UHD and UHD outputs*
Lens Mounts PL mount w/ Hirose connector and LDS, B4 mount w/ Hirose connector, EF mount, PL mount titan (ALEXA Mini)
Exposure Index EI 160 to EI 3200 (EI 800 base sensitivity)
Exposure Latitude 14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Audio Recording 4 channels, 24 bit PCM, 48 kHz
Integrated motorized ND Filters FSND 0.6, 1.2, 2.1
Outputs Video 2x HD-SDI outputs: 1.5G, 3G and 6G; uncompressed HD/UHD video with embedded audio and metadata***
Outputs Audio 3,5mm headphone jack, Bluetooth audio
Outputs Power Hirose 12pin (for ENG type zoom lenses); 12V: D-tab, Hirose 4pin, Lemo 2pin; 24V: RS 3pin
Inputs Genlock, HD-SDI**, Timecode (In and Output), all BNC
Recording Media CFast 2.0 memory cards
Recording Formats HD 1920×1080 (interlaced & progressive)
3.2K ProRes 3200×1800*
4K UHD 3840×2160*
Recording Framerates 0,75 – 100 Fps (progressive) HD, 2K
0,75 – 60 Fps 4K UHD & 3.2K*
MPEG-2: 23.98p, 25p, 29.97p, 50i, 59.94i
Recording Codecs (w/ embedded audio & metadata) ProRes 422, 422 LT
MPEG-2

 

Arri Alexa XT

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Arri Alexa XT

Alexa Menu Simulator: Alexa Sim

Additional Info

  • Body: ARRI Alexa
  • Frame Rates: 1 to 90fps 4:3, 1 to 120fps 16:9
  • Resolution: 1920×1080, 2048×1152, 2880×1620, 2880×2160 & 3414 x 2198
  • Base ASA: 800
  • Aperture: Open Gate, Academy 4×3 or S35 16×9
  • Base Imaging Gamma: Log-C
  • Bit Depth: 10 or 12bit
  • In-Board Recording System: Codex Capture Drives or Sony SxS Pro Cards
  • In-Board Rec. Formats: ARRIRAW, ProRes 4444, ProRes HQ or Proxy
  • Weight: 13.8 lbs.

Arri Alexa Classic 16x9

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Arri Alexa Classic 16x9

Alexa Menu Simulator: Alexa Sim

Additional Info

  • Body: ARRI Alexa
  • Frame Rates: 1 to 60fps ARRIRAW. 1 to 120fps ProRes 4:22
  • Resolution: 1920×1080 or 2880×1620
  • Base ASA: 800
  • Aperture: S35
  • Base Imaging Gamma: Log-C
  • Bit Depth: 10 or 12bit
  • In-Board Recording System: Sony SxS Pro Cards
  • In-Board Rec. Formats: ProRes 4444, ProRes HQ or Proxy
  • On/Off-Board Rec. System: NanoFlash, Codex or SRW-1
  • Weight: 13.8 lbs.