Easy Rig

Daily $

Easy Rig

The Easyrig Vario 5 gives you the same advantages as our other Easyrig models with the added benefit of being able to adjust the line tension to adapt to many different cameras and configurations.

The Easyrig Vario 5 still delivers the same steady hand held shots while relieving strain on your back, neck and shoulders. The load is redistributed to the hips allowing you to shoot hand held in comfort for hours.

Ronford-Baker Standard and Baby Legs

Daily $

Ronford-Baker Standard and Baby Legs

Ronford Baker tripods have been the preferred choice of professional cinematographers for over 40 years. Tall & Short tripod versions available as well as 2-Stage. Comes with ground spreader. Options between Mitchell base and 150mm ball.

Hi Hat & Low Hats

Daily $

Hi Hat & Low Hats
  • For Heads with Standard Mitchell Base or 150mm ball
  • Three Locating Keyways

Arrihead 2

Daily $

Arrihead 2

Arri’s newest geared head offers the highest level of precision and adjustability available in the world of mechanical camera support.

Oconnor 2575

Daily $

Oconnor 2575

The flagship of OConnor’s Ultimate range of fluid heads.

With its famous features the 2575 fluid head has become the standard for film production.  The head includes OConnor’s patented sinusoidal counterbalance system for true, accurate balance at any point in the tilt range. Add to this OConnor’s stepless, ultra-smooth pan & tilt fluid drag, and you’ve got ultimate control and stability for film style shooting.

Oconnor 2060

Daily $

Oconnor 2060
The OConnor ULTIMATE 2060 Professional Fluid Head was specifically engineered for supporting High Definition cameras. Capable of supporting camera payloads up to 83.0 lbs (37.7 kg), none of the usual production-grade features are left out: dual adjustable pan arms, an interchangeable top stage, an interchangeable base, and threaded connection points for finder extensions and an assistant’s box.

Sachtler 65

Daily $

Sachtler 65

Sachtler 65

  • (7) levels of drag for both pan and tilt
  • Heavy Duty construction
  • Max load: 110 pounds
  • Tilt: ±60°
  • Counterbalance: 22-106 pounds
  • Weight: 21 pounds
  • Includes Frontbox Mount & Leveling Rod Attachment Rod
  • Mitchell Base
  • 150mm Base Available– Call for Details

 

Lightweight Tripods

Daily $

Lightweight Tripods

Sachtler Video 18 W/ ENG 2 Carbon Fiber Legs

Manfrotto 509 W/ 536 Carbon Fiber Legs

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.

Preston FIZ3 with HU3 and MDR3

Daily $

Preston FIZ3 with HU3 and MDR3

The Preston FIZ3 is the industry standard for reliable wireless focus. It interfaces easily with nearly all focus aides on the market, and provides more than enough torque to handle even the stiffest lenses.

Preston Single Channel wireless control

Daily $

Preston Single Channel wireless control

The Preston single channel is ideal for situations where either the DP or DIT wants to take control of Iris from the First AC’s FIZ3 unit, or if you’re just looking for a simple, reliable way to pull focus without a full FIZ kit.

Arri WCU-4 with CForce Mini motors

Daily $

Arri WCU-4 with CForce Mini motors

The Arri WCU-4 is one of the most popular focus units on the market today. It interfaces directly with most Arri cameras, allowing you to drop the cumbersome MDR units that come with most wireless focus solutions.

Motors available:

Cforce Mini

Cforce Mini RF

Preston Light Ranger 2

Daily $

Preston Light Ranger 2

The Preston Light Ranger 2 utilizes some of the most advance rangefinding technology available to the cinema world. It will give your AC an extra layer of confidence and help ensure that your focus is tack sharp every time it needs to be.

Cinetape

Daily $

Cinetape

The Cinetape as been an industry standard focus aid for years. It can be plugged into your MDR unit to send distance readings directly to your AC’s hand unit to help them see slight changes in critical focus that the human eye might not see.

Teradek Bolt 3000XT

Daily $

Teradek Bolt 3000XT

The Teradek Bolt 3000 XT is the newest HD zero-delay transmitter from Teradek, offering improved pairing reliability, and improved form factor.

The XT is compatible with: SmallHD Bolt SK RX monitors, 3000XT receivers, Sidekick receivers, and is backwards compatible with the Bolt Pro 3000.

Our Bolt 3000 receivers come outfitted for Anton Bauer Gold Mount.

Teradek Bolt Pro 3000

Daily $

Teradek Bolt Pro 3000

Transmit uncompressed 1080p video wirelessly over 3000 feet line-of-sight with the Teradek Bolt Pro 3000 Wireless Video Transmitter/Receiver Set. Included in this set are a Teradek Bolt Pro 3000 transmitter and receiver, both equipped with 3G-SDI input/output. The transmitter can pair with and multicast to up to four receivers (additional receivers not included). When transmitting uncompressed video, latencies of less than one millisecond can be achieved if no other video processing is necessary.

Terradeck Bolt 2000

Daily $

Terradeck Bolt 2000

The Teradek Bolt Pro 2000 3G-SDI/HDMI Wireless Video Transceiver Set is a latency free wireless transmission system that sends 4:2:2, 1080p60 video up to 2000 ft over the unlicensed 5GHz band. It includes one transmitter and one receiver, both featuring 3G-SDI and HDMI connections. Both can also be outfitted with high gain antennas for increased range and resiliency.

Teradek Bolt 500

Daily $

Teradek Bolt 500

The Bolt 500 gives you all the benefits of the 3000XT’s improved pairing and signal reliability, with a lower price point, and shorter range for when that 3000 feet is not needed.

The Bolt 500 is compatible with the Small HD Bolt SK RX monitors, as well as 500XT, 500LT, and Sidekick receivers.

Eclipse 500

Daily $

Eclipse 500

The “eclipse 500” utilizes today’s most advanced wireless video transmission technology, which offers broadcast-class and uncompressed 3G SDI/HDMI HD video signal transmission with zero delay. The set includes one transmitter and one receiver, where the transmitter provides a 3G/H D SDI input and a HDMI input, the receiver provides a 3G/HD SDI output and a HDMI output.

Paralinx Triton

Daily $

Paralinx Triton

Paralinx Triton The Paralinx Triton is the next-generation wireless video solution for DSLR videography, as comfortable rigged to a handheld gimbal system as it is on an unmanned aerial video platform. With a compact and lightweight design, integrated battery plates and unheard-of range for such an affordable price, the Triton system fits seamlessly into any production environment.

Features Include: – Receives a FULL-HD signal up to 1080p/60 in REALTIME (less than 1ms) – Up to 450 feet/140m of range – Manual Channel Selection within 5.1-5.8GHz spectrum (8 channels) – Connect unlimited receivers to each Triton transmitter – LCD displays signal strength, battery charge, and channel selection – 1/4-20 mounting option – Integrated battery plate to power receiver from an NP-F battery – 6-17V DC power input – 128-bit AES Encryption

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

SmallHD 1703 Bolt SK RX

Daily $

SmallHD 1703 Bolt SK RX

The SmallHD 1703 Bolt SK RX combines the extremely popular P3X Panel with a built-in Teradek Sidekick receiver, providing you with impeccable color reproduction, and allowing you to leave your BNC Cables on the truck.

SmallHD 1303 Bolt SK RX

Daily $

SmallHD 1303 Bolt SK RX

The SmallHD 1303 Bolt SK RX combines all of the Bolt 1703’s characteristics into a smaller, 13″ package. This monitor has become one of the most popular focus reference units for AC’s on the market.

Sony 17" PVM-A170 OLED Production Monitor

Daily $

Sony 17

The long time standard in OLED production monitors, this monitor combines reliability with flawless color reproduction.

Sony 17" LMD-A170 LCD Production Monitor

Daily $

Sony 17

Bringing the reliability and controls of the PVM A170 to an LCD pannel, the LMD-A170 is a fantastic option for those looking to get industry standard performance, at a lower price-point.

SmallHD 703 Bolt SK RX

Daily $

SmallHD 703 Bolt SK RX

Adding a built-in Teradek sidekick receiver to the already amazing 703 Ultrabright monitor, this becomes the perfect monitor to let your Director or AC roam where they need to on fast-paced shoot days.

SmallHD Cine7 SK RX

Daily $

SmallHD Cine7 SK RX

SmallHD’s smaller, lighter alternative to the 703 Bolt. Featuring a touch screen, and no user buttons to add confusion, this monitor is the perfect solution for a handheld director’s monitor. Allowing your Director to move as they please, and not be bogged down by technology.

SmallHD Cine7 TX

Daily $

SmallHD Cine7 TX

The Cine7 TX is an ideal solution for operators that prefer a larger monitor, without an extra video transmitter. Boasting a Teradek Bolt 500 XT transmitter, this monitor can pair with the SmallHD Bolt SK RX monitors, as well as any of the 3rd gen Bolt 500 receivers and newer.

This monitor can also be configured to control your RED camera’s menu system. Please inquire about Arri control.

Small HD 703 Ultrabright (Onboard)

Daily $

Small HD 703 Ultrabright (Onboard)

1080P 7-Inch LCD Monitor with 2200 nits Brightness

The Brightest 7-inch monitor available with HDR Preview, Waveform, 3D LUT support and 12v Lemo power

Small HD 702 (Onboard)

Daily $

Small HD 702 (Onboard)

Small HD 702

  • 7″ Daylight Viewable 1080p Display
  • 1000 cd/m² Brightness
  • 1000:1 Contrast; 179° Viewing Angle
  • Bonded Glass; Anti-Reflective Coating
  • Waveform, Custom LUTs, De-Squeeze & More
  • HD-SDI and HDMI Inputs and Outputs
  • Dual L-Series and LP-E6 Battery Support
  • Headphone Jack
  • 12 Switchable Pages of Favorite Features
  • Aircraft Grade Aluminum Unibody

Small HD 502 (Onboard)

Daily $

Small HD 502 (Onboard)

Small HD 502

  • 5″ 1920 x 1080, HDMI & SDI Monitor
  • 441 Pixels-Per-Inch Display
  • HD Scopes
  • HDMI & SDI In/Out with Cross Conversion
  • 3-Second Boot Time
  • User Definable Presets
  • Discrete Display/Output 3D LUT Support
  • Joystick Menu Navigation
  • Compatible with Optional Sidefinder

Small HD AC7 (Onboard)

Daily $

Small HD AC7 (Onboard)

Small HD AC7

  • Rich-Color 7.7″ OLED Display
  • Produces True Blacks, High Color Gamut
  • Gorilla Glass Screen
  • 1280 x 800 Resolution
  • SDI, HDMI, Analog Inputs; SDI Output
  • Focus, Exposure, and Framing Tools
  • Push-In Scroll Wheel Menu Control
  • Two Assignable Function Buttons
  • Weighs Less than 1 lb
  • Supports V-Mount/Gold-Mount/DV Brackets

Panasonic BT-LH1710 (Field Monitor)

Daily $

Panasonic BT-LH1710 (Field Monitor)

High-speed response – no blurring thanks to our overdrive circuit Industry’s lowest delay – Image Processing Circuit (I/P conversion algorithm) Waveform monitor – a superimposed function that graphically displays luminance levels from zero to 110 IRE in any of the monitor’s four corners Freeze frame / split screen – frame grab for scene comparison and critical color matching Two dual-rate SDI HD or SD inputs – (one with Thru-Out) with auto sensing Component Input on BNC connectors – Y Pb Pr and PC RGB inputs Faithful color reproduction – closely matches chromatic ranges of CRT monitors Diagonal line compensation – smoothes out jaggies for improved SD response WXGA resolution (1280 x 768) 176 degree viewing angle up/down and left/right One-piece design – no umbilical cord or separate AC power supply Frame marker lines – 4:3 16:9 2.35:1 or background shading at 0% 50% or 100% Amplified stereo speakers – two RCA pin jacks input or optional de-embedded audio on SDI AC or DC power – 117 Volt AC or 12 Volt DC inputs (4-pin XLR) Color temperature selection – D9300K / D6500K / D5600K / User Settable CineGammaTM (FILM-REC) compensation – expressly for VariCam monitoring GPI and RS-232C ports for external control Preset / manual picture adjustments with indicator lights Desk stand included

TV Logic 5.6 (Onboard)

Daily $

TV Logic 5.6 (Onboard)
The VFM-056WP is available in two configurations and is ideal for HD-SLR production. A 6″x 4″x 1″ lightweight magnesium-alloy case houses a 5.6” 1280×800 LED backlit LCD display with a full complement of preferred eatures, including DSLR Scale, Focus Assist, Various Scan Models, Markers, Audio Level Metering with speaker, Time code Display, HDMI loop out via HD-SDI(720p), WaveformVector Scope, Y Level Check and Range Error Check.

Sony Venice

Daily $

Sony Venice

The Sony Venice boasts a 6K Full-Frame, Dual ISO sensor that allows you to crop to standard Super 35 while still meeting Netflix’s 4K original content guidlines.

It also features a full range internal ND, so you no longer need to carry a .3 with you to hit your ideal stop.

Sony FX9

Daily $

Sony FX9

Sony’s newest addition to their Full Format family is the FX9. This camera boasts updated color science over the FS7 Mk2, and increased resolution while keeping the familiar control layout.

Sony FS7 Mk2

Daily $

Sony FS7 Mk2

The Sony FS7 Mk2 provides one of the most streamlined single-operator systems on the market today. With it’s Super 35 Sensor, 4K resolution and framerate capabilities, this camera can give you everything you need in a lightweight, affordable package.

Tiffen & Schneider Filters

Daily $Call For Pricing

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

Daily $

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

Daily $Call For Price

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

Daily $Call For Price

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.

Red Epic W

Daily $

Red Epic W

SENSOR

SENSOR TYPE HELIUM 35.4 Megapixel CMOS
EFFECTIVE PIXELS 8192 x 4320
SENSOR SIZE 29.90 mm x 15.77 mm (Diagonal: 33.80 mm)
DYNAMIC RANGE 16.5+ stops
SIGNAL-TO-NOISE-RATIO 80 dB

 

RECORDING

MAX DATA RATES Up to 275 MB/s using RED MINI-MAG (512GB & 1TB)
Up to 225 MB/s using RED MINI-MAG (120GB & 240GB)
REDCODE RAW MAX FRAME RATES  1 30 fps at 8K Full Format (8192 x 4320), 30 fps at 8K 2.4:1 (8192 x 3456)
30 fps at 7K Full Format (7168 x 3780), 40 fps at 7K 2.4:1 (7168 x 3024)
75 fps at 6K Full Format (6144 x 3240), 100 fps at 6K 2.4:1 (6144 x 2592)
96 fps at 5K Full Format (5120 x 2700), 120 fps at 5K 2.4:1 (5120 x 2160)
120 fps at 4K Full Format (4096 x 2160), 150 fps at 4K 2.4:1 (4096 x 1728)
150 fps at 3K Full Format (3072 x 1620), 200 fps at 3K 2.4:1 (3072 x 1296)
240 fps at 2K Full Format (2048 x 1080), 300 fps at 2K 2.4:1 (2048 x 864)
PLAYBACK FRAME RATES
(PROJECT TIMEBASE)
23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions
REDCODE SETTINGS
RANGE FROM 2:1 UP TO 22:1  1
6:1 REDCODE for 8K Full Format (8192 x 4320) at 24 fps
7:1 REDCODE for 8K Full Format (8192 x 4320) at 30 fps
2:1 REDCODE for 4K Full Format (4096 x 2160) at 24 fps
4:1 REDCODE for 4K Full Format (4096 x 2160) at 60 fps
REDCODE RAW
ACQUISITION FORMATS  2
8K Full Format (8192 x 4320), 2:1, 2.4:1, 16:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x
7K Full Format (7168 x 3780), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
6K Full Format (6144 x 3240), 2:1, 2.4:1, 16:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x
5K Full Format (5120 x 2700), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
4K Full Format (4096 x 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
3K Full Format (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
2K Full Format (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
APPLE PRORES 422 HQ, 422 and 422 LT at 4K (4096 × 2160) up to 29.97 fps
4444 XQ and 4444 at 2K (2048 × 1080) up to 120 fps
422 HQ, 422 and 422 LT at 2K (2048 × 1080) up to 120 fps
AVID CODECS  3 DNxHR HQX at 4K (4096 × 2160) 12-bit up to 29.97 fps
DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 29.97 fps
DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps
DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps
DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps

 

GENERAL

CONSTRUCTION Magnesium and Aluminum Alloy
WEIGHT 3.35 lbs (BRAIN with Integrated Media Bay)
OPERATING TEMPERATURE 0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE –20°C to 50°C (–4°F to 122°F)
RELATIVE HUMIDITY 0% to 85% non-condensing

 

FEATURES

COLOR MANAGEMENT Supports 33×33×33, 32×32×32, 26×26×26, and 17×17×17 3D LUTs
Variable number of 3D LUT outputs with DSMC2 expander module
User programmable shaper 1D LUTs
Tetrahedral interpolation, 16-bit processing
AUDIO Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz
Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz
REMOTE CONTROL Integrated REDLINK WiFi antenna
Ethernet, RS232, and GPI Trigger with DSMC2 expander module
MONITOR OUTPUTS 3G-SDI (HD-SDI) and HDMI with DSMC2 expander module
1080p RGB or 4:2:2, 720p RGB or 4:2:2
480p RGB or 4:2:2 (HDMI Only)
SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
MONITOR OPTIONS DSMC2 RED Touch 4.7″ LCD, DSMC2 RED Touch 7.0″ LCD and DSMC2 RED EVF (OLED) with cable-free connection.
RED Touch 9.0″ LCD, RED Touch 7.0″ LCD, RED Touch 5.0″ LCD, RED PRO 7″ LCD, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LEMO Adaptor A and LCD/EVF cable.

Red Epic Dragon

Daily $

Red Epic Dragon
EPIC 6K
SENSOR TYPE RED DRAGON 19.4 Megapixel CMOS
EFFECTIVE PIXELS 6144 × 3160
SENSOR SIZE 30.7 mm x 15.8 mm (Diagonal: 34.5 mm)
DYNAMIC RANGE 16.5+ stops
SIGNAL-TO-NOISERATIO 80 dB
MAX DATA RATES Up to 200 MB/s using RED MINIMAG (512GB & 1TB)
Up to 170 MB/s using RED MINIMAG (120GB & 240GB) or REDMAG 1.8″
MAX FRAME RATES 1 75 fps at 6K Full Format (6144 × 3160), 100 fps at 6K 2.4:1 (6144 × 2592)
96 fps at 5K Full Format (5120 × 2700), 120 fps at 5K 2.4:1 (5120 × 2160)
120 fps at 4K Full Format (4096 × 2160), 150 fps at 4K 2.4:1 (4096 × 1728)
150 fps at 3K Full Format (3072 × 1620), 200 fps at 3K 2.4:1 (3072 × 1296)
240 fps at 2K Full Format (2048 × 1080), 300 fps at 2K 2.4:1 (2048 × 864)
PLAYBACK FRAME RATES
(PROJECT TIMEBASE)
23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions
REDCODE SETTINGS
RANGE FROM 2:1 UP TO 22:1 1
4:1 REDCODE for 6K Full Format (6144 × 3160) at 24 fps
10:1 REDCODE for 6K Full Format (6144 × 3160) at 60 fps
2:1 REDCODE for 4K Full Format (4096 × 2160) at 24 fps
5:1 REDCODE for 4K Full Format (4096 × 2160) at 60 fps
REDCODE RAW
ACQUISITION FORMATS 2
6K Full Format (6144 × 3160), 2:1, 2.4:1, 16:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
5K Full Format (5120 × 2700), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
4K Full Format (4096 × 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
3K Full Format (3072 × 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
2K Full Format (2048 × 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
APPLE PRORES DSMC2 cameras only
AVID CODECS 3 DSMC2 cameras only
CONSTRUCTION Carbon Fiber and Aluminum Alloy
WEIGHT 4 lbs (BRAIN only)
OPERATING TEMPERATURE 0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE –20°C to 50°C (–4°F to 122°F)
RELATIVE HUMIDITY 0% to 85% non-condensing
COLOR MANAGEMENT 3D LUT capabilities with REDCAST Module
AUDIO 2 channel, uncompressed, 24-bit 48 kHz
Optional 4 channel, and AES/EBU digital audio
REMOTE CONTROL Ethernet, RS232, and GPI Trigger
Wireless control with optional REDMOTE and REDLINK Bridge modules
MONITOR OUTPUTS 3G-SDI (HD-SDI) and HDMI with Frame Guides and Lookaround
1080p RGB or 4:2:2, 720p RGB or 4:2:2
480p RGB or 4:2:2 (HDMI only)
SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
MONITOR OPTIONS DSMC2 RED Touch 4.7″ LCD and DSMC2 RED Touch 7.0″ LCD compatible with DSMC2 LEMO Adaptor B and LCD/EVF cable.
RED Touch 9.0″ LCD, RED Touch 7.0″ LCD, RED Touch 5.0″ LCD, RED PRO 7″ LCD, DSMC2 RED EVF (OLED), BOMB EVF (OLED) and BOMB EVF (LCOS) with LCD/EVF cable.
REDCINE-X PRO
DELIVERY FORMATS
4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)
2K: DPX, TIFF, OpenEXR (.RED via RRencode plugin)
1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, AVID AAF, MXF
1080p 4:2:0, 720p 4:2:0 : H.264, .MP4

Red Scarlet-W

Daily $

Red Scarlet-W

SENSOR

SENSOR TYPE RED DRAGON 13.8 MP Super 35 mm CMOS
EFFECTIVE PIXELS 5120 x 2700
SENSOR SIZE 25.6 mm x 13.5 mm (Diagonal: 28.9 mm)
DYNAMIC RANGE 16.5+ stops
SIGNAL-TO-NOISE-RATIO 80 dB

 

RECORDING

MAX DATA RATES Up to 140 MB/s using RED MINI-MAG
MAX FRAME RATES  1 50 fps at 5K Full Format (5120 x 2700), 60 fps at 5K 2.4:1 (5120 x 2160)
120 fps at 4K Full Format (4096 x 2160), 150 fps at 4K 2.4:1 (4096 x 1728)
150 fps at 3K Full Format (3072 x 1620), 200 fps at 3K 2.4:1 (3072 x 1296)
240 fps at 2K Full Format (2048 x 1080), 300 fps at 2K 2.4:1 (2048 x 864)
PLAYBACK FRAME RATES
(PROJECT TIMEBASE)
23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions
REDCODE SETTINGS
RANGE FROM 2:1 UP TO 22:1  1
5:1 REDCODE for 5K Full Format (5120 x 2700) at 24 fps
9:1 REDCODE for 5K Full Format (5120 x 2700) at 50 fps
3:1 REDCODE for 4K Full Format (4096 x 2160) at 24 fps
7:1 REDCODE for 4K Full Format (4096 x 2160) at 60 fps
REDCODE RAW
ACQUISITION FORMATS  2
5K Full Format (5120 x 2700), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
4K Full Format (4096 x 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
3K Full Format (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
2K Full Format (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
APPLE PRORES 422 HQ, 422 and 422 LT at 2K (2048 × 1080) up to 60 fps
AVID CODECS  3 DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 60 fps
TYPICAL MAX RECORDING TIME
USING RED MINI-MAG 120GB  5
5K Full Frame (5120 x 2700) at 24 fps and 11:1 REDCODE: 41 minutes
5K Full Frame (5120 x 2700) at 48 fps and 14:1 REDCODE: 26 minutes
4.5K 2.4:1 (4608 x 1944) at 120 fps and 15:1 REDCODE: 17 minutes

 

GENERAL

CONSTRUCTION Aluminum Alloy
WEIGHT 3.5 lbs (BRAIN with Integrated Media Bay)
OPERATING TEMPERATURE 0°C to 40°C (32°F to 104°F)
STORAGE TEMPERATURE –20°C to 50°C (–4°F to 122°F)
RELATIVE HUMIDITY 0% to 85% non-condensing

 

FEATURES

COLOR MANAGEMENT Supports 17×17×17 3D LUTs
Variable number of 3D LUT outputs with DSMC2 expander module
User programmable shaper 1D LUTs
Tetrahedral interpolation, 16-bit processing
AUDIO Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz
Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz
REMOTE CONTROL Integrated REDLINK WiFi antenna
Ethernet, RS232, and GPI Trigger with DSMC2 expander module
MONITOR OUTPUTS 3G-SDI (HD-SDI) and HDMI with DSMC2 expander module
1080p RGB or 4:2:2, 720p RGB or 4:2:2
480p RGB or 4:2:2 (HDMI Only)
SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio
MONITOR OPTIONS DSMC2 RED Touch 4.7″ LCD, DSMC2 RED Touch 7.0″ LCD and DSMC2 RED EVF (OLED) with cable-free connection.
RED Touch 9.0″ LCD, RED Touch 7.0″ LCD, RED Touch 5.0″ LCD, RED PRO 7″ LCD, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LEMO Adaptor A and LCD/EVF cable