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

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

Manfrotto 501 W/ 351 MVB2 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

Bartech Follow Focus

Daily $

Bartech Follow Focus

The B.F.D. exceeds the performance of the old standards (Seitz WRC-4) at a fraction of the price. Its compatibility with exsisting motors (Heden ZB/SLD FMG-6) allows the use of readily available used equipment as well as the new M-One motor. Its modular approach and interchangeable components allow you to start simple and build your way up to a full featured system while providing back-ups in case of equipment failure.

Terradek Bolt 600

Daily $

Terradek Bolt 600

The Teradek Bolt Pro 600 Wireless HD-SDI Video Transmitter/Receiver Set uses a new RF design that allows a transmission range of up to 600 ft line of sight, and it includes RP-SMA connections for external antennas on the transmitter. It supports wireless HD video with zero delay (<1ms) and up to 4 receivers. The transmitter accepts HD-SDI input, and the receiver outputs HD-SDI as well as USB 3.0 video and audio. The receiver features an OLED display and joysticks for easy setup and pairing.

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.

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

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.

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 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

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

C300

Daily $

C300

Featuring a unique Super 35mm Canon CMOS sensor, revolutionary Canon DIGIC DV III Image Processor and 50 Mbps 4:2:2 codec, the EOS C300 provides outstanding cinema quality movie capture. Compact, modular and compatible with Canon’s existing line-up of EF and new EF Cinema lenses as well as accessories from third parties, the stunningly simple to operate EOS C300 is designed to please cinematographers for any production large and small, on location or in the studio, from shoestring to Hollywood budgets.

The EOS C300 has a Canon EF lens mount and is compatible with all of Canon’s new EF Cinema lenses and current EF lenses, including compact primes, super telephotos, specialty tilt-shift, macro and fisheye – over 60 in all. Designed with SMPTE HD production standards, its MPEG-2 codec is an internationally recognized standard compatible with major NLE applications while additional features such as Canon Log ensure seamless integration with existing production workflows, making post-production easy. And with an entire support infrastructure designed to help you get the most from your equipment before, during and after production, the EOS C300 is ready to go to work.

5D Mark III

Daily $

5D Mark III

EOS HD Video with manual exposure control, multiple frame rates and selectable All i-frame or IPB compression
Addressing the requests of the pros and building on the unprecedented success of its namesake, the EOS 5D Mark III captures HD video with a level of sophistication on par with professional movie cameras offering phenomenal performance on a DSLR. It offers both All-I and IPB compression, supports H.264/MPEG-4 AVC High Profile, and automatically splits files greater than 4GB (FAT specifications) for extended recording without interruption. It offers the option of timecoding during recording only (Rec Run) or at all times (Free Run), useful for multi-camera shoots. It also features improved sound recording adjustment capabilities, offering 64-step volume control accessible through the Quick Control screen during video shooting, plus a dedicated headphone jack for convenience in shooting. The CMOS sensor’s new drive system significantly increases image processor performance, reducing color artifacts and moiré (a common problem that occurs in scenes with horizontal lines), and ensures that the EOS 5D Mark III can record at a number of frame rates up to ISO 25600 in H mode.

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

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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.

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