Cameras
The prices below are ‘per rental day’
The AMIRA is a versatile documentary-style camera that combines exceptional image quality with an ergonomic design optimized for single-operator use and extended shoulder-mounted operation.
Ready to pick up and shoot straight out of the camera bag, AMIRA is hardy enough to take anywhere and features in-camera grading with preloaded looks based on 3D LUTs, as well as 200 fps slow motion.
AMIRA features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA will deliver beautiful, life-like images in any situation.
AMIRA records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs.
AMIRA boots up quickly and can be used straight out of the bag by a single user, with no setting up, no rigging and no delays. In the time it takes to lift the camera to an operator’s shoulder, it will be ready to record, making AMIRA perfect for ‘run-and-gun’ shoots where the action is unpredictable and the camerawork responsive. Integrated, motorized ND filters as well as zebra and false color tools aid exposure control, while an advanced peaking function makes accurate focusing easy and swift.
Access to switches and configurable user buttons is quick and intuitive. An innovative multi-viewfinder makes life even easier for the single user by combining a high resolution OLED eyepiece with a fold-away LCD monitor that displays a live image when the eyepiece is not in use and also provides full access to camera functions, without AMIRA having to be removed from the operator’s shoulder. Flexible multi-channel audio options are accessed from the camera right side, again minimizing disturbance to the operator.
With a solid internal skeleton that guarantees camera and lens stability, AMIRA is a highly durable product constructed of the strongest possible materials. Sealed electronics provide top-level protection against humidity and dust, while an integrated thermal core results in highly efficient cooling. Productions can take AMIRA anywhere, from jungles and deserts to snow-capped mountain tops, sure in the knowledge that it will not let them down.
Bundling high performance raw video recording in a compact camera body, the RED DIGITAL CINEMA DSMC2 GEMINI 5K S35 is part of the 2018 unified DSMC2 lineup and is designed to be built up the way you want, to tell your story in almost any way possible. Since the DSMC2 form factor is standard, accessories from RED and other manufacturers can be easily attached to accessorize your camera. Even though the GEMINI sensor has fewer photosites than its HELIUM and MONSTRO brethren, it has a cool trick up its sleeve. Using advanced circuitry designed for the aerospace industry, the GEMINI can switch native sensitivities. Practically speaking, it can operate in both normal and dimly lit scenarios without prematurely blown highlights or excessive noise, respectively. Nearly limitless lens options are available for the DSMC2 system. While this camera requires a separately available lens mount, DSMC lens mounts themselves are offered in different varieties for compatibility with a wide array of lens systems.
REDCODE RAW is the format of choice for DSMC2 cameras. RED’s versatile raw codec uses wavelet compression to reduce data rates while maintaining a visually lossless image rendering. This efficient codec can be edited on many available NLE software programs without transcoding, though if you prefer a proxy workflow, ProRes or DNx files can be recorded simultaneously to the MINI-MAG media. Lowering the recording resolution allows the sensor to capture higher frame rates for dramatic slow-motion footage. The DSMC2 cameras use sensor windowing to record slow motion in lower resolutions, requiring wider or smaller-format lenses to compensate for the additional crop. Recording rates range from 12 fps and up, including 24/25/30/48/50/60 fps and higher.
The Sony FX6 Full-Frame Camera was developed to offer versatile, cine-style imaging in a truly compact form. With the ability to capture up to 15 stops of dynamic range, Sony’s S-Cinetone gamma for film-like skin tones, and up to 10-bit, 4:2:2 XAVC-I recording, the FX6 is poised to both supplement your FX9 or VENICE capture and to nimbly take on documentary, gimbal, and drone shoots on its own. The FX6 camera combines a 4K full-frame Exmor R sensor with a BIONX XR engine for extremely sensitive capture in a range of settings using a base ISO of 800 as well as an ISO 12800 high-sensitivity mode for nuanced low-light scenes.
Weighing just under 2 lb, the FX6 body is a full 2 lb lighter than the FX9 and measuring 6 x 4.6″, it packs a full-frame sensor into a body comparable to the S35-sensor Sony FS5. While the FX6 fits seamlessly into a pro-cine on-set workflow, it also offers several features that are a boon for a single-operator user. These include fast and accurate phase-detection autofocus with both Face Detection and real-time Eye autofocus, both auto and manual ND filter settings for quick exposure compensation, and a 3.5″ LCD monitor that boasts timesaving touchscreen access to key menu settings and versatile positioning for comfortable operating.
The Sony Alpha FX3 ILME-FX3 is a compact and lightweight Cinema Line camera designed for professional use. It features a 4K full-frame back-illuminated CMOS Exmor R sensor with a 15+ stop dynamic range and ISO expandable up to 409600 for low light conditions. It also offers cinematic expressions with 16-bit RAW, S-Log3, and S-Cinetone picture profiles. The camera is designed for solo-shooting with its 715g weight and includes a fast, precise, and customizable autofocus system. It also has a rugged magnesium body and heat dissipation system for reliable and uninterrupted 4K 60p recording.
The FX3 has recently released a firmware update version 5.00 which allows for direct uploading of camera images to the Creators Cloud app and displays the Wi-Fi signal strength. It also fixes various issues and improves the exposure stability and operational stability of the camera. The FX3 is designed for the future of cinematic expressions and can be paired with UWP-D wireless audio for crisp and dependable audio. Its full-frame image sensor and wide dynamic range allow for stunning bokeh and full-frame creativity, while its S-Cinetone color profile provides rich colors and natural skin tones. The camera also offers 4K 120fps recording and 10-bit S-Log3 and HDR recording for smooth gradations.
The Blackmagic Pocket Cam 4K is a predecessor to the BMPCC 6K and provides DCI 4K image capture in RAW and ProRes 422 to CFast 2.0, SD, and external USB-C drives. Key features include:
Micro 4/3, 18.95 × 10mm, CMOS sensor
13 stops of dynamic range
DCI 4K capture to RAW and ProRes
Records to CFast 2.0, SD UHS-II, & external USB-C drives
The Mini ALEXA is basically an ARRI ALEXA in a super-lightweight, carbon body (5lbs!). It was specifically designed with new filmmaking tools such as gimbal stabilizers and drones in mind. This way if your production is already shooting ALEXA, instead of having to switch to a lighter 3rd-party camera, you can keep it all in the ARRI family.
ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm’s length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions.