ARRI once again raises the bar for digital cinema capture with the ALEXA 35, a Super 35-format camera boasting a new 4:3 4.6K sensor that delivers 2.5 of additional dynamic range, improved performance in low light, and richer, more accurate color reproduction. Compact and easy to operate, the ALEXA 35 offers both MFX/ARRIRAW and MFX/Apple ProRes capture to 1 or 2TB Codex drives with resolutions up to 4.6K and frame rates up to 120p.
Built around a large-format 4K version of the original ALEXA sensor, the ARRI ALEXA Mini LF (LPL) camera in this Lens Mount Set offers native 4K recording in three sensor modes, with ARRIRAW or ProRes recording in LF Open Gate, LF 16:9, or LF 2.39:1 mode. The ALEXA Mini LF combines large-format resolution with an optimal pixel size for excellent image quality producing vivid, nuanced images with natural skin tones and smooth bokeh.
V-RAPTOR® [X] 8K VV combines the strengths of RED’s two families of cameras into one powerful all-purpose workhorse. The frame rates, lowlight performance, and resolution of the V-RAPTOR® line combined with the global shutter advancements of KOMODO®, the V-RAPTOR [X] 8K VV sensor is the culmination of the latest advancements in digital cinema image making.
Featuring an impressive 16-stop dynamic range, internal recording onto a high-speed ASX card, internal recording formats up to ProRes 4K 4444 and 422, and an interchangeable sensor with updated usability and body design, the 8K Sony VENICE 2 Digital Motion Picture Camera is a step up for DPs, camera assistants, colorists, VR, and VFX departments thanks to its high-resolution capture and filmlike imagery.
At full 8K resolution, the HELIUM sensor captures 35.4 Megapixel motion and stills. Coupled with 60–75 fps, WEAPON 8K S35 provides HELIUM sensor advancements, WEAPON 8K boasts improved low-light sensitivity and impressive dynamic range. Blazing-fast 300 MB/s data rates allow you to take advantage of the lowest possible REDCODE—and record proxy 4K Apple ProRes or 4K Avid DNxHR formats, simultaneously.
The Anamorphic/i Full Frame Plus SF (Special Flare) prime lenses represent the next logical step in the evolution of filmmaking: large format production with anamorphic characteristics, including flare and oval bokeh. Coverage circle covers a full 24 x 36 still size sensor with 1.8 squeeze. At 2x squeeze you would lose too many pixels. At 1.8x you have that sweet spot with a great anamorphic feel and about 90% of the pixels at 2.4:1.
Consistency is one of the key elements offered by the ZEISS Supreme Prime lenses: that means consistent coverage, color rendering, aperture, size, weight and ergonomics. All the lenses across the family cover sensors from Super 35 and smaller to full frame and beyond (FF+). The Supreme Prime lenses are color matched across the full range and most feature a fast T-stop of T1.5.
Designed specifically for large-format sensor cameras, the PL mount Premista80-250mm T2.9-3.5 Large-Format Zoom Lens from Fujifilm covers up to a 46.3mm image circle in addition to Super 35 sensors. Its image quality is maintained from the center through the image corners and is color-matched to the Fujifilm cine lens line to reduce color grading in post.
The Optimo Ultra 12x Full Frame Lens from Angenieux is a spherical lens kit that includes the S35 and U35 lenses. The S35 lens is a long-range zoom designed for use in feature films, TV series, live stage commercials, and similar productions. It features an optical and mechanical design and the IRO technology, which allows you to configure it to 31.1mm. Additionally, you can configure the lens with the included U35 lens.
