DENZ OIC FF - Director‘s viewfinder for full frame lenses
by request reversible to anamorphic lenses- Full-Frame-Plus coverage
- Interchangeable mount system with LPL and PL mounts immediately available, others to follow
- Eyepiece with +/-4 diopter adjustment and long eye relief
- Easily swappable anamorphic de-squeezer module
- New DENZ ground glasses -- sturdy and acetone-safe
- Ergonomic, universal cherry wood handgrip with DENZ soft-touch coating and slip-proof quick-adjustment Hirth pivot-hinge for ideal comfort adjustment
- Special bracket (made from Konstructal AW7075) anodized, used for
balance point optimization through three "variable" attachment points
-1/4“-thread at the bottom of the handgrip for monopod-use
Combining the compact size and low weight of the popular ALEXA Mini with the large-format ALEXA LF sensor, ALEXA Mini LF brings exciting new creative possibilities to ARRI’s large-format camera system. Robust and reliable, it provides the best overall image quality for large-format shooting, and features three internal motorized FSND filters, 12 V power input, extra power outputs, a new Codex Compact Drive, and a new MVF-2 high-contrast HD viewfinder.
Named the Premista, the pair of new zooms will be a 28-100mm T2.9 and an 80-250mm T2.9-3.5 will feature a large image circle spec of 46.3mm. Both zooms have a T2.9 maximum aperture, however the longer zoom will ramp gradually between 200 and 250mm. The 80-250mm will begin shipping before the end of 2019, no price confirmed just yet. The shipping for the 28-100mm will be in Summer 2019.
4×5.65/138mm Variable ND Kit with Circular Polarizer and 4×5.65 Linear Pol
The Revar Cine Rota-Tray 4×5.65/138mm Variable ND Kit is a two filter system designed to fit into a two stage 4×5.65 Mattebox to create a Variable ND Filter with 1.6 to 8 stops of light loss range.
The PL - LPL Mechanical Adapter makes it possible to use
native PL mount lenses on LPL mount systems, namely, the ARRI LF Camera.
790,00 Euro (zzgl. MwSt./ex VAT)
Zeiss Supreme Prime 65mm T1.5 Lens - PL Mount (Available in Metre and Feet)
Cinematic Large-Format Coverage and High Speed Prime Lens
15.000,00 Euro (zzgl. MwSt./ex VAT)
Lieferbar Februar 2019 / starts in February 2019
The focal lengths of the lenses range from 21 – 500mm, catering from to Super35 to the ARRI Alexa 65 (TS70 lenses only), Red Vista Vision, Sony Venice and other large format and full format imaging sensors without vignetting or distortion. WPO ts70 series image circle is 82mm and WPO HS 46mm. The lenses are available in PL, EF and E-mount.
Sony Alpha a7 III Mirrorless Digital Camera (Body Only)
1.909,00 Euro (zzgl. MwSt./ex VAT)
Bundle consisting of: VENICE & DVF-EL200
39.500,00 Euro (zzgl. MwSt./ex VAT)
Bundle consisting of: VENICE, DVF-EL200, AXS-R7, CBKZ-3610F & CBKZ-3610A
53.500,00 Euro (zzgl. MwSt./ex VAT)
The cmotion Cinefade system varies depth of field in a single motion picture shot at constant exposure, enabling the gradual transition between a sharp and a blurry background.
This is accomplished by using the new cmotion Cinefade motorized variable ND filter, which is paired to an iris motor on the lens.
This enables an iris change of up to 5 stops, while keeping exposure constant.
The Cinefade filter is compatible with most Arri matte boxes (LMB5/15/25, 4x5) and is fully integrated into the cmotion cvolution ecosystem via the LBUS protocol.
Its small and light weight design combined with its plug and play simplicity enables a unique cinematic effect in a very efficient way.
coming soon - cmotion Cinefade will be available in 2018
The Anamorphic/i Full Frame Plus prime lenses represent the next logical step in the evolution of filmmaking: large format production with anamorphic characteristics, including flare and oval bokeh.
TV Logic F-7H 7" monitor
Full HD, 3.600cd/m², 1920x1080, HDR Emulation, SDI <-> HDMI cross conversion
The new Field Monitor from TVLogic is called F-7H. With its 7 "Full HD display (1920 x 1080 pixels), it
impresses above all with its brightness of 3,600 cd / m². With this brightness camera teams are able to work even in strong sunlight, even without sun protection.
The F-7H weighs only 760 grams with the sturdy but very light aluminum housing. The structure and various connections allow a diverse and above all flexible use.
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 full frame and even bigger sensors with an image circle of 46.2 mm. The Supreme Prime lenses are color matched across the full range and most feature a fast T-stop of T1.5. The small front diameter of 95 mm on almost all lenses and standardized positioning of the focus and iris rings across the whole family facilitate fast and easy equipment changeout. The compact and lightweight design means you enjoy easy and comfortable handling. The ultra-smooth focus rotation of the Supreme Prime lenses even in extreme temperatures allows for small motors to make sure you have an easy setup that’s enjoyable to work with.
IDEA VISION ́s Hybris is custom designed to reduce high and low frequency vibrations and hard impact shocks typically experienced when shooting from moving platforms on rough terrain or paved roads. The front mount can be set for under or overslung use of any camera, gimbal or stabilized head.
The ARRI cforce mini RF combines a selection of well proven components with new and refined ones. Based on the widely-adapted cforce mini lens motor, it includes the latest iteration of ARRI’s
white-coded radio module with improved interference resistance, and six additional radio channels compatible with the WCU-4 hand unit. It comes with the solid high-quality outdoor antenna also
used on the UMC-4 motor controller.
The cforce mini RF can pair with up to three hand units for split focus, iris and zoom operation, and provides full lens data for focus mapping and lens data display with the WCU-4 hand unit.
Using the LBUS interface, the system can be expanded with two additional cforce motors, while the new CAM connector provides a versatile interface for power supply and run/stop control with ARRI, and third-party cameras.
RAPTOR lens series of IB/E OPTICS.
max. Image Diameter: ø 50mm (with PL-Mount) / ø 55mm (with XPL-Mount)
T-Stop 2.9 within all focal lengths
Set of 2 Cine Macro (F)
Set of 2 Feet Scale Raptor Macro lenses consisting of 100mm/150mm
Even though a standard size of approximately 95 x 145 cm is well established for batteries in the broadcasting and film industry today, there are quite a lot of applications where the traditional battery format reaches its limits. Take particularly small cameras, viewfinder monitors or accessories such as audio kits and carrying cases as an example - it doesn't make sense to work with a power supply that has nearly the size of the camera or accessory. More compact solutions are required here, that align with the small dimensions of the supplied units. Sometimes size does matter...
Cooke announced new focal lengths of its S7/i Full Frame Plus and Panchro/i Classic lens lines that the company said will be debuting between now and the end of the year.
Ready for demo at NAB will be the new Panchro/i Classic 135mm lens, first in a series of 2018 additions that will also bring 21mm, 27mm, and 65mm Macro lenses to the line. Built to emulate the look and feel of the original Speed Panchro lens, the line currently includes 18mm, 25mm, 32mm, 40mm, 50mm, 75mm, 100mm and 152mm lenses.
Also coming this year are 16mm, 21mm, 27mm, and 65mm S7/i lenses, Cooke said, adding to the already available 18mm, 25mm, 32mm, 40mm, 50mm, 75mm, 100mmm and 135mm versions. The S7i lens line is specifically designed with a 46.31mm diameter image circle to cover the full sensor area of the Red Weapon 8K, Sony Venice and ARRI Alexa LF.
Featuring a sensor slightly larger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. This allows filmmakers to explore an immersive large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and stunning capability for HDR and WCG workflows. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, encompass all on-set workflow requirements.
Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they have been designed to render organic, emotionally engaging images, gently softening and texturizing the large format with natural skin tones and creamy bokeh. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.
The ARRI Signature Prime range is the first cine lens series to feature machined magnesium lens barrels, making the optics incredibly lightweight and robust. They are also the first to incorporate ARRI’s next-generation LDS-2 Lens Data System, with high data rates and absolute encoders for fast initializing. LDS-2 extends the possibilities of lens data and is being licensed to other lens and camera manufacturers.
The S35x8K Expander – using S35 lenses up to 8K.
Magnification from Super-35 to Full Frame
Maximum Image Performance – Minimum Light Falloff
With its magnification factor of 1.6x the S35x8K Expander scales the Super-35 image up to maximum 46.4 mm which covers full-frame format (ø43.5 mm) and even the RED Dragon 8K format (46.3 mm).
During the design of the expander, special attention was paid to ensure a minimum of light falloff and a maximum imaging performance up to the edge of the larger sensors.
The S35x8K Expander is recommended for lenses with a max. aperture of T-stop of 2.0, providing the best performance at T2.8, with optimal resolution and sharpness.
The PLx1.4 Mark II has improved optical performance espe-cially at higher T-Stops. It extends the focal length of S35 PL mount lenses by a factor of 1.4, losing only one stop of light. The recommended max. input T-Stop is 1.6.The extender features high-index, low-dispersion glass to en-sure the highest possible resolution and contrast with mini-mal optical degradation. The optical design is optimized for digital cameras with telecentric ray path at the sensor. Compatibility is achieved with a deep-set optical assembly that accepts lenses with deep protruding rear elements. The PLx1.4 Mark II is also designed to mount to any digital cine-ma camera with a native PL mount. The UMS Mount System makes it easy to change the mount to Canon EF, Sony E, MFT or others without re-shimming.
Sony launches VENICE today at the Sony Pictures Studios in Culver City. The European premiere will be in London at Pinewood on Thursday. VENICE is the new Sony Full Frame and S35 high-end cine camera.
The next-generation Angénieux Optimo Ultra 12x is a high-end, multi-format zoom with interchangeable modules to cover sensor sizes from Full Frame 24×36 and RED 8K VV to U35 and S35. It is the venerable Optimo 24-290 reference redefined, the zoom lens that accompanied almost every major motion picture production since it was introduced in September 2001.
The C3 VacuMount is a lightweight -3 kg-, resistant, and ultra-flexible vacuum mounting platform that delivers a multitude of rigging possibilities with ultimate functionality.
NEW: ARRI Lightweight Matte Box LMB 4x5
This modular matte box expands on the feature set and creative possibilities of the LMB-25 while retaining an entry-level price tag. Suited for a wide range of applications in just one product, this robust but lightweight matte box allows for an unprecedented level of flexibility.
From a single-filter configuration for gimbals, drones, or Steadicams to clamp-on versions up to rod-mounted solutions (using either 15mm lightweight, 15mm or 19mm studio rods), the LMB 4x5 makes short work of challenging situations. Altering the various applications doesn't necessitate any supplementary tools, making set-ups quick and easy. The new matte box is also a highly compatible to legacy accessories; all clamp adapters and filter frames from the former models LMB-5, LMB-15, and LMB-25 are compatible. The LMB 4x5 also maintains the streamlined design for which ARRI's LMB range is known.
The LMB 4x5 will be launched at Broadcast Asia in Singapore end of May and directly after at Cine Gear in Los Angeles early June. ARRI is looking forward to the first customer shipment expected in July 2017.
The VFM-058W, the lightweight viewfinder monitor, offers an outstanding picture quality with 5.5” LCD, and Full HD resolution of 1920 x 1080. Innovative and ergonomic design of VFM-058W makes you comfortable in the shooting environment and its light solid magnesium case achieves the highest efficiency of ventilation. The VFM-058W supports multi-formats including 3G/HD/SD-SDI and HDMI that offers a wide application range from DSLR cameras to Pro camcorder for broadcasting and movie shooting. The VFM-058W has various features such as Max Brightness function, Temperature Adaptive Color, HDMI-to-SDI conversion output, 1:1 pixel mode, Luma(Y’) Zone Check function, DSLR Scale, Waveform, Vectorscope, Range Error, Focus Assist, Markers, Audio Level Meter with speaker and time code display.
Tailored for today’s cinema and beyond.
Digital technologies have transformed traditional filmmaking and refashioned the market. New and innovative technologies in both production and post-production have paved the way for a more versatile, cost effective and advanced workflow. The ZEISS CP.3 family is the latest contribution from ZEISS to support creative and progressive filmmaking with an affordable, future-proof and premium quality lens set.
The ZEISS CP.3 lenses offer the perfect combination of high image quality and reliable usability. They exhibit the clean, crisp characteristics ZEISS is known for, together with an interchangeable mount system and full-frame coverage.
The ZEISS CP.3 XD version features innovative and ground-breaking lens data technology to speed-up and simplify the workflow on set and in post-production.
The ZEISS eXtended Data is a unique technology which is based on the Technology and provides information about the lens’ distortion and shading characteristics in real time. With the ZEISS CP.3 XD lenses, even small productions on a limited budget gain access to the advanced techniques common in state-of-the-art, big budget films, commercials and television shows.
Available beginning June 2017 in focal lengths: 18, 25, 32, 40, 50, 75, 100 and 135mm.
The 138mm diopter tray holds a 138mm diopter in a standard Arri style 4 x 5.65 matte box allowing quick attachment for close focus situations and rendering it unnecessary to tape diopters to the lens. The tray uses two standard width filter tray slots to accommodate up to a +2 diopter. Additionally the tray has two 1/4 – 20 holes on the bottom to accommodate alternative mounting methods.
Leica Cine MacroLux +2, +1 and +0.5 optics offer cinematographers and lens owners a creative way to get different looks and extend the performance of prime, zoom and anamorphic lenses with 95mm front diameters. Each shares the same mechanical housing, which means that all three are compatible with 95mm front diameter prime, zoom and anamorphic lenses and that all of them can be stacked and combined for new effects.
ZEISS Lightweight Zoom LWZ.3 21-100mm/T2.9-3.9 T*
When you turn motion into emotion.
The new LWZ.3 will be launched at IBC 2016. Stop by to see just why this zoom lens can be used for such a wide range of applications. The new ZEISS LWZ.3 will be available in January 2017.
It is light (2 kilos), compact, very affordable and has interchangeable mounts (PL, EF, F, E, MFT).
The Angenieux Type EZ-1 is a standard zoom lens with a zoom factor of 3x. When configured for S35mm cameras, the focal range and aperture are set to 30-90mm F1.9 / T2. By exchanging the rear lens group, the lens becomes a 45-135mm F2.8 / T3 covering an image circle up to 46mm diagonal.
The Angenieux Type EZ-2 is a wide zoom lens with a zoom factor of 2.7x. When configured for S35mm cameras, the focal range and aperture are set to 15-40mm F1.9 / T2. Byexchanging the rear lens group, the lens becomes a 22-60mm F2.8 / T3 covering an image circle up to 46mm diagonal.