Digital Cameras – MPS Film

Sony Rialto Camera Extension System 2 for Sony VENICE/VENICE 2

Angel — Fri, 08 May 2026 17:40:38 +0000

Sony Rialto Camera Extension System 2 Overview

Maximize the creative possibilities of your VENICE camera with the addition of the Sony Rialto Camera Extension System 2. Compatible with the VENICE, VENICE 2 6K and VENICE 2 8K, the Rialto Extension System 2 separates the sensor block and lens from the body of the camera, greatly increasing your mobility without any lessening of the full-frame image quality. Ideal for handheld and gimbal use and jib, crane, and car rigs, this compact and lightweight system also enables you to capture shots from tight spaces that were previously inaccessible. The new 9.8 and 39′ tethering cables options transmit wide-bandwidth sensor data over longer distances than the original Rialto system.

New system features include a built-in gyro sensor for transmitting tilt and roll metadata via the SDI output (for VENICE 2 only) and four user-assignable buttons (one for the VENICE) for quick access to key camera functions like run/stop and ND filter selection. Weighing around just 4.6 lb, the Extension System 2 is approximately the same size as the original unit, measuring 6.2 x 5.8 x 5″.

Requires Latest Firmware

To use the Extension System 2, VENICE 2 firmware v.2.00 and VENICE firmware v.6.3 are necessary and will be available in early 2023.

Maintains Image Quality

There is no degradation in image quality when using the Extension System 2 whether shooting with the 9.8 or the 39′ single tethering cable.

Enhanced Mobility

Separating the camera body and image sensor block by up to 39′ provides flexibility when filming with gimbals, jibs, cranes, handheld rigs, in helicopter/underwater housings, or with custom rigs used for 3D/VR content and shooting scenes in confined spaces such as vehicles. The separated image block weighs just 4.6 lb with a PL mount.

Integrated Gyro Sensor

When capturing images for Visual F/X, the Extension System 2 uses an internal sensor on the camera head to detect tilt/roll motion. It records this information in the metadata and outputs the data through the camera’s SDI port.

Function Buttons

Four user-assignable buttons are available for use with your VENICE 2 8K/6K and one is active with the VENICE, providing quick access to camera functions like run/stop and ND filter selection.

FREEFLY EMBER 5K – HIGH-SPEED CINEMA CAMERA

Meredith Stephens — Wed, 06 Aug 2025 21:55:46 +0000

Freefly Ember 5K High Speed Camera. A magical new way to capture high speed imagery. All new Sensor, Chassis, and App designed to go from capture to share as quickly as possible.

The Freefly Ember is designed to be the most efficient high speed camera ever. It’s small, light, and insanely fun to use. Ember is unique in that it can record continuous high speed footage with no ram based clip limit since it records directly to an internal SSD (either a 4TB or a 2.56TB high-endurance pSLC drive optimized for pre-record).*

Shooting high speed is now just like shooting anything else, push record to start and stop, and Ember captures everything to solid state memory – as simple… as that.

The Ember app for iOS means you can go from capture to sharing in seconds.

Key Features

Resolution & Frame Rates
• 5K (5120×4096) up to 600 fps
• 4K (4096×2160) up to 800 fps
• Higher speeds available with cropped resolutions (e.g., 4K 1011 fps, 2K 1487 fps)

Sensor & Codec
• Super 35 Gpixel sensor with global shutter
• Records in 10-bit Apple ProRes 422 LT

Media & Recording
• Internal 4 TB NVMe SSD (approx. 36 min at 5K/600 fps, 45 min at 4K/800 fps)
• Also available with 2.56 TB pSLC SSD for ultra-high endurance
• Continuous direct-to-SSD recording—no RAM buffer

Lens Mount
• Active Canon EF mount with electronic iris and focus control
• Adaptable for PL, Sony E, Nikon, and more

Build & Power
• Compact cube design: 100×104×108 mm, weight ~830 g
• Power: 12–26 V DC (XT30 connector), connectivity via USB‑C, HDMI, and GigE
• Wi-Fi and app control for camera settings and monitoring

*Actual formatted data capacity of 4TB drive is 3,980GB, and 2.56TB drive is 2,534GB

Tech Specs:

S35 Gpixel Sensor

4K and 5K recording mode

10bit Apple ProRes Codec

Active EF compatible lens mount or universal locking lens mount (tested lenses)

4TB Drive option

Maximum shooting capacity for Ember

Actual formatted data capacity – 3,980GB

Capture time (max)

5120 x 2880, 600fps – 36min (1,296,000 frames, 15hrs of playback at 24fps)

4096 x 2160, 800fps – 45min (2,160,000 frames, 25hrs of playback at 24fps)

2.56TB drive option

High endurance drive rated for 80 Petabytes or 10,000 hours of continuous recording

Ideal for heavy use of Ember Pre-Record

Actual formatted data capacity – 2,534GB

Capture time (max)

5120 x 2880, 600fps – 23min (828,000 frames, 10hrs of playback at 24fps)

4096 x 2160, 800fps – 29min (1,392,000 frames, 16hrs of playback at 24fps)

Weight

With Active EF compatible lens mount: 830 g / 1.83 lbs

Dimensions

With Active EF compatible lens mount: 100 mm x 104 mm x 110 mm (WHD), 3.94 x 3.94 x 4.33″ (WHD)

SONY BURANO 8K DIGITAL CINEMA CAMERA

Angel — Thu, 25 Apr 2024 18:15:45 +0000

The Sony BURANO 8K Digital Cinema Camera is an impressive piece of equipment designed for solo cine-style shooting, boasting an array of advanced features tailored for dynamic and challenging environments. Here are some key highlights of the camera:

1. Full-Frame 8.6K CMOS Sensor: The BURANO camera’s sensor not only offers exceptional imagery matching the VENICE 8K but also incorporates Sony’s advanced autofocus technology. This is particularly beneficial for solo operators who need reliable autofocus in fast-paced settings. The sensor supports both full-frame and Super35 modes, providing versatility in lens selection.

2. Lens Mount Compatibility: The camera is equipped with ARRI PL and Sony E mounts, making it compatible with a wide range of lenses, including both full-frame and Super35 PL lenses, as well as Sony E-mount lenses which support metadata.

3. Autofocus and Image Stabilization: The BURANO features Fast Hybrid Autofocus, which combines phase-detection and contrast-detection AF, including a Human Eye AF capability. Unique to this model is in-camera image stabilization for both E- and PL-mount lenses, offering stabilization across multiple axes.

4. Variable ND Filter: A built-in, electronically variable ND filter allows for quick and precise exposure adjustments, which is crucial for shooting in varying light conditions.

5. Exceptional Dynamic Range and Dual-Base ISO: The camera offers a dynamic range of 16 stops and features dual-base ISOs (800/3200), enhancing its performance in low-light conditions and providing extensive latitude for HDR content.

6. Versatile Recording Capabilities: The BURANO supports multiple recording formats and resolutions, including up to 8.6K video. It is capable of recording in XAVC H, X-OCN LT for raw images, and more traditional formats like XAVC-I and XAVC-L for UHD 4K and HD.

7. Build and Design: The camera has a robust, lightweight design, utilizing a magnesium alloy chassis. It features a fully isolated ventilation system to protect against dust and moisture, ensuring durability in harsh conditions.

The Sony BURANO 8K camera is a versatile and powerful tool for filmmakers who require high-quality imaging and flexibility in various shooting scenarios, particularly when operating solo. It integrates seamlessly with systems like the VENICE series, making it an ideal choice for both primary and supplementary camera roles in professional production environments.

Sony FX3 Full-Frame Cinema Camera

Angel — Wed, 28 Feb 2024 18:33:42 +0000

Sony FX3 Full-Frame Cinema Camera

Designed specifically for individual content creators, the Sony FX3 merges the high-end features of the Cinema Line and Alpha series into a portable cinema camera that’s perfect for travel and secondary shooting roles. This camera maintains the high-quality imaging expected from its class while introducing a new handheld, lightweight design. It eliminates the need for an external cage by incorporating direct attachment points for accessories, streamlining the user’s setup.

Firmware Update Version 2.0

The latest firmware update brings the FX3 in line with Sony’s Cinema Line ecosystem, enhancing its functionality with features such as improved log recording options like Cine EI, user LUT import capabilities, timecode synchronization with an optional cable, and a more intuitive camera interface. Users upgrading from version 1.01 or earlier should note their settings beforehand as the update resets the camera, removes S-Log2 in favor of S-Log3, simplifies connection to the Imaging Edge Mobile app (requiring version 7.7 or newer), and discontinues NFC one-touch connectivity.

Expressive UHD 4K Video Quality

The FX3 boasts a 12.1MP Exmor R BSI CMOS sensor (10.2MP effective in video mode) combined with a BIONZ XR processor, enabling UHD 4K video capture with internal 10-bit 4:2:2 sampling or 16-bit raw output. The sensor enhances clarity and sensitivity with an ISO range of 80-409,600 and a dynamic range over 15 stops, ideal for varied lighting conditions. S-Cinetone mode offers seamless matching with other Sony Cinema Line cameras, alongside support for S-Log3/2 and 10-bit HLG for straightforward HDR projects. The camera’s autofocus system ensures sharp and responsive subject tracking.

Professional Video Capabilities

Capture stunning visuals up to 4K 120p, enabling slow motion up to 5x at 24p. The FX3 supports DCI 4K+ 16-bit raw output via HDMI while recording XAVC 4K and proxies internally. It features dual SD card slots compatible with CFexpress Type A and SDXC cards, Super35 1080p up to 240p, and a silent cooling system to prevent overheating during extended shoots.

Ergonomic Design for Solo Creators

The FX3’s ergonomic design caters to solo operators, allowing for easy accessory mounting without a cage and one-handed control. Its layout includes easily accessible recording, focus, and menu controls, along with six customizable buttons. Visual tally indicators and quality audio recording options, including a detachable XLR adapter handle, enhance production efficiency.

Enhanced Connectivity and Stabilization

Remote control, file transfer, and streaming are streamlined through Wi-Fi or USB Type-C, supported by Sony’s Imaging Edge apps. The camera’s compatibility with E-Mount lenses and Catalyst Browse/Prepare software facilitates post-production stabilization, balancing shake compensation and image area trimming.

Common Features with FX6 and a7S III

The FX3 shares several features with the FX6 and a7S III, including the 12.1MP Exmor R sensor, high frame rate capabilities, extensive dynamic range, and wireless connectivity options. This integration ensures a consistent and high-quality performance across Sony’s range of cinema and mirrorless cameras, making the FX3 a versatile tool for filmmakers and content creators seeking portability without compromising on quality.

Pro audio recording options include:

A detachable XLR adapter handle with two XLR-1/4″ TRS combo audio inputs
A mic holder and a 3.5mm input for adding a microphone
Up to 4-channel, 24-bit audio recording
Remote Control, Streaming, and Transfers
Remote Control_RC
Control your FX3 remotely using the Imaging Edge Mobile or Imaging Edge Desktop apps, and transfer files using Wi-Fi or via a wired USB Type-C connector to let your editor get a jump on post-production. You can also stream your content using your computer and the Imaging Edge Webcam app.
Post-Production Stabilization with E-Mount Lenses
Sony’s Catalyst Prepare/Browse software uses shake metadata to stabilize your image
An adjustable balance between shake compensation and image area trimming lets you fine-tune the image
Improved FX3 Features
LCD Touch Panel_RC
The FX3 updates the Cinema Line with improvements like comfortable, cage-free handheld operation, a battery runtime 1.6x longer than that of the a7S II, and a USB-PD power option for extended shooting times.

Common FX3/FX6/a7S III

Features Like the FX6 and the a7S III, the FX3 features:

Full-frame, back-illuminated 12.1MP Exmor R CMOS sensor and BIONZ XR processor
High-speed rates of 120p in 4K and 240p in HD
A dynamic range of 15+ stops

Shared FX3/FX6 Attributes

Attributes that the FX3 has in common with the larger FX6 camera include:

S-Cinetone, S-Log3, HLG, and Rec. 709 gamma options
Tally lamps on the front, side, and rear
An internal fan to prevent overheating
A zoom lever for easy frame adjustments

Shared FX3/a7S III Attributes

Attributes that the FX3 shares with the a7S III include:

5-axis in-body image stabilization
16-bit raw output via HDMI
S-Log2 gamma choice
80 to 409,6000 ISO range (expanded)

Wireless Connectivity

Dual-band 2.4/5 GHz wireless connectivity
Wired LAN link using the USB Type-C port and a separate adapter

ARRI ALEXA MINI – AVAILABLE WITH 4:3 LICENSE AND ARRI RAW LICENSE

Jason — Mon, 20 Feb 2023 22:04:51 +0000

The compact and lightweight ARRI ALEXA Mini is a highly versatile tool on set. In some productions it is used as a second or third camera, while in others it is the main camera throughout a shoot. As a result, it is frequently moved from one configuration to another. Any time savings that can be made during these transitions will have a big impact on the daily shooting schedule. Our kits include Gold Mount power box, CFast card reader, and camera cage with top handle. Contact us to customize an ARRI ALEXA Mini Kit for your next project!

ARRI ALEXA Mini Features:

Records ProRes or ARRI RAW in-camera on CFast cards
Up to 200 frames per second (ProRes)
4:3 Sensor
Automatic anamorphic de-squeeze
High dynamic range
Low noise
Quality and reliable ARRI is known for
Available with ARRI RAW and Anamorphic Licenses

Pairs beautiful with our Cooke Anamorphic lenses, available in 25mm, 32mm, 40mm, 50mm, 65mm macro, 75mm, 100mm, 135mm, and 180mm.

Compact, lightweight, and self-contained – ARRI ALEXA Mini is the small and versatile allrounder in the ARRI camera family. Used on countless commercials and big budget features, the Alexa Mini quickly became the new industry standard. The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. An ALEXA Mini can be operated in number of ways: by wireless remote control, as an A-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. Designed with new-generation brushless gimbals, multicopters and other specialized rigs in mind, ALEXA Mini is light enough to be comfortably held at arm’s length in a hand rig, while its compact size also makes it ideal for tight shooting conditions, as well as underwater, aerial, car, action, and 3D shoots. With an ALEXA Mini you can literally shoot everywhere with the best image quality. Offered with PL or EF mounts. Check out our lenses for spherical and anamorphic options.

Check out ARRI.com for a list of feature credits, including JOKER, THE IRISHMAN, DISNEY’S ALADDIN, KNIVES OUT, and ROCKETMAN.

Call us for your next ARRI ALEXA MINI Rental, and let us customize a package catered to your project.

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)***

*) requires ALEXA Mini 4:3 License Key, must be requested at time rental is placed
**) requires ALEXA Mini ARRIRAW License Key, must be requested at time rental is placed
***) requires both ALEXA Mini 4:3 and ARRIRAW Licenses Keys, must be requested at time rental is placed

PHANTOM FLEX 4K

Angel — Thu, 26 Jan 2023 20:22:15 +0000

Phantom Flex 4K High-Speed Camera

ThePhantom Flex 4K High-Speed Camera produces highly detailed 4K imaging at 1,000 fps. The CineMag recording media enhances workflow capabilities. The Flex4K has been designed specifically for professional cinema applications.

938 fps at 4096 x 2304
Super 35mm Color Sensor:
- ISO 250
- Rec. EI 800 – 1000
64GB or 128 GB RAM

ARRI ALEXA 35

Angel — Mon, 10 Oct 2022 04:32:57 +0000

ARRI ALEXA 35 RENTAL OVERVIEW

The ARRI ALEXA 35 rental, a Super35-format camera boasting a new 4:3 4K.6 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 ARRI 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.

The ARRI ALEXA 35 expands your creative control options using the new REVEAL color science, color matching with existing ARRI cameras, and multiple Texture Files that bestow an ability to select looks akin to choosing a film stock, both during capture and in post-production. Although housed in a compact form, the ARRI ALEXA 35 camera incorporates a full feature set, including a left-side display, independent SDI outputs, audio inputs, motorized ND filters, two wireless radios, and both 12 and 24V accessory ports.

4.6K Super35 ARRI ALEV 4 CMOS Sensor

Key to the ARRI ALEXA 35’s amazing image quality is a new 4.6K Super35 CMOS sensor offering 17 stops of dynamic range, which is a robust 2.5 stops greater than prior ARRI cameras. Those 2.5 stops are split between 1.5 stops at the top end, resulting in filmlike highlight roll-off, and 1 stop at the lower end to see even deeper into shadows without overexposing other areas. Ideal for HDR projects and any backlit setups, the ALEXA 35’s wide dynamic range can also be a boon when tweaking your images in post.

Video Recording Formats

In-camera down-sampling and anamorphic de-squeezing enable the ARRI ALEXA 35 to offer a robust array of 19 ARRIRAW and Apple ProRes recording formats with different resolutions, data rates, aspect ratios, and other factors, suiting the camera to a range of production styles. Recording resolutions include 4.6, 4, 3.3, 3, 2.7, and 2K options.

Stray Light Suppression

Stray-light suppression technology is used in both the camera and the new ARRI PL (Hirose or LBUS) lens mounts to deliver the full contrast range from your choice of lenses while eliminating any grayish tones.

High ISO Camera

With an EI of 160 to 6400, the ALEXA 35 offers higher sensitivity and lower noise than ever before in the ARRI lineup, even in low-light settings. An optional Enhanced Sensitivity Mode (EI 2560-6400) works with the camera’s wide dynamic range to produce nuanced images in darker environments and is ideal for impromptu or available-light capture.

REVEAL Color Science

Created with the input of both cinematographers and colorists, ARRI’s REVEAL color science employs six factors to create improved color, contrast, sensitivity, and dynamic range.

A new debayering algorithm combines with the ALEXA 35’s impressive processing power to create cleaner-edged images that are perfect for compositing work.
The new ACE4 color engine converts RGB image data into the ARRI Wide Gamut color space (AWG4), producing more accurate colors and improving color saturation and tracking, even with subtle tones and lower light levels.
The AWG4 camera color space is larger than Rec. 2020 but bypasses “virtual” colors that are outside the human visual spectrum, providing faster grading, easier color space conversion, and compatibility with the ACES system.
A new Log-C 4 tonal curve enables the ALEXA 35’s larger 17-stop dynamic range; note that the Log-C 4 look appears darker before conversion to Rec. 709 or another color space.
New LUTs use the improved sensor, color space, and Log-C 4 to produce optimal shadow tonality, color fidelity, and color-grading base. These new LUTS must be used with Log-C 4; they do not offer the manual control that some used with Log-C 3.
The ALEXA 35 offers backward compatibility for intercutting with ALEXA, ALEXA Mini, and AMIRA images, and the ALEXA Mini LF and ALEXA LF images may be processed via REVEAL to match your ALEXA 35 footage. Processed images will not offer the higher dynamic range nor ARRI Textures but will have cleaner edges, better color, easier grading, and ACES, Log-C 4, and new LUT compatibility.

Versatile Lens Choices

This Lightweight Set comes with both an LBUS LPL mount and a PL to LPL adapter, providing compatibility with a wide array of cine-style lenses. The ALEXA 35 is compatible with all common metadata standards and can stream metadata in real time using an optional plug-in.

At 8 x 6 x 5.8″, the ALEXA 35’s compact, rugged form is similar to that of the ALEXA Mini, but it incorporates the features of the larger ALEXA camera. Assistants and operators will appreciate familiar features like a simple menu structure, recording to 1 or 2TB Codex Compact drives, and a temperature-resistant, splash- and dust-proof housing. Updates include the addition of HDR viewing with the MVF-2 viewfinder, adjustable SDI text overlay, the ability to turn individual frame lines on and off, and Info Panels that present camera information in an easy-to-read form.

Interfaces

Left display: The new left-side display is ideal for stabilizer, drone, and crane use, enabling you to view the status and change settings without having an EVF attached. You can even select the ND filter setting to show as the display “screensaver”, creating a quick visual reminder for any stop compensation needed.
Connectors: The right side of the ARRI ALEXA 35 offers a full interface, including a second EVF port, two 1.5/3/6/12G-SDI outputs with a return option on the second one, timecode in/out, and both 12 and 24V accessory output ports.
Ethernet: An Ethernet port offers real-time streaming of metadata for use in mixed reality productions (MRP).
Audio: The ALEXA 35 audio options include two internal microphones like the ALEXA Mini LF, one 6-pin LEMO input, one 3.5mm headphone jack, embedded SDI audio, and compatibility with the AEM-1 audio module.

Dedicated Accessories

Mechanical accessories in this 19mm Production Set include dedicated top, side, and bottom components like an EVF support, a top plate and top handle, a bridge plate adapter, side brackets, and a baseplate and dovetail system.
Electronic accessories include the Multi Viewfinder MVF-2 and PDM-1 power distribution module that are part of this set and the separately available AEM-1 audio extension module with one AES3/AES42 and two mic/line mini-XLR inputs.

24V B-Mount Battery Power

The 24V ARRI ALEXA 35 camera can be powered using the included ARRI B-Mount battery adapter and separately available batteries. The versatile B-Mount system can also power both 12 and 24V accessories, saving you the weight and space required when using two separate batteries. Third-party adapters from Anton Bauer, Hawk-Woods, and CORE SWX can be used with compatible 26V batteries. A PDM-1 Power Distribution Module is also available separately for adding seven more accessory power ports.

ARRI Tools and Apps

Make both capture and post-production easier with the range of free tools, apps, and tutorials found on the ARRI website. Use the Camera Companion app for single or multicamera remote control, the ARRIRAW HDE Transcoder for reducing ARRIRAW file sizes, and the ARRI Reference tool to create and look at files, for SDR and HDR conversions, and to export Apple ProRes, OpenEXR, and TIFF files.

Credit B&H

SONY VENICE 2 (8K)

Angel — Mon, 15 Aug 2022 15:21:05 +0000

Sony VENICE 2 Digital Motion Picture Camera (8K)

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.

The 8.6K VENICE 2 can shoot and record 8.6K footage at 30 fps and 8.2K in either 17:9 or 16:9 at up to 60 fps. Its sensor raises the camera’s dual-range base ISO to an impressive 800/3200 for cleaner images in a variety of situations. The 8.6K sensor can be swapped with the 6K sensor from the original VENICE to allow for higher frame recording with the original camera. As with the original VENICE, the VENICE 2 comes with a removable PL Mount that supports the Cooke /i Technology lens metadata protocols, allowing you to work with cinema-style glass ranging from vintage to modern. Remove the PL Mount to reveal a Sony E-Mount, to accept native E-mount lenses. Eight integrated and motorized ND filters range from clear to eight stops of ND in one-stop increments.

Sensor

The VENICE 2 with an 8.6K sensor features a dual-range ISO setting with 800 and 3200 base settings while sharing the same color science as the original 6K sensor. The new 8.6K sensor improves on the original sensor, providing more flexibility in the image for post-production work while still intercutting well with the 6K sensor. The 6K sensor block (not included) can be swapped into the VENICE 2 in the field, avoiding a trip to a service facility. This can be useful for capturing higher frame rates.

Please note, though you can use the 6K sensor from the original VENICE in a VENICE 2, you cannot put the 8.6K VENICE 2 sensor into the original VENICE camera. Swapping sensor blocks is not a permanent change, as you can swap back and forth. No software or firmware changes are required when swapping sensors, as the camera recognizes the different sensor blocks and automatically adjusts. The sensor supports oversampling from 8.6 to 4K, or you can window in the camera to output 4K.

Internal Recording

Free yourself from an external recorder for raw and high-data-rate recording, as the VENICE 2 is capable of recording directly to AXS cards internally. Featuring two AXS card slots, you can capture X-OCN and 4K ProRes (both 17:9 and 16:9) internally and use relay recording for virtually unlimited recording time. Additionally, the VENICE 2 supports cache recording and has twice the cache memory as the original VENICE camera.

New VENICE 2 Functions

Zoom to Fit Monitoring crops the viewing outputs (VF/SDI/HDMI) to the desired aspect ratio while recording the full frame of the sensor for VFX and potential post-production reframing
Apply LUTs to your 4K or HD (6G/1.5G-SDI) output
LUT/ART/CDL file import via Ethernet/Wi-Fi
ASC-CDL values control via Ethernet/Wi-Fi allows you to have LUT and CDL values applied by the camera using either an Ethernet cable or Wi-Fi via a connected computer using a GUI; CDL values are now embedded in clip metadata
VENICE 2 supports control from an RM/RCP panel that can be used with broadcast camcorders and system cameras. When connected, ITU-R Rec. 2020 color space and HLG are selectable, and adjustment of various paint parameters is supported

Functions from VENICE

The camera features a built-in assistant-side info screen, along with a smaller basic info display screen on the operator side of the camera
Imager modes: 5.8K 17:9 and 5.4K 16:9 (no license required) / 5.8K 6:5 (needs Anamorphic License) / 7.6K 16:9, 8.2K 17:9, and 8.6K 3:2 (need Full-Frame License)
Support for the X-OCN XT recording format
De-squeeze ratios: 1.25x, 1.3x, 1.5x, and 1.8x
Cache rec function
AXS Relay rec function
Simultaneous format
Support for 6G/12G output SDI
Improved imaging assist function
Support for CBK-WA02 Wireless LAN Adapter
Improved VF menu operations and Frame Line setting
Support for CDL files
5.7K at 16:9 up to 72 fps
4K at 6:5 up to 72 fps
3.8K at 16:9 up to 110 fps
3D LUT viewable in the viewfinder
ART (Advanced Rendering Transform) file imports
Updated switching for SDI 1-4 3G-SDI level A/B
Addition of second user frame line of 9:16 and 1:1 preset
Record beep and alarm volume adjust
Ability to maintain CamID+Reel# when loading ALL file
Displaying of Genlock and TC lock status on OSD
Setting of de-squeeze on/off via the USER button
Updated RCP Call function
Record gyro information in metadata
Support for ZEISS eXtended Data from FUJINON Premista-series lenses

Super35 17:9 and 16:9

These popular imager sizes have native support in VENICE 2, and the 8K sensor makes it possible to capture 5.8K footage in 17:9 or 16:9 in Super 35mm mode, which allows you to use Super 35mm PL mount lenses.

Built-In ND Filters

The servo-controlled 8-step mechanical ND filter mechanism built into the camera chassis offers a massive ND range from Clear (no ND) and 0.3 (1/2 = 1 stop) to 2.4 (1/256 = 8 stops). The servo control also greatly increases VENICE’s flexibility when being controlled remotely on drones, cranes, or in an underwater housing.

Color Gamut

The VENICE 2 can exceed the BT.2020 color space, with a color range wider than DCI-P3. This means it can beautifully reproduce the true color of the scene in front of your lens. The camera also provides a broad palette in the grading suite, using the established workflow of Sony’s S-Log3 and ultra-wide color space, S-Gamut3. Plus, VENICE 2’s 6K and 8K sensors match colors almost perfectly, making your grading experience even better.

Dual-Base ISO Sensor

The 8.6K VENICE features dual-base ISO, which offers Base ISO3200 in addition to Base ISO800. The High Base ISO3200 excels in low-light High Dynamic Range capture, with an exposure latitude from 6 stops over to 10 stops under 18% Middle Gray, for a total of 16 stops.

No Jello Effect

The high-speed readout of the VENICE 2 sensor minimizes the Jello effect typical with CMOS sensors.

PL Mount

The VENICE 2 comes with the industry-standard PL lens mount. It is compatible with all Super35 and full-frame PL lenses, spherical and anamorphic. The removable lens mount includes contacts that support Cooke /i Technology. The camera’s lens information is recorded as metadata frame by frame.

E-Mount

Removing the PL Mount exposes the camera’s E-Mount, which allows compatibility with E-Mount lenses. This E-Mount is designed with a lever lock that eliminates the need to rotate your lens when mounting, and the lever lock secures the lens in the mount, minimizing play. Rotating of the locking collar means that in most cases, lens support rigs don’t need to be removed, which saves time during production.

SONY FX9

Jason — Tue, 31 Aug 2021 17:00:55 +0000

Sony FX9 Full Frame 6K Camera

The Sony FX9 – Realize beautiful 4K imagery with the creative freedom made possible by oversampling a huge high-resolution full-frame sensor. Capture every detail from the scene with shallow depth of field and stunning bokeh for a truly cinematic look. 15+ stops of dynamic range and Dual Base ISO enable you to capture every nuance, from subtle shadow detail to specular highlights, with an immaculate color palette. The Sony FX9 revolutionizes full-frame cinematography with peerless ergonomics and advanced technology for on-the-go shooting. The world’s first full-frame electronic variable ND filter (as of Sept. 2019) transforms possibilities for shooting in variable lighting conditions. Built-in Wi-Fi and 12G-SDI support advanced workflows.

The camera’s full-frame 6K sensor provides superb recording in DCI 4K, Ultra HD and HD resolutions. Powerful image processing with debayering and down-sampling ensures image quality beyond the limits of conventional Super 35mm sensors. The back-illuminated CMOS image sensor also uses Sony’s Exmor R technology for improved sensitivity and noise reduction.

The Sony FX9 offers an exceptional 15+ stops of dynamic range – beyond the normal range of human perception – allowing for unprecedented creative freedom in color grading and post. Camera operators can concentrate on framing the scene they want while relying upon the FX9 to capture every nuance and detail using either 4K 4:2:2 10-bit internal recording or 16-bit RAW external recording.

FX9 features a base sensitivity of ISO 800, providing the optimal dynamic range for typical documentary applications such as shooting outside or in brightly lit interiors. A secondary high base sensitivity of ISO 4000 excels in low light conditions such as early morning and evening shoots while maintaining superb image quality. ISO 4000 is also ideal whenever you’re using slow lenses.

S-Cinetone is the default look of Sony FX9 that’s tuned to meet the requirements of today’s content creators with rich mid-range colors, alluring facial tones and a softer tonal look – developed with the same expertise as Sony’s world-leading VENICE digital cinematography camera. S-Cinetone means that straight out of the camera your content looks fresh and vivid.

Effortlessly track fast-moving subjects with pin-sharp focus, even when using wide lens aperture settings to maintain a shallow depth of field with the camera’s full-frame sensor. Developed by Sony’s α camera engineers, enhanced Fast Hybrid AF combines phase-detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. In addition, Face Detection intelligently recognizes and locks on to human faces.
The dedicated 561-point phase-detection AF sensor covers approximately 94% of the whole image area width and 96% of height, allowing consistently accurate, responsive AF tracking, even with fastmoving subjects.

Sony FX9’s comprehensive autofocus settings provide the creative flexibility to integrate with any project. 7-level AF transition speeds from Fast – switching between subjects as quickly as possible – to Slow, where speed is reduced to fit a more measured shooting style, such as a historical TV drama. 5-level AF subject shift sensitivity ranges from Locked-on – ignoring other moving subjects in the frame – to Responsive that switches focus from one subject to another.

FX9 is equipped with various outputs including a 12G-SDI and a HDMI for 4K output. Also, it has a 3G-SDI for HD output to expand its monitoring flexibility.

FEATURES:

Full Frame Exmor R CMOS sensor with 15+ wide dynamic range
Dual Base ISO of 800/4000
Electronic Variable ND Filter up to 7 stops with Auto ND
4K XAVC-I 422 10bit recording onto XQD media cards
S-Log3/S-Gamut3 & S-Gamut3.Cine
4K/2K 16 bit RAW output (Need Future Upgrade)
Dual Base ISO of 800/4000
4K capturing with oversampled 6K Full-frame Exmor R sensor
Resolution: 4K
Special Features: Built-In Microphone, Genlockable, Interchangeable Lens, Time Code I/O
Sensor Type: CMOS Sensor
Recording Media: Uses XQD

Also available:

E mount to PL mount adapter
Cooke S7’s
Angenieux EZ-1 Zoom
Angenieux EZ-2 Zoom
Sony 28-135mm Lens
Rokinon XEEN CF Primes: 24mm, 50mm, 85mm

More Sony FX9 Full Frame Camera info from the manufacture: https://pro.sony/ue_US/products/handheld-camcorders/pxw-fx9

ARRI ALEXA MINI LF

Jason — Tue, 31 Aug 2021 17:00:54 +0000

ARRI ALEXA MINI LF FULL FRAME CAMERA SYSTEM

ARRI ALEXA MINI LF Rental is now in inventory at MPS Studios! ALEXA MINI LF Rental Texas has never been easier! Simply contact or Austin or Dallas office to book yours today. Pairs perfectly with our Cooke S7 Primes!

The ARRI ALEXA AMINI LF combines the compact size and low weight of the popular ALEXA Mini with the large-format ALEXA LF sensor, ARRI 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.

ARRI’s large-format camera system launched in 2018 and is based around a 4.5K version of the ALEXA sensor, which is twice the size and offers twice the resolution of ALEXA cameras in 35 format. This allows filmmakers to explore their own take on the large-format look, with improvements on the ALEXA sensor’s famously natural colorimetry, pleasing skin tones, low noise, and suitability for High Dynamic Range (HDR) and Wide Color Gamut (WCG) workflows. ALEXA Mini LF now joins the existing system elements: the high-speed ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount, PL-to-LPL adapter, and Lens Data System LDS-2. The combined feature sets and form factors of ARRI’s two large-format cameras encompass all on-set requirements.

Used on countless commercials, movies, and tv shows, the ARRI ALEXA MINI LF has quickly become the industry standard in large-format recording. Check out the ARRI website for credits, including 1917, OUTLANDER, NOMAD, KING FURY 2, and THE WHITE TIGER.

The ALEXA Mini LF utilizes the same ALEV 3 A2X sensor as the ALEXA LF, though the electronics of the Mini LF have been modified to meet the size, power, and cooling requirements of such a compact camera system. While this does not affect image quality in any way, it is important to note that maximum framerates achievable in different recording formats are limited, compared to the full-size ALEXA LF:

ARRIRAW
- LF Open Gate 4.5K: 40 fps (max.) @ 4448 x 3096
- LF 2.39:1 4.5K: 60 fps (max.) @ 4448 x 1856
- LF 16:9 UHD: 60 fps (max.) @ 3840 x 2160
Apple ProRes
- LF Open Gate 4.5K: 40 fps (max.) @ 4448 x 3096
- LF 2.39:1 4.5K: 60 fps (max.) @ 4448 x 1856
- LF 16:9 UHD: 60 fps (max.) @ 3840 x 2160
- LF 16:9 2K: 90 fps (max.) @ 2048 x 1152
- LF 16:9 HD: 90 fps (max.) @ 1920 x 1080
- LF Open Gate ProRes 4444 XQ: 40 fps (max.)
- LF 2.39:1 ProRes 4444 XQ: 60 fps (max.)
NOTE: These specifications are preliminary values and subject to change.

The ALEXA Mini LF is natively compatible with ARRI and cmotion wireless lens control systems for easy integration with your existing equipment. A new, high definition, high-contrast MVF-2 electronic viewfinder has also been developed specifically for use with this camera (sold separately).

All components in the ARRI Large Format Camera System are designed to take full advantage of the larger sensor while offering compatibility with existing lenses, accessories, and workflows. The ALEXA Mini LF is compatible with LPL & PL Mount Full Format (Full Frame) and Super35 lenses, when the corresponding interchangeable lens mount or adapter is installed. LDS-2 or /i lens metadata is accessible via the LPL mount, and LDS-1 or /i metadata is supported via the PL-to-LPL Adapter (included). Other manufacturers offer proprietary lens mounts for both the ALEXA LF and ALEXA Mini LF cameras to support their own lenses. All anamorphic de-squeeze ratios are supported.

ALEXA MINI LF Rental Dallas and ALEXA MINI LF Rental Austin in has never been easier! Simply contact or Austin or Dallas office to book yours today.

ARRI AMIRA

Jason — Tue, 31 Aug 2021 17:00:31 +0000

The ARRI AMIRA – the “go anywhere, shoot anything” camera! A versatile documentary-style camera that combines exceptional image quality and affordable CFast 2.0 workflows 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 3D LUTs, as well as 100 fps slow motion. It is suitable for a great variety of production types, from reportage and corporate films to TV drama and low-budget movies – wherever you’re going, the ARRI AMIRA is ready to go with you!

The ARRI AMIRA features:

Fast boot-up time – AMIRA boots up in about 13 seconds.
Color bar – a color bar is used mainly to judge the colorimetry of the monitor displaying the camera output.
Waveform display –a further tool for judging exposure levels.
Enhanced HD-SDI outputs: AMIRA’s HD-SDI outputs allow the overlay of information about timecode and other parameters that is seen in the viewfinder, to also be seen on monitors. Additionally, it is also possible to use an HD-SDI signal input as a further ‘genlock-like’ sync option.
LDS functionality: ARRI’s Lens Data System® (LDS) comprises a range of products generating highly accurate lens metadata for use on set and in post. When using an LDS lens on AMIRA’s LDS mount, lens data about iris, focus and zoom positions is visible in the viewfinder and all lens data will be embedded in the recorded QuickTime files.
14 stops of dynamic range
Records up to 4K UHD
Records up to 200 FPS
Natural skin tones
Optimized for single operator
Internal ND filters (ND 6, ND 1.2, ND 2.1)
Sliding dovetails and perfect should balance
OLED eyepiece and fold away LCD monitor
Pre-load 3D LUTs and looks
ARRI Look Library
Cost-effective option with the reliability of ARRI manufacturing
In-camera color grading
Super 35 sensor
Weight: 9.2 lbs

The ARRI AMIRA – the perfect tool for your job – is a truly versatile camera that combines exceptional image quality and affordable CFast 2.0 workflows 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 3D LUTs, as well as 200 fps slow motion. The AMIRA ARRIRAW License Key enables in-camera 16:9 2.8K (2880 x 1620) MXF/ARRIRAW recording at frame rates of up to 48fps.

Enhanced HD-SDI outputs on the AMIRA allow the overlay of timecode and other information parameters which is seen within the optional viewfinder to also be seen on connected monitors. Per ARRI, you use an HD-SDI signal as further gunlock-like sync options.

The ARRI AMIRA is suitable for a great variety of production types, from TV drama and low-budget movies to nature films, sports coverage, commercials, reportage, branded content and multi-camera live TV. Wherever you are headed and whatever you need to shoot, let AMIRA be your companion. Works great as A Camera, also pairs beautifully with our ARRI ALEXA Mini‘s for multi-cam set ups. Speaking of set ups, this camera sets up in a matter of minutes, and is ready roll quickly and easily. Simply, put on a battery, lens, and media, and you’re ready to go. The ARRI AMIRA has been used on projects like Yellowstone, Ballers, and Sakawa.

Recording formats:

ARRIRAW
Apple ProRes 4444 XQ
Apple ProRes 4444
Apple ProRes 422 HQ
Apple ProRes 422
Apple ProRes 422 LT
MPEG-2 HD

SONY PXW-FS7

Jason — Tue, 31 Aug 2021 17:00:30 +0000

14 stops of exposure latitude deliver powerful grayscale rendition without crushing shadow detail or blowing out highlight detail
ISO 2000 sensitivity enables you to shoot well after sunset, without tons of lighting and grip
4K resolution: The sensor incorporates 11.6 million total pixels and 8.8 million effective pixels to deliver full 4K resolution. Even if you’re delivering in HD, your recordings will capture detail and image texture that HD sensors cannot see
Sony Exmor® CMOS design makes for extremely fast readout, contributing to frame rates of up to 180 fps and minimised image skew
Built-in ND filters
Full HD at frame rates of up to 180 fps
Also available: Sony Extension Unit for RAW recording, Apple ProRes 422 and multi-cam
Also available: Metabones PL and EF adapters