EQUIPMENT
ARRI ALEXA MINI LF
Built around a large-format 4K version of the original ALEXA sensor, the ARRI ALEXA Mini LF camera 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. The ALEXA Mini LF is designed with ARRI's LPL lens mount that has been optimized for large-format capture and is compatible with all PL-mount lenses with the use of a PL-to-LPL adapter. A wider diameter and shorter flange focal depth than the original ARRI PL mount enable LPL-mount lenses to be smaller and lighter than earlier large-format optics.
The ALEXA Mini LF is a hybrid of the ALEXA Mini and the ALEXA LF, as it retains the same LF sensor but has the form factor of the Mini. The new exterior has a left-side media bay with two rows of connectors on the back and a slot to insert 1TB Codex media. It also features six user buttons, three more than the Mini, to configure to your preference. It also features extra 12 and 24V power outputs and a black burst/tri-level input.
The Mini LF offers an array of recording format choices in MXF ARRIRAW and MXF ProRes, recording to 1TB Codex capture drives (see chart below). With a base sensitivity of EI 800, 16-bit processing, and a dynamic range of 14-plus stops, your footage is effectively future-proofed for compatibility with HDR displays. Frame rates up to 90 fps produce smooth slow motion and enable capture for higher-clarity HFR (High Frame Rate) projects.
ARRI ULTRA PRIMES
There is good reason why the Arri / Zeiss Ultra Primes are the work-horses of the film and television industry. Their robust, light-weight design combined with their iconic imagery make a combination that’s hard to beat.
This set consists of 5 lenses:
16mm, T1.9
24mm, T1.9
32mm, T1.9
50mm, T1.9
85mm, T1.9
Arri / Zeiss Ultra Primes offer crystal clear color and contrast with excellent matching across all focal lengths. For technical clarity and sharpness, nothing compares to the Ultra Primes.
• Maximum contrast and resolution over the entire focal range.
• Full frame coverage from 20mm and up.
• The scales can easily and clearly be read from both sides, as can be the focal length.
• Uniform overall length of the main focal lengths.
• Uniform weight of the main focal lengths.
• Service-friendly modular design with easily exchangeable front and back elements.
The Ultra Prime Lenses have the widest focal range of any 35mm prime lens set available to cover every cinematic need: from the unique Ultra Prime 8R extreme wide angle lens to the best telephoto lens designed specifically for motion pictures, the Ultra Prime 180 mm, giving you the flexibility to get the coverage you want.
Ultra Prime Lenses retain their excellent image quality even at close focus across the whole Super 35 frame. They are lightweight standard speed lenses that are a perfect optical match to the high speed Master Prime Lenses.
LEICA R - DUCLOS SET
A beautiful set of mid-1980’s color-matched Leica R lenses meticulously sourced by none other than THE vintage Leica expert, Mark Magnarella.
This set consists of 9 lenses:
19mm, f/2.8
24mm, f/2.8
28mm, f/2.8
35mm, f/2.0
50mm, f/1.4
60mm, f/2.8 (Macro)
80mm, f/1.4
90mm, f/2.0
135mm, f/2.8
These lenses have a flattering, warm look that pairs incredibly well with today’s high resolution digital cinema cameras. Optically they are beautiful: sharp, yet forgiving, smooth bokeh, moderate lens flares. The EF Cine-Mod is ideal for a really small, light-weight form factor, and the original Leica mechanics are quite smooth, and work well for focus pulls.
Each lens has been Cine-Modded by Duclos lenses, and features a new 80mm front with threads for 77mm filters, permanent focus gear, de-clicked iris, and Canon EF mount. All the lenses cover Full Frame.
CANON EOS C300 MKIII
The Canon EOS C300 Mark III features a Super 35mm Dual Gain Output (DGO) sensor with up to 16 stops of high dynamic range capability for superior HDR recording and low noise. The EF lens mount offers compatibility not only with Canon's existing broad range of DSLR lenses but also with their line of EF-mount cinema prime, zooms, and even 2.0 and 1.33 anamorphic lenses. The mount is also interchangeable with a separately available PL mount by the end user.
The sensor is paired with the Canon DiGIC DV7 image processor, which uses the sensor's raw information and processes it for various applications such as high frame rate recording, raw recording, HDR-PQ output, electronic image stabilization (EIS), and proxy recording. The camera records up to DCI 4K resolution video to dual CFexpress cards, and an SD card slot is available to record additional images. High frame rates up to 120 fps can be recorded in 4K raw, and up to 180 fps in 2K cropped mode. Canon's Cinema RAW Light and XF-AVC recording formats are supported, providing DCI 4K images with a 10-bit, 4:2:2 Long GOP codec. Proxy recording is also supported, which allows a significant boost to your post-production speed.
The DGO Sensor is a newly developed imaging system that generates high dynamic range and maintains low-noise levels by reading out each pixel with different gains. It combines images using pixels shot with a saturation-prioritizing amplifier for bright areas, and a lower-noise, noise-prioritizing amplifier for darker areas.
Recording Modes
Cinema RAW Light 10-Bit:
4096 x 2160 at 24/25/29.97/50/59.94 fps (250 to 1000 Gb/s)
2048 x 1080 at 12/15/20/23.98/24/25/29.97/50/59.94 fps (250 to 1000 Gb/s)
1920 x 1080 at 12/15/20/23.98/24/25/29.97/30/50/59.94/60 fps (250 to 1000 Mb/s)
MXF/XF-AVC/XF-AVC Intra/XF-AVC Long GOP 4:2:2 10-Bit:
4096 x 2160p at 23.98/24/25/29.97/50/59.94 fps (17 to 810 MB/s VBR)
3840 x 2160p at 23.98/24/25/29.97/50/59.94 fps (17 to 810 MB/s VBR)
2048 x 1080p at 12/15/20/23.98/24/25/29.97/50/59.94/120 fps (17 to 810 Mb/s VBR)
2048 x 1080i at 50/59.94 fps (17 to 810 Mb/s VBR)
1920 x 1080p at 23.98/24/25/29.97/50/59.94 fps (17 to 810 Mb/s VBR)
1920 x 1080i at 50/59.94 fps (17 to 810 Mb/s VBR)
XF-AVC/XF-AVC Long GOP 4:2:2 10-Bit:
1280 x 720p at 50/59.94 fps (24 Mb/s VBR)
RED KOMODO
RED has taken fresh steps with the release of the KOMODO 6K Digital Cinema Camera by bringing their legendary image quality and color science into an ultra-compact, all-in-one design that weighs just 2.1 lb measures about 4 x 4 x 4". Key to achieving this goal was the use of the Canon RF lens mount and the KOMODO 19.9MP Super35 CMOS sensor which boasts Global Shutter technology. This sensor can create images with 16+ stops dynamic range and eliminates rolling shutter artifacts. Users can also be certain they are getting RED quality thanks to the ability to record up to 6K at 40 fps, 5K at 48 fps, 4K at 60 fps, and 2K at 120 fps in REDCODE RAW for incredible flexibility in post-production.
Revolutionary for RED is the creation of an extremely compact all-in-one design with the KOMODO. This means you can simply pop in a CFast 2.0 card into its media slot and you are ready to roll with data rates up to 280 MB/s. A top 2.9" 1440 x 1440 touchscreen makes it easy to configure and monitor your footage or you can use the RED Control system for using an iOS or Android device for preview and settings. This is possible through integrated 2.4/5 GHz Wi-Fi. Wired control is also possible via the USB Type-C port and optional adapters.
The use of the Canon RF lens mount allows the KOMODO to be extremely compact while still enabling compatibility with a vast range of lenses through the use of optional adapters. The mount will natively support mechanical RF lenses and mechanical EF lenses via the included adapter. Using optional electronic EF-to-RF mount adapters, the KOMODO will even support electronic Canon EF-mount lenses and unlock additional functionality, such as autofocus.
Recording Modes
REDCODE RAW:
6144 x 3240 at 40 fps (280 MB/s)
5120 x 2700 at 48 fps (280 MB/s)
4096 x 2160 at 60 fps (280 MB/s)
2048 x 1080 at 120 fps (280 MB/s)
ProRes 422/ProRes 422HQ:
4096 x 2160p up to 60 fps
ProRes 422:
2048 x 1080p up to 120 fps
LEICA SL2
Pairing sophistication with flexible imaging capabilities, the Leica SL2 is the second-generation SL camera mixing apt photo and video specifications with a refined design. Featuring a 47.3MP full-frame CMOS sensor and Maestro III image processor, fast and fluent performance enables up to 20 fps continuous shooting, 6 fps shooting with AF-C, 5K video at 30 fps, and DCI 4K60 video with 10-bit color sampling. The sensor's design also incorporates a Leica Object Detection AF system, which uses 225 selectable AF areas for fast and accurate performance. Also complementing photo and video applications, a 5-axis sensor-shift image stabilization system minimizes the appearance of camera shake for sharper handheld shooting.
Featuring a full-frame 47.3MP CMOS sensor and Maestro III image processor, the SL2's imaging capabilities have been optimized for high-resolution recording along with notable sensitivity, a wide 14-stop dynamic range, and flexible recording modes. The sensor's design omits a low-pass filter in order to maintain the highest degree of sharpness and resolution. When paired with the Maestro processor, noise levels are further suppressed throughout the sensitivity range, from ISO 50-50000, and processing capabilities further yield fast full-resolution continuous shooting speeds up to 20 fps with an electronic shutter, 10 fps with a mechanical shutter, and 6 fps with a mechanical shutter and AF-C, for up to 78 consecutive DNG files.
Beyond stills shooting, the SL2 is a capable video camera featuring up to 5K (4992 x 3744) recording with 10-bit color, as well as DCI, UHD 4K, and Full HD settings. Also, high-speed recording modes for UHD 4K60, with 30 fps playback, and Full HD 180 fps, with 30 fps playback, offer 2x and 6x slower motion, respectively.
Recording Modes
H.264/MOV 10-Bit
5K (4992 x 3744) at 23.976p/25p/29.97p
DCI 4K (4096 x 2160) at 24.00p/25p/29.97p/50p/59.94p
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p
Full HD (1920 x 1080) at 23.976p/25p/29.97p/50p/59.94p/100p/119.88p/180p
H.264/MP4 10-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p
Full HD (1920 x 1080) at 23.976p/25p/29.97p/50p/59.94p/100p/119.88p/180p
EQUIPMENT LIST
Arri Alexa Mini LF Package
Canon EOS C300 MKIII Package
RED Komodo 6K Package
Leica SL2 + SL2s 5K Package
Arri/Zeiss Ultra Primes (16, 24, 32, 50, 85)
Leica R Duclos Lens Set (19, 24, 28, 35, 50, 60, 80, 90, 135)
Sigma 18-35 and 50-100mm Zooms
Arri LMB 3-stage Matte Box
Chrosziel 2-stage Matte Box
Flanders Scientific 21” Production Monitor
Teradek Bolt 500 Kit
Transvideo/Arri Starlite 5” Monitor
O’Connor 1040 Head
O’Connor Flow Tech 100mm Tripod
Cartoni Focus HD Head
Cartoni 100mm Tripod
Easyrig Vario 5