5D Mark III w/ 1 choice dslr we have in stock - 16-35mm, 24-70mm, 24-105mm (in pic), 70-200mm

Please specify which focal lengths you would like when requesting a rental. This set includes your choice of 4 of the following focal lengths: 14, 24, 50, 85, and 135mm. Canon CN-E cine prime lenses. The lenses share common mechanical and optical characteristics, which make for easy lens changes in the field and consistent looking images from one lens to another. The lenses cover full frame sensors, which means they will cover almost any single sensor format.

Full frame coverage and 4K resolution highlight the features of theses lenses that feature an 11-bladed iris that minimizes the appearance of sharp edges in out of focus highlights, which can distract your audience, helping to produce a natural looking Bokeh over the entire aperture range of T1.3 to T22.

The five lenses share common mechanical and optical characteristics, which make for easy lens changes in the field and consistent looking images from one lens to another. The lenses cover full frame sensors, which means they will cover almost any single sensor format.

Full frame coverage and 4K resolution highlight the features of theses lenses that feature an 11-bladed iris that minimizes the appearance of sharp edges in out of focus highlights, which can distract your audience, helping to produce a natural looking Bokeh over the entire aperture range of T1.3 to T22.

Please specify which focal lengths you would like when requesting a rental. This set includes your choice of 3 of the following focal lengths: 14, 24, 50, 85, and 135mm. Canon CN-E cine prime lenses. The lenses share common mechanical and optical characteristics, which make for easy lens changes in the field and consistent looking images from one lens to another. The lenses cover full frame sensors, which means they will cover almost any single sensor format.

Full frame coverage and 4K resolution highlight the features of theses lenses that feature an 11-bladed iris that minimizes the appearance of sharp edges in out of focus highlights, which can distract your audience, helping to produce a natural looking Bokeh over the entire aperture range of T1.3 to T22.

The Cine-Servo 17-120mm T2.95 with EF mount from Canon is designed to combine the functionality and form factor of a broadcast, ENG-style motorized zoom lens with the optical precision of a cinema zoom. The lens is designed for use on cinema cameras with sensors up to Super 35mm (26.2 x 13.8mm) in size and is suitable for 4K acquisition. With a detachable drive mechanism and support for rod attachment, it is designed to be equally at home whether being used by a solo camera operator or a full production team.

With a 17 to 120mm focal length, the lens features 7x zoom and has a maximum aperture of T 2.95 when set to 91mm or wider. Additionally, it features an 11 blade iris to create circular bokeh patterns as well as to reduce refraction. For ENG-style shooters the lens drive features servo motors powering zoom, focus, and iris. The lens can be connected to the camera either using a standard 12-pin connector or will communicate directly through the lens mount when attached to compatible cameras. 

Please specify which focal lengths you would like when requesting a rental. This set includes your choice of 2 of the following focal lengths: 14, 24, 50, 85, and 135mm. Canon CN-E cine prime lenses. The lenses share common mechanical and optical characteristics, which make for easy lens changes in the field and consistent looking images from one lens to another. The lenses cover full frame sensors, which means they will cover almost any single sensor format.

Full frame coverage and 4K resolution highlight the features of theses lenses that feature an 11-bladed iris that minimizes the appearance of sharp edges in out of focus highlights, which can distract your audience, helping to produce a natural looking Bokeh over the entire aperture range of T1.3 to T22.

The Sony PMW-F5 CineAlta Digital Cinema Camera features an 8.9 MP Super 35mm image sensor capable of capturing 2K and HD internally in Sony's XAVC codec onto SxS PRO+ memory cards, and 4K and 2K RAW to an optional Sony AXS-R5 external recorder. It features 14 stops of dynamic range, applicable to both RAW and XAVC recording as long as S-Log is turned on, for truly film-like rendering of highlights and shadows. The camera natively features an FZ mount and includes a PL-mount adapter.

Out of the box, the F5 records 2K and HD in up to 59.94p in XAVC. With the latest firmware updates installed, it will be able to record 4K RAW from 1p to 60p and 2K RAW from 1p to 240p to an AXS-R5 recorder, and 1080p 4:2:2 from 1fps to 180fps internally in XAVC. It will also be able to record SStP SR at 4:4:4 internally when you select RGB mode at 440 Mbps instead of YUV 4:2:2. All RAW recording is in 16-bit.

Dynamic Range Rated at 14 Stops

The ability to render a range of exposure values from deepest shadows to brightest highlights is a crucial test of any digital camera. The F5 is capable of an impressive 14 stops of exposure latitude, low-light sensitivity and low noise in the blacks. The digital sensor's dynamic range approaches that of traditional motion picture film.

 Long-life Olivine Battery and Quick Charger

The F5 supports Sony's BP-FL75 battery pack, which uses Olivine Lithium Iron Phosphate instead of conventional Lithium Ion cathodes. The result is a substantial increase in charge-discharge cycles, compared to previous Sony batteries. The Olivine battery works with Sony's BC-L90 quick charger. The camera is also compatible with Sony's BP-GL95A, GL65A, L80S and L60S batteries, which use the BC-L70 and L160 chargers.

 Intuitive One-touch Interface

Designed with significant input from cinematographers, the F5 features an intuitive interface for a range of controls. Instead of diving through menus, you get direct, one-touch access to key shooting parameters including frame rate, shutter speed, color temperature, ISO sensitivity and gamma. Assignable buttons mean that your favorite adjustments are always at your fingertips.

Wide Choice of Connections

The F5 offers numerous connections to suit your workflow, including four HD-SDI jacks, HDMI, USB, DC in connection, a removable XLR audio module and a removable time code/genlock module. The XLR inputs accept balanced analogue signals, provide 48-Volt phantom power and will accept four channels of AES/EBU digital audio with an expected firmware upgrade.

The Sony XDCA-FS7 Extension Unit attaches to the back of your PXW-FS7 or PXW-FS7M2 via a MultiPin connector, adding additional I/O and enabling RAW data output for recording 12-bit 4K/2K RAW footage to compatible external recorders. The unit also features built-in Apple ProRes encoding for recording 1080p ProRes 422 video to an XQD card in the camera. Additionally, the Extension Unit adds Timecode and Genlock connectors for multi-camera operation, as well as a V-Mount battery connector. A 4-pin XLR DC power input and 4-pin Hirose DC power output are also provided.

Note: RAW recording requires the HXR-IFR5 Interface Unit and a compatible recorder.

Key Features:
-MultiPin connector for cable-free attachment to camera
-Enables 12-bit RAW data output to Sony's optional AXS-R5 recorder (in combination with the optional HXR-IFR5 Interface Unit) or compatible third party RAW recorder
-4K RAW up to 59.94p (1 to 60 fps Slow and Quick Motion)
-2K RAW up to 59.94p (240 fps and 120 fps Slow Motion)
-Built-in Full HD ProRes encoding for recording 10-bit 4:2:2 -ProRes HQ up to 29.97p to an XQD card in the FS7
-Genlock and Timecode I/O for multi-camera operation
REC Tally indicator
-Attachment for powering camera from a V-Mount battery
-4-pin XLR power input
-4-pin Hirose power output

The EF-mount Canon EOS C300 Cinema EOS Camcorder Body with Dual Pixel CMOS AF features a Super 35mm sized CMOS sensor and broadcast quality 50 Mb/s 4:2:2 MPEG-2 codec. This version is upgraded to include a new continuous autofocus function for all Canon autofocus lenses, using Dual Pixel CMOS AF technology. This provides faster and more accurate autofocusing to assist users when operating with small crews.
 
The EF lens mount on the EOS C300 offers compatibility not only with Canon's existing broad range of DSLR lenses but also with their line of EF-mount CN-E cinema prime and zoom lenses. The Super 35mm sized sensor is paired with the Canon DIGIC III image processor, which uses an innovative method of breaking out red, green, and blue data to enable color performance on a level that would otherwise require three separate chips. The camera records up to Full HD resolution video to CompactFlash cards using the XF codec – at the highest level a 50 Mb/s, 4:2:2 MPEG-2 format, suitable for broadcast use.
Files are recorded using a MXF wrapper that brings together video, audio, metadata, and timecode in a package that is supported from all major professional NLE programs. For more flexibility to adjust your image during post production, the camera also offers Canon's Log gamma mode, which results in excellent tonal reproduction in the highlight and lowlight regions of an image, and an expanded dynamic range.


The XF305 Professional Camcorder represents Canon's entry into professional solid state video acquisition. Following on the heels of its widely respected XH line of tape-based camcorders, the XF305 takes advantage of the latest HD technology--along with Canon's newly developed MPEG-2 4:2:2 codec--to record Full HD video to widely available Compact Flash cards.

Everything you could want in a handheld, professional camcorder is here in one sleek, affordable package: three 1920 x 1080 CMOS sensors, multiple bit rates (up to 50Mbps), variable resolution and frame rates, industry-standard MXF file wrappers, a newly developed L-Series 18x zoom lens, and full image customization.

In addition to the HDMI/Component/Composite outputs found on the XF300, the XF305 includes HD/SD-SDI output, genlock, and SMPTE time code terminals--widening its range of applications to live and multi-camera shooting. With such exceptional levels of image quality, ergonomics, and control, the XF305 is also the perfect camera for ENG, documentaries, independent features, and event 

Key Features: 
-Super 35 Sized CMOS Sensor
-Sony E-Mount
-DCI 4K (4096 x 2160) Up to 60p
-UHD Up to 60 FPS, HD Up to 180 FPS
-4096 x 2160 Via External Recorder
-XAVC-I, XAVC-L, MPEG-2
-XAVC-I Up to 600 Mb/s
-Dual XQD Memory Card Slots
-Dual HD/3G-SDI & HDMI Output
-Ergonomic Handgrip with Camera Controls

Key Features:
Super 35mm CMOS Sensor
4K,1920x1080 60/50i, 23.98/25p True 24p
Canon XF AVC H.264 Codec
EF Lens Mount
Dual Pixel CMOS AF Technology
Rotating 4" LCD Monitor
2 x 3G-SDI Output, 2x XLR Inputs
2 x CFast Card Slots
Timecode I/O, Genlock In & Sync Out
Canon Log 3 Gamma

The EF-mount Cinema EOS C300 Mark II Camcorder Body with Dual Pixel CMOS AF features a Super 35mm CMOS. This provides faster and more accurate autofocusing to assist users when operating with small crews. Canon's Log 3 Gamma supports 14 stops of dynamic range.
The EF lens mount on the EOS C300 offers compatibility not only with Canon's existing broad range of DSLR lenses but also with their line of EF-mount CN-E cinema prime and zoom lenses. The Super 35mm sensor is paired with the Canon DIGIC DV 5 image processor, which uses an innovative method of breaking out red, green, and blue data to enable color performance on a level that would otherwise require three separate chips. The camera records up to 4K DCI resolution video to CFast 2.0 cards. For more flexibility to adjust your image during postproduction, the camera also offers Canon's Log gamma mode, which results in excellent tonal reproduction in the highlight and lowlight regions of an image, and an expanded dynamic range.
In terms of connections, the camcorder features two 3G-SDI outputs, timecode I/O, and genlock input BNCs. The body has a modular design that can either be stripped down completely or be built up using the included handle, 4" rotating LCD unit with full controls, grip, and thumb rest.


5D Mark III CANON for film and photography

The Sony PMW-200 XDCAM HD422 Camcorder is the successor to Sony's well respected PMW-EX1/R camcorder. It supports the 50 Mbps MPEG HD422 codec and MXF recording. The PMW-200 is equipped with three 1/2" Full HD 1920 x 1080 Exmor CMOS sensors, which support 1000 TV1 high resolution, F11 (2000 lx) high sensitivity, low 56dB noise and a wide dynamic range. It works for SD/HD recording and features a 14x zoom lens with a unique focus ring mechanism.

The camera is equipped with dual ExpressCard SxS memory card slots and supports up to four hours of 50 Mbps MPEG HD422 recording. It supports both UDF and FAT file format modes and is switchable between NTSC, NTSC(J), and PAL areas. Other functions include Slow/Quick motion playback, focus magnification, slow shutter, shutter angle settings and picture cache recording. The PMW-200 features four-channel audio recording, as well as HD/SDI, HDMI, and composite/HD-Y outputs. There's six Gamma settings, four HyperGamma settings and a USB port for using the camcorder as a card reader.


The Canon CN-E 24mm T1.5 L F Cinema Prime Lens is a wide-angle, manual focus prime lens that covers Full Frame and Super 35 sensor formats.

The lens offers a maximum aperture of T1.5, useful when shooting in low light situations or when you want to capture that exceedingly shallow depth of field look. It has an 11-blade iris that provides round out of focus highlights for a natural looking bokeh. The lens barrel features 300° of stepless, smooth rotation from close focus to infinity, giving you a high degree of precision and consistent focus.

The lens is designed to minimize focus breathing and also has innovative glass construction that counteracts barrel expansion and contraction to avoid temperature-induced marking discrepancies. It's dual focus with markings on both sides of the barrel, with the rear markings on an angled surface, making it readable form either side of the camera. It also has a dust and water resistant housing to minimize maintenance during normal use.
The CN-E 14mm and the other five CN-E lenses share the same 114m front barrel diameter, focus rotation, 36° iris rotation, and focus and iris gear positions, allowing for easier swaps.

Key Features

-Covers Full Frame and Super 35 sensors
-11-blade iris
-Focus breathing minimized to virtually zero
-Markings on both sides of the barrel
-Rear markings on an angled surface
-Smooth, stepless 300° focus ring
-Geared manual iris ring
-Shares 114mm front barrel diameter, focus rotation, 36° iris rotation, and focus and iris gear positions with the rest of the CN-E line-up
-Glass construction counteracts temperature induced marking discrepancies
-Dust and water resistant housing
-Focus markings can be switched to metric labeling if you send the lens to Canon for modification

The Canon CN-E 14mm T3.1 L F Cinema Prime Lens is an ultra wide-angle, manual focus prime lens that covers Full Frame and Super 35 sensor formats.

The lens offers a maximum T stop of 3.1 and has an 11-blade iris that provides round out of focus highlights for a natural looking bokeh. The lens barrel features 300° of stepless, smooth rotation from close focus to infinity, giving you a high degree of precision and consistent focus.

The lens is designed to minimize focus breathing and also has innovative glass construction that counteracts barrel expansion and contraction to avoid temperature-induced marking discrepancies. It has focus distance markings on both sides of the barrel, with the rear markings on an angled surface, making it readable from either side of the camera. It also has a dust and water resistant housing to minimize maintenance.

The CN-E 14mm and the other five CN-E lenses share the same 114m front barrel diameter, focus rotation, 36° iris rotation, and focus and iris gear positions, allowing for easier lens swaps.

Key Features

-Covers Full Frame and Super 35 sensors
11-blade iris
- Focus breathing minimized to virtually zero
-Distance markings on both sides of the barrel
-Rear markings on an angled surface
-Smooth, stepless 300° focus ring
-Geared manual iris ring
-Shares 114mm front barrel diameter, focus rotation, 36°  iris rotation, and focus and iris gear positions with the rest of the CN-E line-up
-Glass construction counteracts temperature-induced marking discrepancies
-Dust and water resistant housing
-Focus markings can be switched to metric labeling if you send the lens to Canon for modification

The Canon CN-E 50mm T1.3 L F Cine Lens is an EF-mount standard-width lens for Canon's C-series cinema cameras, for full-frame EOS DSLRs, and for any video-capable cameras that accept EF-mount lenses.

The aperture is a fast 1.3 and lets you get superior shots in low light. The diaphragm is made up of 11-blades and is as round as can be, and along with the fast aperture it can produce impressive bokeh and beautiful circular highlights. The diaphragm ring is stepless, is super-smooth, and is fully manual, even when used with a DSLR, offering evermore accurate handle.

The CN-E 50 was released with two complementary relatives -- the CN-E 24mm and CN-E 85mm. All three lenses share the same front diameter, form factor, optical design, placement of gear rings, and mechanical construction. Because of the identical characteristics, one lens can be swapped with another easily, even when geared accessories are involved.

Key Features
-A cinema lens with a precise 300˚ barrel rotation and a very rounded 11-blade diaphragm
-For Canon's C100, C300 and C500, for full-frame DSLRs, and for any video-capable cameras
-Features sharp optics capable of 4K-quality recording and a fast aperture that does great in

The Canon CN-E 135mm T2.2 L F Cinema Prime Lens is a telephoto prime lens for the full-frame sensor format, which makes it an ideal lens for the Cinema EOS series and all Canon DSLRs. The maximum aperture is T2.2, and the 11 blade iris ensures beautiful, rounded bokeh. The lens features markings on both sides of the barrel, making it easy to read settings from behind or on either side of the camera. In order to make lens changes quicker and easier, the 135mm T2.2 is designed to share similar dimensions with other CN-E lenses.

Key Features:
-Full-frame imaging circle
-11-blade aperture diaphragm
-Designed to fulfill 4K production standards
-Markings on angled surfaces on both sides of the barrel
-Focus markings can be switched from standard labeling to metric
-Control rings engineered to maintain consistent operating torque
-Glass construction counteracts temperature induced marking discrepancies
-Shares gear position, diameter, and rotation angle with other CN-E lenses
-114mm front diameter matches other CN-E lenses
Ideal for Cinema EOS cameras and all EOS DSLRs


This redesigned EF 24-70mm f/2.8L II USM Lens from Canon ups the ante for optical performance for a professional standard zoom lens. It has one Super UD lens element and two UD lens elements that minimize chromatic aberrations in the periphery at wide-angle, as well as reducing color blurring around the edges of the subject. In addition, two types of aspherical lenses are combined to help reduce spherical aberration over the entire image area, as well as through the full zoom range. Optimized lens coatings help ensure exceptional color balance while minimizing ghosting.

A ring-type USM and high-speed CPU with optimized AF algorithms ensure silent, fast autofocusing. The lens is constructed with improved dust sealing and water resistance, while fluorine coatings on the front and rear lens reduce fingerprints and smearing. A circular 9-blade diaphragm gives beautiful, soft backgrounds. A zoom lock lever locks the zoom position at the wide end for safe transporting while attached to an EOS DSLR camera over the shoulder.

Key Features:
-Large aperture L-Series standard zoom lens that combines high image quality and enhanced durability. Constant f/2.8 maximum aperture for effective imaging in low light and shallow depth of field.
-New optical design utilizes one Super UD lens element and two UD lens elements to minimize chromatic aberration in the outer area at wide-angle; as well as eliminates color blurring around the edges of the subject, for images with high resolution and contrast.
-Combines two types of aspherical elements to reduce spherical aberration, and achieve high image quality across the entire screen area and throughout the full zoom range.
-Highly resistant to dust and water, enabling shooting even in harsh and rigorous conditions.
-Nine-blade circular diaphragm delivers beautiful, soft backgrounds.
-Ring USM, high-speed CPU, and optimized AF algorithms for fast autofocusing.
-Manual focus override in One Shot AF mode allows precise manual focus even in AF mode.
-Optimized lens coatings ensure exceptional color balance while minimizing ghosting.
-Fluorine coating on front and rear lens surfaces reduces smears and fingerprints.
-Zoom lock lever locks the zoom position at the wide end for safe transporting.
-Metabones E-EF Adapter 


The Canon CN-E 85mm T1.3 L F Cine Lens is an EF-mount long lens for Canon's C-series cinema cameras, for full-frame EOS DSLRs, and for any video-capable cameras that accept EF-mount lenses.

The aperture is a fast 1.3 and lets you get superior shots in low light. The diaphragm is made up of 11-blades and is as round as can be, and along with the fast aperture it can produce impressive bokeh and beautiful circular highlights. The diaphragm ring is stepless, is super-smooth, and is fully manual, even when used with a DSLR, offering evermore accurate handle.

The CN-E 85 was released with two complementary relatives -- the CN-E 24mm and CN-E 50mm. All three lenses share the same front diameter, form factor, optical design, placement of gear rings, and mechanical construction. Because of the identical characteristics, one lens can be swapped with another easily, even when geared accessories are involved.

Key Features
-A cinema lens with a precise 300˚ barrel rotation and a very rounded 11-blade diaphragm
-For Canon's C100, C300 and C500, for full-frame DSLRs, and for any video-capable cameras
-Features sharp optics capable of 4K-quality recording and a fast aperture that does great in low light

The EF 16-35mm f/2.8L II USM Lens from Canon is a high performance, water-resistant, ultra wide-angle L-series zoom lens. An f/2.8 maximum aperture is effective in low light situations and offers shallow depth of field focus control. The optical design has been improved to offer better edge-to-edge image quality. In addition, it features 3 high-precision aspherical lens elements, each of a different type: ground, replica and GMo. Its ultrasonic motor (USM) and improved AF algorithms will help the lens to focus faster and quieter. Precise manual focus is supported even in One Shot AF mode and a truly round aperture results in pleasing background blur.

All of the "L" lenses deliver optical performance equal to similar fixed focal lengths lenses and provide tight seal structures for dust and water resistance. Distortions and aberrations are remarkably small for a lens of such amazing capabilities. An included petal-style lens hood keeps unwanted light from entering the lens and causing flare and it offers a degree of protection against impact and the elements.

Key Features:
-Ultra-low dispersion glass and three high-precision aspherical lens elements, each of a different type: ground, replica and GMo minimize aberrations and improve overall image quality.
-A ring-type Ultrasonic motor (USM) provides quiet, fast, precision auto focusing and predictive tracking.
-Full-time manual focus override (even in AF mode) is supported.
-Circular aperture diaphragm produces brilliant out-of-focus characteristics.
-A petal-type lens hood is included.

The EF 24-105mm f/4L IS USM Lens from Canon is a versatile, easy-to-use standard zoom lens that covers a focal range from wide-angle to portrait-length telephoto. Its constant maximum aperture of f/4 provides effective consistency when at the telephoto end of the zoom range.

The L-series is Canon's flagship professional lens series, combining the highest standards of precision optics and operability with dust and moisture resistant construction. Canon's ring-type Ultrasonic Motor (USM) provides silent and quick autofocus as well as full-time manual focus override. Optical image stabilization enables up to 3-stops of compensation against the effects of camera shake and one Super-UD and three aspherical lens elements minimize aberrations for overall optical clarity.

With impeccable construction and comfortable handling, this is a durable yet sophisticated lens that meets the demands of advanced amateur photographers and professional photographers alike.

Key Features:

-Image Stabilizer
Ideal for handheld work, IS Optical Image Stabilizer allows use of shutter speeds up to 3-stops slower with no perceptible increase in image blur.
-Fixed Aperture
With no change in aperture over the full focal length range, photographers can set exposure at the widest aperture and zoom through to 105mm without slowing shutter speed.
-Super UD and Aspherical Lens Elements
Constructed with one Super-UD glass element and three aspherical lenses, this lens minimizes chromatic aberration and distortion. The result is excellent picture quality, even at wide apertures.
-Ring USM
Ring USM (Ultrasonic motor) uses ultrasonic frequency vibrations to drive responsive, near-silent high speed auto focus. Good holding torque stops the focusing lens group with precision without overshoot. Full time manual focus override is available without having to switch out of AF.
-Super Spectra Coatings
Optimized Super Spectra lens coatings and lens element shaping suppress flare and ghosting - more prone to occur with digital cameras due to reflection off the image sensor. Coatings also help achieve true color balance and increase contrast for vivid hi-fidelity images.

The EF 100mm f/2.8L Macro IS USM Lens from Canon is the L-series version of Canon's popular 100mm Macro lens. As an L-series lens it offers the utmost in optical construction, including ultra-low dispersion lens elements and moisture and dustproof seal structure on the barrel. Its 100mm focal length is effective for portraiture and other telephoto applications and as a macro lens with 1:1 magnification and a 12" minimum focus distance, it is ideal for life-size close-up imaging.

The lens features Hybrid Optical Image Stabilization with up to 4-stops of shake control for effective low light capture and with the vibration gyro and acceleration sensor it compensates for both angular and shift camera shake during close-up shooting. An ultrasonic focus motor (USM) provides quick and quiet auto-focusing and full-time manual focus override enables precise manual focus eve in AF mode. A focus range limiting function offers three distance ranges to control the range in which the AF looks for focus, thus reducing focusing time. Internal focus system means that the barrel does not extend when focusing, which is crucial when shooting macro.

This lens includes a dedicated lens hood and is compatible with an optional Canon tripod collar and Canon Macro Ring Lite.

Key Features:

-Tele-Macro Focal Length
-The convenient 100mm focal length of the Canon EF 100mm f/2.8L Macro IS USM Lens allows for a comfortable shooting distance between the camera and subject, and less chance of shadow interference when shooting at closer focusing ranges.
-Life-Size Image Reproduction
-The lens allows for continuous focusing down to 1:1 life-size magnification. Optional extension tubes can increase this ratio for even greater magnification.
-L-Series Optical Quality
-As a Canon L-series optic, the Canon EF 100mm f/2.8L Macro IS USM Lens can be counted among the sharpest, best-built, weatherproof optics available for Canon EOS SLR cameras.
-Hybrid Optical Image Stabilization
-With the vibration gyro and acceleration sensor, the hybrid image stabilization system is effective for close-up shots. With a 4-stop compensation the IS enables blur-free images when shooting telephoto in low light and when working close-up in macro mode.
-Quick and Quiet Focusing
-By incorporating an ultrasonic focus motor, Canon has improved the speed and reduced the noise levels of the lens's autofocus system, while still allowing for full-time manual override.
-Focus Range Limiter
-Focusing distance range can be selected with a switch on the lens barrel. By setting a suitable focusing distance range, actual autofocus time can be shortened. The three focusing ranges are 1-1.6', 1.6'-infinity and the full range of 1' to infinity.


Video 20 Fluid Head Tripod supports 4-55 Pounds 

Video 18 Fluid Head Tripod Supports 4-44 Pounds

PRODUCT HIGHLIGHTS

-64GB Storage Capacity
-2nd Gen PCIe Interface
-Max. Read Speed: 3.5 Gbps
-Max. Write Speed: 2.8 Gbps
-Min. Write Speed: 1.3 Gbps
-PCI ExpressCard 34
-Optimized for HFR 4K Content
-Data Refreshing, Data Error Correct
-Clip Recreation in Case of Power Loss
-Wear-Leveling Data Defect Minimization

The EF 70-200mm f/2.8L IS II USM Lens from Canon improves upon its predecessor, one of the most acclaimed lenses in the Canon EF line, with superior performance, increased speed and optical quality.

This lens construction consists of one fluorite and five ultra-low dispersion optical elements which help deliver the sharpness and reduced aberrations. The IS II Optical Image Stabilizer provides up to 4 stops of correction at all focal lengths and features two modes for stabilization of still objects and while panning to follow moving subjects. An ultrasonic focusing motor provides fast, smooth and silent autofocus action.

This lens has a minimum focusing distance of 3.9' (1.2m) at all zoom settings so you can shoot close to your subject even in smaller spaces. Like all Canon L-series lenses, this telephoto zoom is dust and moisture resistant and designed to keep on going even in the most challenging of environments.

Key Features:
-Fluorite & ultra-low dispersion lens elements reduce aberrations and contribute to high resolution, high-contrast imaging.
-Two-mode Image Stabilization can correct for all types of camera shake. Mode 1 corrects for still images and Mode 2 for the extraneous up and down movement created when panning with a moving subject.
-An ultrasonic autofocus motor provides fast, smooth and silent autofocus.
-Manual focus override enables precise manual focus even when in autofocus mode.
-A focus range limiter lets you set the range of focus distance which enables shorter focusing times. The two ranges are 3.9' to infinity and 8.2' to infinity.
-A truly round aperture hole results in more pleasing out of-focus areas.
-Tight seal structure ensures excellent dust-proof and moisture-proof performance.
-Removable, rotatable tripod collar is included.

One of the most versatile focal lengths available, the EF 50mm f/1.8 STM Lens from Canon pairs this classic lens design with enhancements to the AF system and physical design that make it both faster and smaller. Utilizing an STM stepping motor, this lens is ideal for both still and video shooting due to its speedy and smooth operation. Further benefitting video shooters, the STM motor also supports the Movie Servo AF mode on select DSLRs for precise and near-silent focusing. An updated exterior design includes a metal lens mount and a re-located focusing ring in order to accommodate the compact overall form factor. The 50mm f/1.8 is a classic, tested lens design, and thanks to enhanced autofocus and a svelte profile, this lens is ideal for everyday shooting in a wide variety of conditions.

The optical design of this lens incorporates optimized coatings that help to reduce flare and ghosting for increased contrast and color neutrality. The f/1.8 maximum aperture is effective for low-light shooting as well as for controlling your focus plane for selective focus shooting. Seven rounded diaphragm blades further enhance the look of out of focus regions in an image, making it well-suited to portraiture and creative environmental shooting.

Key Features:
-Standard prime 50mm lens is designed for use on full-frame EOS DSLR, however can also be used with APS-C-sized sensors where it will provide an 80mm equivalent focal length.
-Fast f/1.8 maximum aperture benefits working in low-light conditions and also enables precise control over the focus plane when working with selective focus techniques. Seven rounded diaphragm blades further contribute to a pleasing out of focus quality with shallow depth of field imagery.
-A gear-type STM stepping motor is incorporated into the lens' design to provide quick, smooth, and near silent autofocus performance. Additionally, this focusing mechanism also pairs well with EOS cameras featuring the -Move Servo AF mode to enable continuous focusing performance when working in live view.
-Full-time manual focus override is available for fine-tuning your focus position for selective focus applications.
-Optimized lens coatings help to suppress lens flare and ghosting for increased contrast and more color-neutral imagery.
-An enhanced exterior design features a metal lens mount for durability as well as a re-located focusing ring to maintain a compact 2.7 x 1.5" form factor.

For use with Sony PXW-FS7 Camera

Supporting enhanced data read and write speed, the 128GB XQD G Series Memory Card from Sony can be used to record a variety of content up to and including 4K video. In addition to recording 4K content, the 440 MB/s read and 400 MB/s write speeds make it easy to capture photos in both burst mode and in RAW format, as well as streamline workflows. This XQD G Series Card from Sony also supports both PCI Express Gen. 2 and USB 3.0 interfaces, allowing it to be used with a wide range of devices.

Compliant to XQD Format Version 2, both PCI Express Gen.2 and USB 3.0

key Features:

2X the transfer speeds of G1A Series cards
64GB capacity
Read speed up to 400MBs
Supports EB Streaming between card and Sony camcorders enabling constant 2 way communication and insuring stable recording while avoiding speed degradation
Enhanced media management with Memory Media Utility


PRODUCT HIGHLIGHTS

64GB Storage Capacity
Read Speed up to 120 MB/s
Write Speed up to 85 MB/s
UDMA 7 Compliant

The SanDisk 64 GB Extreme CompactFlash Memory Card provides fast, reliable photo and video capture. This card features a read speed of up to 120 MB/s and a write speed of up to 85 MB/s. Ultra Direct Memory Access 7 (UDMA-7) ensures optimal performance. When paired with a UDMA-compliant DSLR camera, this card guarantees fast, high-quality photo and video capture.

Supporting both XQD Series G and XQD Series M memory cards, the QDA-SB1/J XQD USB Adapter from Sony makes it easy to transfer files between the memory card and either a Windows or Mac based computer equipped with a USB port. This bus-powered USB adapter features a USB 3.1 Gen 1 connector and requires no additional power source making it an effective solution to streamline workflows and free up space on memory cards even when on the go.

-Compatible with XQD G Series and M Series memory Cards
-Data in G/M series card can be transferred to PC at high speed via USB 3.1 Gen 1
-Extension USB cable

The Sony SBP-16 16GB SxS PRO Memory Card uses ExpressCard technology which is the next generation PC card standard. It will record approximately one hour of video with XDCAM EX camcorders. It has a high-speed transfer rate of up to 800 Mb/s.  SxS Pro memory card with 16GB storage capacity, or one hour of video when used with an XDCAM EX camcorder It uses ExpressCard technology, which is the next generation PC card standard  High-speed transfer up to 800 Mb/s Increase the efficiency of workflow with higher performance and reliability  Specially designed for non-linear video editing systems Compatible with Sony PMW-EX1 or PMW-EX3 XDCAM EX camcorder

PRODUCT HIGHLIGHTS

32GB Storage Capacity
Read Speed up to 120 MB/s
Write Speed up to 85 MB/s
UDMA 7 Compliant

The SanDisk 32 GB Extreme CompactFlash Memory Card provides fast, reliable photo and video capture. This card features a read speed of up to 120 MB/s and a write speed of up to 85 MB/s. Ultra Direct Memory Access 7 (UDMA-7) ensures optimal performance. When paired with a UDMA-compliant DSLR camera, this card guarantees fast, high-quality photo and video capture.

The SBAC-US20 USB 3.0 SxS Memory Card Reader from Sony enables you to transfer files from your SxS memory cards to your computer and vice-versa if your computer has no ExpressCard slot. The reader itself is equipped with an ExpressCard slot, and connects to your computer via the USB 3.0 interface. The SBAC-US20 offers read/write speeds of up to 800 Mb/s for SxS Pro and SxS-1 cards, and 1.3 Gb/s for SxS Pro+ cards.

No special driver installation is required except for the SxS UDF driver necessary to recognize UDF formatted memory cards. As it's USB bus-powered, the reader requires no AC adapter. The SBAC-US20 accepts optional Sony ExpressCard adapters for reading XQD (QDA-EX1), SD (MEAD-SD01) and MS (MEAD-MS01) media.

Key Features:
-Transfer files from your SxS memory cards to your computer, if your computer lacks an ExpressCard slot. Specifically designed to transfer video captured with Sony's XDCAM camcorders
-Equipped with an ExpressCard slot
-USB 3.0 interface for connection to computer
-Only driver you need to install is SxS UDF driver required to recognize UDF formatted memory cards
-USB bus-powered, so no AC adapter is necessary
-Accepts optional Sony ExpressCard adapters for reading XQD, SD and MS media

PRODUCT HIGHLIGHTS

USB 3.0 CompactFlash UDMA 7 Card Reader
High-Speed USB 3.0 Transfer Rates
Mac/Windows Compatible

Key Features:

7" IPS LCD
1280 x 800 HD resolution
8-bit color depth
800:1 contrast ratio
HD-SDI and HDMI input and output (with signal conversion)
Hirose input supporting an optional analog breakout cable
Highly flexible 3D LUT support
Loaded with many preset LUTs
Efficient 24 hot key user interface, controlled via front panel buttons
HDMI signal is displayed instantaneously when plugged in
Super-tough reinforced milled aluminum housing
All ports and connections are recessed for safety

Monitoring Tools:

Waveform (PIP, Full Screen)
Vectorscope (PIP, Full Screen)
YCbCr Parade
RGB Parade (Full Screen)
Histogram (PIP, Full Screen)
Focus Assist (Intensity Adjustment, Highlight Color Select, Color/B&W Background)
Peaking
Pixel Zoom
Zebra 1 & 2 (2x user selectable ranges)
False Color (industry-standard scales + on-screen guide)
LUTs/3D Looks
User Loadable LUTs
Anamorphic
Image Capture
Image Overlay
Image Flip
Aspect
Custom
Safe
Crosshatch
Crosshair
Battery Meter
Horizon Indicator
Color Space
Bright/Contrast/Hue/Saturation
Color Balance
Blue Only
Color Bars
Monochrome

Arri 3 Light Fresnel/Openface  Kit Includes:

- 3 Arri Fresnel/Openface Lights (150W, 300W, 650W Fresnels, and 1K Openface in any combination of choice)
- 3 Light Stands
- 3 Stingers
- 2 Scrims Per Light (1 Single and 1 Double)
- 3 sets of Barn Doors
- Gell Roll
- Spare Bulbs
- Arri Rolling Case

The Diva-Lite 400 is optimized for digital video capture. It features and benefits include built-in barn doors, cool running operating temperatures, 5 to 100% dimming with minimal color shift and low electrical draw. Its universal 100-240 VAC ballast is built-in while its slim 6" profile allows placement where other lights can't fit. Besides dimming other controls include 2-lamp or 4-lamp switching. The units provide a broad, soft and diffused light and a good cosmetic quality of light. Their compact size and rugged lightweight nature make them well suited for travel.

The Diva-Lite puts out a broad soft wash of light. The fall off is similar to light bounced off of a card. For this reason it is most effective in close proximity to the subject. Up close, the light is softer and easily controlled with the built-in barndoors and included detachable louvers. Popular for interviews, it is small enough to travel easily and light enough to rig onto lighting stands or grip arms. Diva-Lites operate on separately purchased Kino Flo True Match 55W compact fluorescent lamps. Daylight balanced (KF55) and tungsten balanced (KF32) lamps are available. Optional accessories include a 60-degree honeycomb louver and a wired dimmer.

The Arrilite 2000 handles the broadest range of video location and studio lighting requirements. The Arrilite 2000 is the first 2000 watt fixture to take advantage of Arri's thermoplastic construction. The higher output of the 2000 allows greater flexibility for key, fill, or bounce lighting.

When fitted with an FEY 2K bulb, this fixture will emit a beam of 1080 footcandles, 5.1 ft (1.5 m) in diameter @ full spot, from a distance of 15 ft (4.6 m). It will throw a beam of 200 footcandles 15.9 ft (4.9 m) in diameter @ full flood, from the same distance.

Large Open Face
10" (25.4cm) aperture

Lightweight
Thermoplastic housing weighs only 8.7lb (3.9kg).


The Arri 1000 Watt Plus Fresnel is best suited for use in studios and theatres. The yolk can be used to attach this unit to either 5/8" or smaller lightstands.

When equipped with an EGT 1000 watt bulb, available separately, this fixture throws a beam of light of 516 footcandles 2.9 feet in diameter from 15 feet, at full spot.
This fixture throws a beam of 50 footcandles 21.7 feet in diameter from 15 feet, at full flood.

This fixture is equipped for 120 Volt AC operation. It will also function with 220-240 AC Voltage, with the appropriate bulb and plug adapter, available separately.

High Output
This fixture produces a lot of light for its small size.

High Quality Fresnel Lens
Has a 5.1" (130 mm) low expansion borosillicate fresnel lens


Key Features:

1366 x 768 Production Monitor
Connections Include SDI and HDMI
3D LUT
Vectorscope / Pixel-to-Pixel
Color Audio Level Meter
Time Code Display
HD and SD Closed Caption Display
Waveform Monitor for R/G/B Signals
Eco-Friendly/Mercury-Free LED Backlight
Power Input Switchable from AC & XLR DC


Arri 4 Light Fresnel/Openface  Kit Includes:

- 4 Arri Fresnel/Openface Lights (150W, 300W, 650W Fresnels, and 1K Openface in any combination of choice)
- 4 Light Stands
- 4 Stingers
- 2 Scrims Per Light (1 Single and 1 Double)
- 4 sets of Barn Doors
- Gell Roll
- Spare Bulbs
- Arri Rolling Case

Kino Flo Gaffer 4' 4Bank, 2 Light Kit includes: comprised of 

2- 4ft 4bank light fixtures w/ eggcrate louvier
2- 4bank ballasts 
2- 25' extension cables
2-  MTP-BL41 Mount w/ Baby Receiver
2- Lamp cases
10- Kino Flo 4' Kino 800ma KF55 SFC True Match Fluorescent Lamps  
10- Kino Flo 4' Kino 800ma KF32 SFC True Match Fluorescent Lamps
2- Stingers
1- Rolling kit shipping case.

This Gaffer kit is a complete lighting set-up in a box. It is designed to keep the elapsed time between setting up and shooting to a minimum. A crew can be on site and shooting an interview in minutes. The 4Bank system was designed as a softlight source that could be plugged into the wall on location and be shooting in minutes. With its narrow profile and size, the 4Bank could approximate the quality of light from bounced sources without losing set space. It was designed in this manner to allow the greatest flexibility when working on film production where the gaffer and DP are constantly being challenged to light unique locations and problem solve at a moment's notice. The 4Bank is a high output, high frequency electronic ballast with universal input voltage from 100-240 VAC, that can operate four lamps with up to 75 feet between ballast and fixture. Dedicated switches allow for individual control of each lamp. The ballast sends a high output current to the lamps to drive the light as brightly as possible. Its high-frequency electronics prevent any type of flicker. Kino Flo's engineering ensures stable operation without magnetic hum or cooling fans to interfere with the sound recording on set.

All Kino Flo lights employ True Match lamps which are formulated to correspond to the spectral distribution curves of film and video cameras as well as look correct to the eye. They are designed to match the colors from quartz units or daylight sources such as HMIs. This gives the camera operator the option of mixing quartz hard light sources with fluorescent soft sources.

Each DT24-1U Power Supply/Control Unit powers its own light, equipped with 150W lamps at a nominal voltage of 24V. Its AC power input is set for 120 AC voltage in 24 steps. Another kit is available for use with 230-240 voltage: #KA244ME. 

This Master, 4 light, 600 total watt kit includes stands, barndoors, bulbs, clamp, flexible stand extension, accessory box, clamps, wall holder, and a hard, compartment divided case. Additional accessories include: Projection Attachment, Gobo Holder, Shutter Blades, Iris, for even more creative lighting effects.
Projection Attachment with Lens 

Allows precise control over the spread of the light, with the Iris and framing shutter blades. 

Gobo Holder 
Accepts Size "M" (66mm)steel gobos (available separately), for projecting patterns onto your background or subject. 

Powering Options 
The DLH4 offers a wide range of powering options - from battery to AC power with color temperature control. 

Mirror 
A high quality mirror reflects light through meniscus and condenser lenses, providing a much higher light output than would be expected. 

Advanced Optical Design
Due to an advanced optical design, these heads create a flat, even bright light, with a narrow beam spread. 

Clean Beam 
Precision lighting by a clean beam. Practically no stray light. 

Compact 
The hard, compartmentalized case measures only 22.5 x 17 x 10.25" (57 x 43 x 26 cm). 


As an open-faced fixture, the Arrilite 1000 Watt Focusing Flood Light is designed for a wide range of film and photographic lighting applications. The Arrilite 1000 provides beam angles of 65° in the flood position and 24° in the spot position.

When fitted with a DXW 1000W bulb (available separately), this fixture will throw a beam of 695 footcandles 4.3 ft (1.4 m) in diameter, @ full spot, from a distance of 10 ft (3 m). It will provide a beam of 145 footcandles 13 ft (4 m) in diameter @ full flood, from the same distance.

Although equipped with a 120 Volt AC power cord, this fixture may be operated with 220-240 Volt AC current, with the appropriate bulb and plug adapter, both sold separately.

Lightweight Housing
Thermoplastic keeps relatively cool

Multi Wattage, Multi-Voltage Capable
When fitted with the appropriate bulb and plug adapter

The Arri 650 Watt Plus Fresnel features smooth focusing, and a bright, even beam. The beam angle in the flood position is 52°, and a narrow 14.5° in the spot position. This light is available individually or in portable kits.
This fixture is equipped for 120 Volt AC operation. It will also function with 220-240 AC Voltage, with the appropriate bulb and plug adapter, available separately.

Large Lens
Has a 4.3" (110mm) low expansion, borosillicate fresnel lens

Housing
Ribbed housing for cooler operation

Reflector
Has a spherical, specular, high purity reflector

F and V 1x1 Daylight Balanced LED Light Kit includes:

1x 1x1 LED Daylight Balanced Lights
1x Manfrotto Light stands
1x AC Power Adapters w/ AC Cords
1x CTO and Diffusion Gel Kit
Carrying Case

Package Includes:
-6x Motorola CP200 Walkie w/ Antenna and Battery
- 1x 6 Bay Charger w/ AC Adapter
- 6x Choice of Headset or Surveillance Headset
- Carrying case

The CP200  portable two-way radio offers increased communication flexibility with features such as push-to-talk ID and selective call. Powerful audio output penetrates noisy environments, providing clear, crisp audio at any volume. A lightweight, ergonomic design makes this radio comfortable to carry and operate.

Kit includes H4n Recorder, Zoom H4n hard case, 1- 32gig SD memory card, Zoom AC adapter, leather case

The Zoom H4n 4-Channel Handy Recorder picks up where the H4 left off and adds additional features to an already popular audio recorder. Useful for recording interviews, lectures, rehearsals, meetings, and more, this palm-sized unit packs the ability to record up to 4 channels of audio at greater than CD quality sample rates and bit depths.

Sennheiser MKH 60 Kit includes:

MKH 60 Shotgun microphone
Windscreen
Sennheiser Case
XLR Cable

The MKH 60 is a lightweight short gun microphone. It is versatile and easy to handle and its superb lateral sound muting makes it an excellent choice for film and reporting applications. Its high degree of directivity ensures high sound quality for distance applications.

Key Features
-Extremely low inherent self-noise
-High sensitivity
-High directivity throughout the whole frequency range
-Transformerless and fully floating balanced output
-Infra-sonic cut-off filter
-Symmetrical transducer technology ensures extremely low distortion
-Switchable pre-attenuation, switchable roll-off filter and switchable treble emphasis
-Rugged and weather-proof
-Black, anodised light metal casing

The Rode VideoMic Pro with Rycote Lyre Shockmount  is a supercardioid condenser shotgun microphone that terminates in a 1/8" stereo mini-jack (dual mono), includes an integrated shockmount, and an integrated foam windscreen. It can be used to capture audio for camcorders, DSLR, and portable recorders as a source of primary and reference audio.
The VideoMic Pro has been upgraded from earlier models with a 1/2" condenser capsule that provides broadcast-quality audio. Its 1/8" stereo mini-jack connector (outputting the mono signal to both left and right channels) delivers low self-noise of just 14 dB. A supercardioid polar pattern ensures that surrounding audio is minimized, and your recording is focused on the subject in front of the camera.
In addition, the Rycote Lyre-based shockmount is built from a single piece of hard-wearing thermoplastic. It separates the VideoMic Pro capsule and electronics from its mount, providing isolation from external physical factors that may cause unwanted rumble and vibrations in the microphone. This suspension will never wear out, sag or snap.
Easily accessible on the rear face of the microphone are the power, the filter, the level controls and a selectable high-pass filter at 80 Hz. The filter will prevent low-end noise such as air conditioners and traffic from being recorded. Furthermore, the -10 dB (or pad) is suitable when recording loud sound sources such as live music, motorsports, or interviews, where the subject is very close to the camera. There is a +20 dB level boost designed for use with DSLR cameras, so the user can reduce the camera's preamp level, effectively reducing the amount of noise generated by the camera's audio circuitry.
The Rode VideoMic Pro uses a standard sized shoe-mount for on-camera use and features a 3/8" thread in the base of the mount for easy boom-pole mounting. The VideoMic Pro is battery powered and provides over 70-hours recording from a single 9V battery.

-9V battery powered with over 70 hours use (alkaline)
-Camera shoe mount with 3/8" thread for easy boom-pole mounting
-Compact form factor is only 6.7" length

F and V 1x1 Daylight Balanced LED 2 Light Kit includes:

2x 1x1 LED Daylight Balanced Lights
2x Manfrotto Light stands
2x AC Power Adapters w/ AC Cords
2x CTO and Diffusion Gel Kit
Carrying Case


Package Includes:
-(4) Motorola CP200 Walkies w/ Antenna and Battery
-(2) Spare Batteries
- (4) Single Charger w/ AC Adapter
- (4) Surveillance headset
- (1) Carrying case

The CP200  portable two-way radio offers increased communication flexibility with features such as push-to-talk ID and selective call. Powerful audio output penetrates noisy environments, providing clear, crisp audio at any volume. A lightweight, ergonomic design makes this radio comfortable to carry and operate.


Package Includes:
-20x Motorola CP200 Walkie w/ Antenna and Battery
-15x Spare Battery
- 2x 6 Bay Charger w/ AC Adapter
- 20x Surveillance Headset
- Carrying case

*Larger Kits Available- Please Inquire

The CP200  portable two-way radio offers increased communication flexibility with features such as push-to-talk ID and selective call. Powerful audio output penetrates noisy environments, providing clear, crisp audio at any volume. A lightweight, ergonomic design makes this radio comfortable to carry and operate.

Kit includes: UM400 Transmitter, UCR411 Receiver, TR-50 lavalier microphone

The Lectrosonics 400 Series wireless microphone systems combine digital hybrid technology, diversity reception, and rugged components to achieve clear audio signals at long range.

Sennheiser MKH-416 Kit includes:

MKH-416 Shotgun microphone
Windscreen
Sennheiser Case
XLR Cable

Designed for recording audio in film, radio, and television the MKH 416 from Sennheiser is a short shotgun interference microphone optimized for outdoor applications. It offers excellent directional control in a compact design with high consonant articulation and rejection of feedback. The unit is highly immune to humidity because of its RF condenser design. It operates as a hypercardioid at low and medium frequencies with a lobar pattern above 2 kHz.

Pressure gradient receiver with short interference tube

Employs RF-technology to control residual microphone noise. Optimizing the transducer's acoustic impedance results in a further improvement in low noise performance

The RF-design yields low noise levels and high immunity to humidity and moisture

The comparatively low RF-voltage across the elements of the transducer also eliminates arcing and DC-bias creeping currents

Hypercardioid at low and medium frequency, above 2 kHz approaches lobar pattern

Very low inherent self-noise

High sensitivity

Transformerless and fully floating balanced output

Rugged, suitable for adverse climatic conditions

Matt black all-metal body

Increased directivity

Sennheiser ME 66/K6P Kit includes:

Me66 Shotgun microphone w/ K6P Power Suppy
Windscreen
Sennheiser Case
XLR Cable


The Sennheiser ME66 capsule is a popular short shotgun microphone for use with the K6P power supply. 
The capsule features a highly directional, cardioid polar pattern yielding great attenuation at the sides of the microphone, maximizing pick up at the front. The result is a focused pick-up in highly ambient environments. A wide 40-20,000Hz frequency response provides detailed, accurate signal reproduction. Its short size allows camera mounting while remaining free of the frame.

Key Features
-Exceptional Noise Rejection
The capsule features a highly directional, cardioid polar pattern yielding great attenuation at the sides of the microphone, maximizing pick up at the front.
-Wide Frequency Response
A wide 40-20,000Hz frequency response ensures detailed, accurate signal reproduction.
-Compact Camera Mountable
The ME66's compact design allows mounting to video cameras and is at home in event videography, ENG / EFP use, video depositions, corporate media applications and film.

Sennheiser K6P Powering Module
The Sennheiser K6P is the mic body and power supply for Sennheiser's professional condenser modular microphone system. You can assemble a complete microphone, with your choice of pick-up pattern, by combining the K6P with one of five different K6-series microphone heads (not included).
The K6P features a black, anodized, scratch-resistant finish. It's designed for use in situations where phantom power is present. Users who need a battery-powered mic can purchase Sennheiser's K6, instead. The K6P features a switchable bass roll-off filter to help reduce low end rumble, handling noise, wind noise, and pops; an On/Off switch; and a transformerless balanced output on a 3-pin XLR connector.

Key Features
-Transformerless balanced output on 3-pin XLR connector
-Switchable bass roll-off filter protects against rumble, handling, pop and wind noise
-On/off switch
High output, low noise

Rycote Softie Windjammers provide optimum wind diffusion and noise rejection when shooting outdoors. Works with multiple model shotgun microphones.


The Chrosziel Matte Box 456 Academy (2 Filter Holders) consists of a 456-R20 matte box, French Flag, a filterstage for 2 individually rotating filter holders, two 4x5.65/5x5 filter holders, a 130mm clamp-on rear plate, and a bracket for 15mm lightweight support rods. It is ideal for use with handheld and full-production studio cameras.
The 456-R20 Matte Box offers a wide angle (16:9/4:3) housing for lens as wide as 12mm (35mm Academy) and eliminates the effects of vignetting. Equipped with a filterstage for 2 independently rotating 4 x 5.650/5 x 5 filter holders, the matte box provides sufficient space for adjusting the position of filters.
Provided with a French flag, the Matte Box 456-20 Academy controls the angle of light and eliminates lens glare and flare, and it can be coupled with optional side wings for accurate light adjustment. The kit includes a 130mm clamp-on rear plate and a bracket for use with 15mm lightweight support rods (optional).
With optional bridgeplate adaptors, you can interface the kit with 15mm or 19mm bridgeplate rods. An optional swing-away bracket, attached to the back of the matte box housing allows for quick and efficient lens changes.
Consists of a 450W-R20 matte box that offers a wide angle (16:9/4:3) housing for lens as wide as 12mm (35mm Academy) and eliminates the effects of vignetting
Equipped with a filterstage for 2 independently rotating 4 x 5.65/5 x 5 filter holders
Provides sufficient space for adjusting the position of filters
French flag - controls the angle of light and eliminates lens glare and flare and can be coupled with optional side wings for accurate light adjustment
Includes a 130mm clamp-on rear plate and a bracket for use with 15mm lightweight support rods
Can be interfaced with 15mm rods using optional bridgeplate adaptors


Kit includes:
K-Tek Boompole, Rycote Pistol Grip, and 15' XLR Cable, Boomtube and carrying case

BOOMPOLE HIGHLIGHTS

Three Locking Sections
Internal Coiled Cable
Bottom XLR Connection
Captive-Collet Coupling System


The Vocas MB-350 Mattebox is designed to be used as a clip-on for ENG/EFP cameras with a support for a maximum lens diameter of 105mm. It features a quick-lock mounting system that attaches directly to the front lens barrel. The mattebox can also be used with the MBS-100 mattebox support and a bars adaptor on standard 15mm rails.
The MB-350 Mattebox comes equipped with 1 non-rotatable and 2 independently rotatable filter trays. It accommodates 4x4" and 4 x 5.65" filters.
Offering compatibility with wide angle lenses in 4:3 and 16:9 aspect ratios, the MB-350 Mattebox includes a standard internal eyebrow, a foldable top flag, and a French flag that allows the user to adjust the mattebox to the different positions of the lens.
Used as clip-on for the ENG/EFP cameras
Support for a maximum lens diameter of 105mm
Features a quick-lock mounting system that attaches directly to the front lens barrel
Can be used with a MBS-100 mattebox support and a bars adaptor on standard 15mm rails
Equipped with 2 rotatable  trays
Compatible with wide angle lenses in both 4:3 and 16:9 aspect ratios

Product Highlights

-Accommodates 4x4" and 4 x 5.65" filters
-For lenses wider than 5mm uses one 4.5 x 4.5" rotatable filter, or one 4" wide non-rotatable filter and 2 non-rotatable horizontal 4 x 5.65" filters
-Includes a standard internal eyebrow, a foldable top flag, and a French flag allowing easy adjustment of the mattebox to the different lens positions

25 Pound Sand Bag. 

Comes in a variety of shapes and weights. They are used for securing the bases of light stands and set walls. Many have handles, for hanging on hooks or risers. Some have two wings, to allow draping over light stand legs. 


The Matthews Century  Stand consists of a 40" three-section upright with two risers. It includes a 2.5" swivel grip head, and a 40" Hollywood Arm that can hold a small light fixture, gobo, or flag. The unique staggered leg design of the C-Stand allows it to be nested and placed extremely close to one another on a set.

1" Steel Spring Clamp is a heavy duty tool with a huge variety of uses on set. The clamp has a jaw capacity of 1" and is nickel-plated to prevent corrosion. The tips and handles are covered in orange vinyl to prevent marring of surfaces and to provide a firm grip.

3" Steel Spring Clamp is a heavy duty tool with a huge variety of uses on set. The clamp has a jaw capacity of 3" and is nickel-plated to prevent corrosion. The tips and handles are covered in orange vinyl to prevent marring of surfaces and to provide a firm grip.

The Matthews Super Mafer Clamp is strong enough to withstand greater clamping pressure than any other clamp of its kind. The protective pads in the jaws have superb gripping action.

Uses include pipe, stand, flex-arm or flag mounting.


Manfrotto camera platform for use the Magic Arm. It has a standard 1/4-20 inch thread mount for a small camera.


PRODUCT HIGHLIGHTS

-Fits on lenses up to 114mm in front diameter
-2 Filter slots: one fixed, one rotating
-Externally operated, patented internal matte adjustment
-Can be used as a clip-on, or with optional 15mm rod  support and adjustable rod adapter
-Lightweight at only 12.4 oz

The Vocas MB-255 Matte Box is designed for use with lens that have a front diameter up to 114mm, such as the Canon CN-E prime lensess and the Zeiss CP.2 compact prime lenses. It features a Quick-Lock mounting system that attaches directly to the front of the lens barrel. When you need to mount the mattebox to 15mm rods, an optional MBS-100 mattebox support and adjustable rod adapter are available. The mattebox has one rotating slot and one fixed 4x4 

The MB-255 works with most wide angle lenses in both 4:3 and 16:9 aspect ratios. Internal eyebrows come standard, which can be operated from the outside of the matte box, allowing the user to adjust the matte to the zoom position of the lens. It also features a patented heavy-duty top flag clamp. A 12" wide top flag comes included, along with two filter frames, and carrying case.


4x 25 Pound Sand Bags

Comes in a variety of shapes and weights. They are used for securing the bases of light stands and set walls. Many have handles, for hanging on hooks or risers. Some have two wings, to allow draping over light stand legs. 

2" Steel Spring Clamp is a heavy duty tool with a huge variety of uses on set. The clamp has a jaw capacity of 2" and is nickel-plated to prevent corrosion. The tips and handles are covered in orange vinyl to prevent marring of surfaces and to provide a firm grip.

Provides strong, solid gripping of round, square, or rectangular tubing and many other common and irregular shapes. 

The Manfrotto Variable Friction Magic Arm differs from the regular Magic Arm, in that the Variable Friction Arm allows partial locking in place of a light, grip, or a camera. This comes in handy when using a light or camera to track a subject. It is a pivot arm with a large locking knob. One end will support a light that has a baby (5/8") receptor. The other end is designed to fit into a Super Clamp socket, or other 5/8" receptor.


Matthews 24x36" Flag kit includes:

2- 24x36" Solids Flags
1- 24x36" Silk 
1- 24x36" Single Scrim
1- 24x36" Double Scrim
1-24x36" Flag Bag

Matthews  24x36" Silk

Used to control or manipulate light falling on certain areas of the set or subject. They can be used to soften or reduce light without a noticeable edge. A color coded binding is used around the frame to identify the fabric.


Matthews  24x36" Single Scrim

Open Ends are used to control or manipulate light falling on certain areas of the set or subject. They can be used to soften or reduce light without a noticeable edge. A color coded binding is used around the frame to identify the fabric. Green is single and red is double.

CAMERA OVERVIEW
 
Designed as a camera that is at home on productions as diverse as "Cinéma Vérité"-style documentaries, reality TV, commercial and corporate applications Sony's PXW-FS7 XDCAM Super 35 Camera System is a flexible 4K camera system. It features a Super 35mm size sensor that allows you to capture images with cinematic depth of field. The camera's E-mount is machined from stainless steel and allows you to use E-mount lenses or with the use of optional adapters to accept most 35mm lenses including PL, EF, Leica, and Nikon. The camera can capture footage to optional on-board XQD media cards in either DCI (4096 x 2160), UHD (3840 x 2160) at up to 60 FPS or HD at up to 180 FPS.

The camera records in your choice of XAVC-I, XAVC-L, or MPEG-2. However, MPEG-2 recording does not support the high data rates the camera is capable of generating when shooting in UHD, and is limited to recording HD video only. The camera incorporates Dual XQD media card slots that support simultaneous or relay recording. An ergonomically designed handgrip provides control of many of the camera's functions and features an adjustable length support arm.
 
The 4K Super35 EXMOR sensor features 14 Stops of latitude and a wide color gamut. It offers a choice of XAVC or MPEG-2 codecs. The XAVC codec can be used for 4K and HD recording, while MPEG-2 is limited to HD recording. XAVC comes in two flavors, XAVC INTRA, and XAVC Long, allowing you to encode from HD to UHD using Intra-Frame or Long GoP compression with 10-bit 422 for HD and the choice of 10-bit 422 or 8-bit 420 for UHD. XAVC intra compression is very efficient, recording at modest bit rates and XAVC Long also substantially extends the recording time while attaining very high quality and low noise.
 
The PXW-FS7 is equipped with an E-Mount machined from solid Stainless Steel for stability and strength. It accepts optional E-Mount lenses from Sony, Zeiss and other manufacturers. The shallow flange distance allows you to mount most 35mm lens types such as PL, DSLR and legacy SLR lenses including Canon EF, Leica, and Nikon as well as many others with mechanical adapters.
 
The camera body is made from magnesium, which is lighter and stronger than aluminum. This allows the camera body to weigh only four pounds. It's incorporates a shoulder pad and is designed to sit on the operator's shoulder or by extending the support arm of the SmartGrip to be held in front of the operator without requiring a support rig.
 
The camera includes an ergonomic handgrip that Sony calls a SmartGrip, which features Zoom, Start/Stop and Assign controls. The SmartGrip facilitates camera operation with the right hand, leaving the left hand free to operate the lens. Both the arm and handgrip can be positioned at different angles permitting great flexibility.
 
FS7 records internally in 4K up to 60fps in UHD 3840x2160 and in HD up to 180fps using XAVC-I or up to 120fps with XAVC-L. Recording Apple ProRes to the internal XQD slots requires an optional EXCA-FS7 extension box and future upgrade.
 
4K (4096 x 2160) is available over the 3G-SDI outputs or the HDMI 2.0 output of the camera so you can capture the 4096 x 2160 video using an optional external recorder.
The camera features two XQD media slots that support simultaneous or relay recording. The camera also has an SD card slot that is only used for saving configuration data, and cannot be used to record video.


The Panasonic BT-LH1700W is a 17" widescreen monitor designed for broadcast and studio applications. It utilizes advanced processing technology to reproduce images with color and contrast qualities once found only in CRT monitors. This model is capable of displaying all the HDTV formats and frame rates as well as being NTSC and PAL systems compatible.

Broadcast Quality
The BT-LH1700W is suitable for broadcast and professional applications. The monitor compensates for RGB accuracy in 256 discrete steps. The rated gamma properties (g = 2.2) are reproduced and the gradation suitable for broadcasting is achieved. Color temperature is selectable from 3 preset values, 9300K, 6500K and 5600K as well as totally custom settings ranging from 3000K to 9300K.

Diagonal Line Compensation
A special circuit compensating for noise caused from diagonal lines has been developed for the BT-LH1700W. This processing reduces the occurrences of jagged noise in the diagonal direction, not just vertically in the field, by detecting correlations and making optimal interpolations.

Color Space Conversion
The BT-LH1700W uses a technology to produce the same EBU-based colors as CRT monitors. Colors on CRTs appear different from those in LCD monitors due to slight differences in the monitor's chromatic range. Color-Space Conversion compensates for these differences.

Analog and Digital Inputs
This monitor is compatible with multiple HD and SD formats. Two SDI inputs with automatic switching between HD and SD comes standard. The monitor is also equipped with one SDI output, a Component input (Y/Pb/Pr) with RGB switching, Y/C and Composite Video. The RGB input selection is compatible with computer input.

Waveform Monitoring
Here's a custom feature: The BT-LH1700W will display the input signal as a waveform image. The waveform monitor screen can be picture-in-picture on top the video image and the overlay picture can be placed in any of the screen's four corners.

Split Screen
A frame of video can easily be frozen and displayed as a still image on the left side of the screen. This function can be utilized to match a live camera with a frame of video shot at an earlier time or with a different camera. There are two display modes: FULL for displaying and comparing the entire image on the screen, and PART for displaying and comparing only the center part of the images.

Floppies are Cutters which have an extra layer of material sewn to one edge and held in place with Touch Fastener until needed at which time the Cutter becomes twice its original size
Newly designed 90° Cutter frames will make it possible to position the instrument over the top of the set wall or to use two or more units to create a box for better light control.

Matthews 24x36" Flag

Can be used to protect the camera lens from flares, control spill light from other sources, or keep light from reaching an area on the set.

Matthews 24x36" Double Scrim

Open Ends are used to control or manipulate light falling on certain areas of the set or subject. They can be used to soften or reduce light without a noticeable edge. A color coded binding is used around the frame to identify the fabric.

CAMERA OVERVIEW

The Sony PMW-F5 CineAlta Digital Cinema Camera features an 8.9 MP Super 35mm image sensor capable of capturing 2K and HD internally in Sony's XAVC codec onto SxS PRO+ memory cards, and 4K and 2K RAW to an optional Sony AXS-R5 external recorder. It features 14 stops of dynamic range, applicable to both RAW and XAVC recording as long as S-Log is turned on, for truly film-like rendering of highlights and shadows. The camera natively features an FZ mount and includes a PL-mount adapter.

Out of the box, the F5 records 2K and HD in up to 59.94p in XAVC. With the latest firmware updates installed, it will be able to record 4K RAW from 1p to 60p and 2K RAW from 1p to 240p to an AXS-R5 recorder, and 1080p 4:2:2 from 1fps to 180fps internally in XAVC. It will also be able to record SStP SR at 4:4:4 internally when you select RGB mode at 440 Mbps instead of YUV 4:2:2. All RAW recording is in 16-bit.

Dynamic Range Rated at 14 Stops

The ability to render a range of exposure values from deepest shadows to brightest highlights is a crucial test of any digital camera. The F5 is capable of an impressive 14 stops of exposure latitude, low-light sensitivity and low noise in the blacks. The digital sensor's dynamic range approaches that of traditional motion picture film.

 Long-life Olivine Battery and Quick Charger

The F5 supports Sony's BP-FL75 battery pack, which uses Olivine Lithium Iron Phosphate instead of conventional Lithium Ion cathodes. The result is a substantial increase in charge-discharge cycles, compared to previous Sony batteries. The Olivine battery works with Sony's BC-L90 quick charger. The camera is also compatible with Sony's BP-GL95A, GL65A, L80S and L60S batteries, which use the BC-L70 and L160 chargers.

 Intuitive One-touch Interface

Designed with significant input from cinematographers, the F5 features an intuitive interface for a range of controls. Instead of diving through menus, you get direct, one-touch access to key shooting parameters including frame rate, shutter speed, color temperature, ISO sensitivity and gamma. Assignable buttons mean that your favorite adjustments are always at your fingertips.

Wide Choice of Connections

The F5 offers numerous connections to suit your workflow, including four HD-SDI jacks, HDMI, USB, DC in connection, a removable XLR audio module and a removable time code/genlock module. The XLR inputs accept balanced analogue signals, provide 48-Volt phantom power and will accept four channels of AES/EBU digital audio with an expected firmware upgrade.

Canon 5d Mark III package with a choice of any dslr lens we have in stock and Sachtler lightweight  tripod package

Zoom H6 Audio recorder Kit includes:

1x Zoom Hr recorder
2x Sennheiser G2 Lav kits w/ Tram TR-50 Lav mics and XLR to Mini cables 
1x Sennheiser ME66 Shotgun Mic w/ K6 Power Module and Windscreen
1x Boompole w/ Shotgun Mount and 15' XLR Cable

1x Sennheiser G2 Lav kits w/ Tram TR-50 Lav mics and XLR to Mini cables
1x Sennheiser ME66 Shotgun Mic w/ K6 Power Module and Windjammer
1x Boompole w/ Shotgun Mount and 15' XLR Cable

Two Canon CN-E EF mount lens kit. Both 24mm and 85mm lenses for Canon’s C-series cinema cameras, for full-frame EOS DSLRs, and for any video-capable cameras that accept EF-amount lenses. For canons c100s, c300, c500, for full-frame DSLRs and for any video capable cameras. Features sharp optics capable of 4K quality recording and fast aperture that does great in low light. 

EF Mount Prime Lens. Supports 4K recording quality. This Ef- mount long lens for Canon’s C-series cinema camera, for full-frame EOS DSLRs, and for any video-capable cameras that accept EF-amount lenses. 

Gorgeous Nikon Nikkor 85mm f/1.4. Manual focus prime lens. Glass is in perfect condition. Beautiful portrait lens.

Zeiss 35mm CP.2 T2.1                          

Mft prime lenses 

12mm
16mm
25mm
35mm
50mm

 Get unique macro shots with this spicy lens.  MFT Mount available for extra upon request.

PL set.

At the heart of Atlas Lens Co. Orion Series is a true Front Anamorphic Group. Orion Series lenses deliver the striking beauty of painterly waterfall bokeh, disproportionate breathing, and signature but controlled flare. These optical characteristics are now available as part of your cinematic storytelling toolkit with a mechanical functionality that won't leave you feeling confounded by compromise.

Nikon mount but I also have a nikon to canon mount adaptor. 

Cn7 Lens PL
MatteBox and Rods
Pelican Case
Lens Cap
Clear Filter

This version 2 of the RED PRO ZOOM 17-50mm is a cinevised version of the popular Tameron 17-50mm.  It's a PL mount lens and weighs only 3.2lbs. It's become very popular for Movi work with either the RED dragon or ALEXA  Mini.  It's maximum aperture is 2.9 and its minimum focus is less than 8inches making it ideal for macro work as well

Rokinon 24, 35, 50, 85mm T1.5 Cine DS Lens Bundle for Canon EF Mount 

Canon EF Mount Lens
Aperture Range: T1.5 to T22
Four ED and Two Aspherical Elements
UMC Coating
Geared Focus and Aperture Control Rings
De-Clicked Aperture Ring
Accepts 77mm Threaded Filter Rings

ROKINON T1.5 CINE LENSES
Canon EF Mount Lens
24, 35, 50, & 85mm Cine-Style Lenses
Canon EF Mount
Covers Full-Frame Sensors
T1.5 to T22 Exposure Range
Manual Focus and Aperture

Great Lenses! Works really well with plenty of cameras. 

Four ED and Two Aspherical Elements
UMC Coating
Geared Focus and Aperture Control Rings
De-Clicked Aperture Ring
Accepts 77mm Threaded Filter Rings



I've had this pristine wide angle lens for about a year, selling because I haven't been using it and am attempting to Marie Kondo my existence. 

cash only, pickup in Bushwick. camera not included. 

pics of the lens + examples of the type of images you can achieve with this lens. 

Features:
For Canon EF Mount EOS DSLR Cameras
Wide Angle Lens
Exceptional Color Control
Features
The Zeiss Distagon T* f/2.8 21mm ZE Lens for Canon EF Mount EOS DSLR cameras is a precision wide angle lens built with a Carl Zeiss T* anti-reflection coating that yields accurate color and professional-quality, high contrast images without any color fringes. It delivers exceptional results under all lighting conditions. With close focusing of only 8.64" (0.22 m) it is useful for landscape photography and other subjects with dramatic perspectives. The Distagon T* f/2.8 21mm comes with an EF bayonet (ZE) mount for Canon film and digital full-frame SLRS. The large front filter diameter (82mm) allows for the use of standard screw-in filters when combined with a standard lens shade (included).

Kowa Cine Prominar Spherical Prime Lens Set

15mm T2.3 25mm T2.3 32mm T2.3 50mm T2.3 75mm T2.3

Kowa Anamorphic Lens Set (40,50,75)

1 40mm T2.3 1 50mm T2.3 1 75mm T2.3 

Diopter Set 1/2, +1, +2, +3

Super Baltar Prime Lens Set (Duclos Lenses)

25mm T2.3 35mm T2.3 50mm T2.3 75mm T2.3

1x Lens 
1x Front Cap 
1x Back Cap 
1x Carrying Case

100mm Cineovision macro T2 lens. PL mount. With extension factor up to 4x.

Canon CN-E cine prime super fast full frame prime lens. Geared for follow focus.

50mm Cine Prime CN-E lens, incredibly fast. T1.3

4 lens kit, ultra fast cine primes with an EF mount.
24,35, 50, and 85 mm lens. Great kit for doc or inde cinema. The 35 is a 1.5! They are all less than 2 and perfect for lowlight and shallow depth of field.

Excellent long cine primes that’s super fast!

Rokinon 14mm wide angle lens. This is one of the best for timelapse photography. Do your research and find out that this lens outperforms most for night landscape wide field photography. Almost no chromatic aberration and no coma.

Tiny paint chips on gears. Otherwise perfect condition.

EF Mount Lens/Full Frame Format
Aperture Range: T1.5 - T22
Manual Focus and Aperture
Geared Focus and Aperture Control Rings
Lateral Aperture and Distance Markings
Minimum Focus Distance of 1.5'

Accepts 72mm lens filters.
With a 5x zoom range of 28mm to 135mm, it covers wide-angle / normal / portrait / telephoto perspectives.

One of our favorite lenses of all time. So much better than Canon's 70-200. To use with MFT cameras like GH4. Comes with FT to MFT adapter.

Kern-Paillard 10mm Switar T1.6
Kern-Paillard 16mm Switar T1.8
Kern-Paillard 25mm Switar T1.4
Kern Paillard 75mm Switar T2.8

When you're shooting with a DSLR, there's no reason to sacrifice quality in glass or housing. The Super Speed series gives you the incredibly fast t1.5 to work with. This solid 35mm lens from Zeiss has standard housing that works great with follow focus systems, and the 14 blades inside it produce a smooth bokeh on a modest budget. And because of the flexibility of the swappable mounts, this one isn't just a step up for DSLRs, but a fine choice for cinema cameras as well.

Owner Notes: 
Lens back can be changed to PL or EF mount on request

When you're shooting with a DSLR, there's no reason to sacrifice quality in glass or housing. The Super Speed series gives you the incredibly fast t1.5 to work with. This solid 50mm lens from Zeiss has standard housing that works great with follow focus systems, and the 14 blades inside it produce a smooth bokeh on a modest budget. And because of the flexibility of the swappable mounts, this one isn't just a step up for DSLRs, but a fine choice for cinema cameras as well.

Owner Notes: 
Lens back can be changed to PL or EF mount on request

When you're shooting with a DSLR, there's no reason to sacrifice quality in glass or housing. This solid 21mm lens from Zeiss has standard housing that works great with follow focus systems, and it produces a smooth bokeh on a modest budget. And because of the flexibility of the swappable mounts, this one isn't just a step up for DSLRs, but a fine choice for cinema cameras as well.

Owner Notes: 
Lens back can be changed to PL or EF mount on request

CN-E 85mm Lens

Description

Location

Item lent by Deborah

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FAQs

CN-E 85mm Lens

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