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The 2ft 4Bank Kit from Kino Flo with Soft Case is a 4-lamp fluorescent light that outputs the equivalent of a 500W softlight while consuming a fraction of the traditional fixture’s electrical draw. The kit includes a 2′ 4Bank lamp head, a standard 4Bank ballast, mount with a Baby receiver, 25′ head extension cable, lamp case, and a soft, padded case for the light.
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The 322RC2 is unique in that it allows the camera mounting assembly to be positioned for left or right hand operation, in horizontal or vertical position, and in addition, will allow you to unblock, move, position and lock your camera with one hand in one position. This is due to the revolutionary design of its grip handle which incorporates the ball lock lever. The very act of taking your hand away from the grip locks the head into position, which eliminates the extra step of having to tighten a knob or lever before being ready to shoot. The tension of the ball can be adjusted to accommodate the load weight
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The 5-in-1 Collapsible Reflector Disc is versatile in the field and in the studio, providing shadow-lightening detail in your subject using available, or studio lighting. It starts out as a translucent white disc — perfect for softening direct sun, or lights without diffusion. Use the removable, reversible zippered slipcover to reflect light into shadow areas of your subject. Your choice of color — silver, gold, white, silver/gold mix — will be determined by the lighting conditions, and your personal preference.
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Optimized optical quality with low chromatic aberration, telecentricity and low distortion, ideal for high performance S35 digital cameras • Internal focus with minimal breathing • Image circle of 31.4mm diagonal for perfect illumination of the S35 sensors • Very robust and precise zoom and focus mechanics with Angénieux unique rod guiding system design • Precise focus marks with easily interchangeable focus scale ring from feet to meters • Integrated filter holder for standard screw in filters • Integrated net holder • Optional front protective glass • Designed for easy maintenance • Standard PL mount lens. Panavision, Canon EF or Nikon F mounts optional
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- Voltage : 120 VAC, 50/60 Hz, 9 A
- Power Consumption : 1050 W
- Warm-Up Time : 13 minutes approx.
- Fluid Consumption : 90 mL per minute at maximum output
- Maximum Fluid Capacity : 2.53 qt (2.4 L)
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Light Fixture
ConnectorsPhotometrics 55° at 2700K: 299.1 fc / 3220 Lux at 9.8' / 3 m 55° at 4300K: 516.5 fc / 5560 Lux at 9.8' / 3 m 55° at 6500K: 453.4 fc / 4880 Lux at 9.8' / 3 m Color Temperature 2700 to 6500K +/- 200K Color Accuracy Standard CRI 96 TLCI 96 Cooling System Passive Dimming Yes 0 to 100% (Continuous) Display None Beam Angle 55°
LensBattery Plate 2 x V-Mount Power Input Connection XLR 3-Pin DMX Connection 5-Pin XLR
MountingReflector Mount Bowens S-Type
YokeFixture Mount Combination 1-1/8" Stud and 5/8" Receiver
Remote OperationYoke Type Yoke/Bracket
PowerRemote Control Type Bluetooth, DMX, Wi-Fi, Wireless DMX
CableAC Input Power None Power Source AC Adapter, External Battery Max Power Consumption 720 W Cable Length 19.7' / 6 m Cable Type powerCON to 3-Pin XLR -
- Beam Angle : 105°
- Color Temperature : 2700 to 6500K, CRI 96, TLCI 96
- Color Accuracy Standard : CQS 95
- Cooling System : Fan
- Dimming : Yes, 0 to 100% (Continuous)
- Display : LCD
- Housing Material : Aluminum
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- With CRI and TLCI scores of 96+, a tungsten SSI score of up to 85, and a D55 SSI score of up to 74, the 300x will always provide you with top of the line, accurate color reproduction, 5500k color temp matches the sun and blend seamlessly as white light for natural
- The 300x is the first of many Aputure lights to utilize the expanded vari-white CCT range of 2700K-6500K, going beyond traditional bi-color, allowing you to produce light that is warmer than typical tungsten fixtures, and cooler than conventional daylight (D55).
- The 300x even features two output modes: Max Output and Constant Output mode. In Constant Output mode, you can change your CCT precisely while maintaining a consistent luminance level. Combined with a new, smoother dimming system, you even gain the ability to seamlessly shift your color temperature in the middle of a scene. In Max Output mode, however, the 300x will always maximize your output for your CCT and dimming level, with the highest output range being 4000K-5500K.
- The LS300X updated the control box featuring a new CCT control wheel. The 300x CCT dial allows you to fine-tune your CCT in +/- 50K increments. But with the PRESET button located in the middle of the wheel, you can also toggle between 5 common CCT presets (2700K, 3200K, 4300K, 5500K, 6500K) for quick accessibility.
- LS 300X supports controlling lights in multiple control methods, like the control box, 2.4G RF remote, DMX 512, as well as by the Bluetooth Mesh Sidus Link App. The 300x also launches with 9 built-in lighting FX in the control box, such as “Paparazzi” “Fireworks” “Lightning” “Faulty Bulb” “TV” “Pulsing” “Strobe” “Explosion” and “Fire”, all with adjustable color temperature.
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V-Mic D1 - Directional Condenser Shotgun Microphone
- THD : ≤0.5%
- Power : DC 3.0V (2x AAA 1.5V)
- Dimension (mm) : 155.7 x 43.6 x 91.3mm (6.1 x 1.7 x 3.6 in)
- Weight (No Battery) : 90g (3.2oz)
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Sale!
- Sensor 35mm format ARRI ALEV III CMOS
- In-camera ARRIRAW recording up to 120fps** onto XR Capture Drives.
- Faster and longer ProRes/DNxHD recording **
- Open Gate* sensor mode to capture the largest available sensor area.
- Capture true anamorphic, thanks to the tall 4:3 sensor mode.
- Base ISO 800 ASA
- Latitude 14+ Stops
- Bit Depth 16 bit linear internal image processing
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The Alura Zooms’ color characteristics, as well as their handling, are matched to existing prime lenses in ARRI’s outstanding repertoire. ARRI zoom 45-250mm now offers the widest range of cine lenses for all professional production demands, including zooms, high speed primes, standard speed primes, extreme wide angle and telephoto primes, macro, extenders and diopters.
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Open up Apple ProRes and Avid DNxHD post production quality to thousands of devices (cameras, projectors, tablets, phones, game consoles, medical and industrial equipment). Take your consumer camera to a truly Pro recording device. Avoid the internal MPEG compression & go from sub 30Mbps MPEG to 220Mbps ready to edit 10-bit 422 Apple ProRes HQ. Record to standard 2.5” HDDs and SSDs. A 1TB HDD gives you 10+ hours of Apple ProRes HQ. Buy your choice of media that is affordable, reliable and readily available.
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Atomos Ninja 2 Video Recorder is an HDMI recorder built into an 800 x 480 resolution monitor that records up to 1080/30p/60i resolution directly from your camera’s sensor. It records to an optional HDD or SSD in using Apple’s ProRes or Avid’s DNxHD edit-ready codecs. The Ninja 2 supports 10-bit 4:2:2 color sampling for vivid images superior to most DSLR internal recording capabilities, and you can still record 8-bit video to the Ninja 2. Built-in exposure tools such as false color and zebra bars provide useful aids in exposing your footage, while the built-in focus peaking tool can alert you to out of focus shots may be difficult to see on an on-camera monitor.
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Record direct from the camera sensor to your choice of Apple ProRes, DNxHD/DNxHR or RAW* in 10-bit 422 quality onto affordable media options. Based on the camera’s output the Shogun can accept and record up to 4K 30p and HD 120p over HDMI or 12/6/3/1.5G SDI.
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The Atomos Shogun Studio 4K Monitor / Recorder combines two color-calibrated 1920 x 1200 resolution displays with 4K video recording and edit-ready codecs in a 3RU chassis with removable rack mount ears. This configuration is well suited for live event, studio, and on-set DIT work. The Shogun Studio utilizes 4K HDMI and 12G-SDI inputs to record clean output signals at resolutions up to UHD 4K (3840 x 2160) at 23.98, 24, 25, 29.97, and 30p, as well as Full HD (1920 x 1080) video up to 120 fps when used with capable cameras. The Shogun records 10-bit, 4:2:2 UHD 4K and HD video to Apple ProRes HQ, 422, or LT formats. It can also record HD video using Avid’s DNxHD format and UHD 4K video using Avid’s DNxHR. Video is recorded to single or raided 2.5″ HDD and SDDs for fast and reliable write speeds.
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The B+W 77mm MRC 110M Solid Neutral Density 3.0 Filter is an ND filter with a 1,000x filter factor that provides a 10-stop exposure reduction. Its 3.0 density creates a darkening of the entire image, allowing you to photograph with a wider aperture or slower shutter speed than normally required. By slowing your exposure time or increasing your aperture, you are able to control depth of field and convey movement more easily. Neutral density filters do not affect the coloration of the image and are ideal for pairing with other filters.
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Wildclickz Beauty Dish is designed to give a wide, uniform and softlight as well as shadow definition, when mounted to a Profoto flash head. The gradual fall-off makes it perfect for close-up beauty photography.
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The reflector is ideal for portrait and commercial photography where broad, soft, even lighting is required, but with more crispness than a softbox. And the included deflectors give you options for warming or neutral color balances in addition to eliminating specular light from the flashtube. The grid narrows the beam angle of the reflectors precisely, affecting the direction and spread of light. which includes 1)21cm 30′ honey comb 2)21cm 20’honey comb 3)21cm 12’honey comb 4)21cm 8’honey comb
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Fitting in a 6RU design that’s only an inch thick, the Blackmagic Design 17″ SmartView HD Studio Monitor can be easily integrated into a studio or post-production setup. Through the rear inputs, SD, HD, and 3G-SDI signals can be displayed, with 1080p signals shown at a pixel-to-pixel ratio for critical sharpness evaluation. Resolution is auto-detected, so there is no need for regular menu-diving to correct the picture. Adjustments can be conveniently made by including the SmartView HD into your network for full software control.
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- Lens Mount : Canon EF
- Lens Communication : Yes, with Autofocus Support
- Sensor Resolution : Effective: 21.2 Megapixel (6144 x 3456)
- Sensor Type : 23.1 x 12.99 mm (Super35) CMOS
- Built-In ND Filter : Mechanical Filter Wheel with Clear, 2 Stop (1/4), 4 Stop (1/16), 6 Stop
- ISO Sensitivity : 100 to 25,600 (Expanded)
- Shutter Type : Rolling Shutter
- Advertised Dynamic Range : 13 Stops
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The Mini Converter HDMI to SDI 4K from Blackmagic Design allows you to convert HDMI to SD, HD, 3G, or 6G-SDI in resolutions up to Ultra HD 4K (3840 x 2160) and DCI 4K (4096 x 2160). This is useful for connecting consumer devices that output HDMI signals with professional SDI video equipment. With a compact form factor and easy-to-use controls, the Mini Converter is ideal for a variety of broadcast, post production, and professional AV applications.
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The Boom Stand is a clever lighting support solution that provides you with a strong, 12.5′ stand with a 19.8 lb load capacity when used in the traditional way or a 6.25′ boom that supports 4.4 lb, when fully extended. The legs feature heavy duty bracing and a wide footprint of 43″ for extra stability. The black anodized aluminum Combo Boom Stand ships with a 5/8″ reversible spigot and an empty cordura nylon sandbag counterweight capable of holding 15 lb of ballast.
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This c-stand-boom is comprised of a C-stand, 2.5″ grip head and 40″ extension arm. The stand features a patented locking mechanism that allows the legs to swing out and lock into place for easy setup and collapse flat for storage. The included extension grip arm fits neatly into the stand’s removable 2.5″ grip head, allowing you to offset the stand and cantilever flags, gobos or lights out of the way of the action. The stand has a low center of gravity which allows mounting of heavy equipment without tipping. The legs are perfectly shaped for saddlebag-type sandbags. The kit is also often used as a short boom.
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canara BD-10 is ideal luminaire for lighting in indoor and outdoor it delivers smooth uniform across the entire spread from spot to flood focusing , light weight , rugged , and reliable both indoor and outdoor . can be used as a key light , back light , fill light where light control is immense importance .
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Used in small tv studios , video filming , tv commercials and outdoor location , alumina gravity die cast housing , cylindrical construction . the spot and flood achieved by moving the lamp in relation to the stationary reflectors .
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Used in small tv studios , video filming , tv commercials and outdoor location , alumina gravity die cast housing , cylindrical construction . the spot and flood achieved by moving the lamp in relation to the stationary reflectors .
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The Speedlite 600EX II-RT delivers impressive power, responsive performance and advanced, wireless communication for those who demand the very best in flash photography. Featuring improved continuous performance up to 2.0x* faster than its predecessor, the Speedlite 600EX II-RT performs at a phenomenal speed, and reliably at that – new Quick Flash settings and a flash-readiness indicator help ensure priority shutter operation, even when the flash isn’t fully recharged. It’s also built for fast, convenient use virtually anywhere for any situation, with improved combination button and dial controls, a refined dust- and water-resistant body and new accessories tailor-made for enhanced lighting effects. For speedy and comprehensive flash photography on the go, the Speedlite 600EX II-RT delivers portable, professional performance with ease.
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The Canon Extender EF 1.4X III is designed for select Canon EF mount L-series telephoto lenses. It increases the focal length of a lens by a factor of 1.4x while still delivering superb image quality. To ensure the best possible image quality in all shooting conditions, it combines redesigned optics, improved data communication between lens and camera and enhanced environmental protection. It is ideal for photojournalists and wildlife, nature and sports photographers who need to get close to distant and challenging subjects and it reduces the need to carry heavy telephoto lenses..
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L-series super-telephoto zoom lens equipped with an Image Stabilizer. The fluorite and Super UD-glass elements largely eliminate secondary spectrum. The floating system also ensures high picture quality at all focal lengths. The Image Stabilizer has two modes and it is compatible with Extenders 1.4x II and 2x II.
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Canon EF 100mm is an Autofocus lens for macro photography up to life-size (1x) magnification. Inner focusing affords a long working distance of 5.9in. (149mm) at 1x. A 3-group floating system results in excellent delineation at all focusing distances. Ring USM for silent and high-speed AF, and full-time manual focusing also provided.
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- Lens type : Prime lens
- Focal length : 135 mm
- Image stab. : No
- Lens mount : Canon EF
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Canon EF 14mm f/2.8L USM
- Lens type : Prime lens
- Focal length : 14 mm
- Image stab : No
- Lens mount : Canon EF
- Max aperture : F2.8
- Min aperture : F22
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Canon EF 15mm f-2.8 Fisheye lens with a 180º angle of view for unique and intriguing effects. The wide depth of field makes it even more interesting. The short minimum focusing distance of 8 in. (20 cm) gives new meaning to close-up shots. The lens has a fixed petal-type hood and a gelatin filter holder at the rear.
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The EF 16-35mm f/2.8L II USM is a high performance, water-resistant, and ultra wide-angle Canon L-series lens. It has been specifically designed for improved edge-to-edge image quality that will meet the strict requirements of professional and high-end amateur photographers.
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A new and affordable L-series ultra-wide-angle zoom lens that’s ideal for both film and digital SLRs. Superior optics are assured by the use of three Aspherical lens elements, in addition to a Super UD (Ultra-low Dispersion) glass element. Optical coatings are optimized for use with digital cameras.
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Canon EF 24-105mm f/4L IS USM Lens
- Angle of View : Diagonal 84° - 23° 20'
- FOCAL LENGTH : 24 – 105MM
- Aperture Range : Wide / Long f/4.0-22
- Number of Aperture Blades : 8
- Filter Size : 77mm
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Meeting the ever-increasing demands on image quality that digital photography brings, the redesigned EF 24-70mm f/2.8L II USM is the latest update to the acclaimed L-Series of EF optics, re-establishing a new standard for superb optics, high-end durable construction, and performance in professional zoom lenses.
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Canon’s newest fixed length L-series lens, the EF 24mm f/1.4L II USM, incorporates the newest in Canon lens technology for spectacular sharpness and impressive performance at all settings. It features two high-precision, large-diameter aspherical lenses for sharpness across the sensor, even in peripheral areas of full-frame sensors.
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L-series professional f/1.4 wide-angle lens with an Aspherical lens element to correct aberrations. The floating system enables high picture quality to be obtained over the entire focusing range. Autofocusing is quick and quiet with rear focusing and ring USM. Full-time manual focusing is also possible.
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The EF 50mm f/1.2L USM is a peerless new standard lens featuring an ultra-large aperture for a narrow depth of field and soft background blur so loved by photographers everywhere. The EF 50mm f/1.2L USM is suitable for any shooting situation.
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Standard lens featuring superb quality and portability. Two high-refraction lens elements and new Gaussian optics eliminate astigmatism and suppress astigmatic difference. Crisp images with little flare are obtained even at the maximum aperture.
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Compact and lightweight-an outstanding walk-around lens-Canon’s EF 50mm f/1.8 STM is a great entry into the world of EOS prime lenses. With an 80mm effective focal-length on APS-C cameras, 50mm on full-frame cameras.it’s an excellent prime lens for portraits, action, even nighttime photography.
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Canon EF 70-200mm f-2.8L USM Incorporating Canon’s second generation Image Stabilization technology, this telephoto zoom responds in as little as 0.5 seconds, while providing up to three stops of correction for camera shake. Its AF system has been refined for better response time and tracking speed.
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Improving upon one of the most celebrated lenses in the Canon EF line is no easy feat, but Canon has done just that. The all-new EF 70-200mm f/2.8L IS II USM increases the speed, performance and optical quality of the EF 70-200 f/2.8L IS USM while maintaining all of the characteristics that have made it a legend for professionals and advanced amateurs alike.
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Canon EF 70-200mm f-4L USM High-performance, L-series telephoto zoom lens combining light weight and compactness with an f/4 maximum aperture. Inner focusing and the ring USM enable quick and quiet autofocusing. Also, a circular polarizing filter can be attached and used without difficulty because the front lens element does not rotate during focusing. The tripod collar (sold separately) is the same one used with the EF 300mm f/4L USM.
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For filmmakers and photographers who want the look and feel only possible with extreme wide angle and fisheye photography, the new Canon EF 8-15mm f/4L Fisheye USM is a world-class choice. It delivers 180° diagonal angle of view images for all EOS SLR cameras with imaging formats ranging from full-frame to APS-C, and provides 180° circular fisheye images for full-frame EOS models.
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Canon EF 85mm f-1.2L II USM Retaining the impressive optical performance and large aperture of the original EF 85mm f/1.2L USM, this new medium telephoto lens uses a Ring-type USM, high-speed CPU and optimized algorithms to achieve an autofocus speed approximately 1.8x faster than the original.
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Canon EF 85mm f-1.8 USM A highly practical medium telephoto lens with superb delineation and portability. Images are sharp and clear at all apertures. Through computer simulations, the lens has been designed to give beautiful background blur. Since the front lens group does not rotate during focusing special filter effects are not affected.
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- Focal Length : 10 to 18mm (35mm Equivalent Focal Length: 16 to 28.8mm)
- Maximum Aperture : f/4.5 to 5.6
- Minimum Aperture : f/22 to 29
- Lens Mount : Canon EF-S
- Lens Format Coverage : APS-C
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Canon EF-S 10-22mm f-3.5-4.5 USM This exciting zoom lens provides ultra wide-angle coverage to the EOS 20D, 30D, 40D, 50D and Digital Rebel SLRs. Equivalent to a 16-35mm zoom, it offers excellent performance and optics designed from the ground-up for digital SLR use. Three Aspherical lens elements, plus a Super-UD element, assure image quality. Its ring-type USM means fast and silent AF along with full-time manual focus. It focuses as close as 9.5 inches.
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The EF-S 18-135mm f/3.5-5.6 IS STM Lens from Canon is a wide angle zoom lens with an 18-135mm focal range that is equivalent to 29-216mm in the 35mm format. This wide set of focal lengths offers flexibility in shooting everything from expansive landscapes and cramped interiors to group shots, portraits and distant subjects. Optical Image Stabilization reduces the blurred effect of camera shake up to 4 stops and the new Dynamic Image Stabilization improves the look of video while tracking moving subjects or walking with your camera
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Canon EF-S 18-135mm f-3.5-5.6 IS USM An all-around lens ideal for creative photography and movies, Canon’s EF-S 18-135mm f/3.5-5.6 IS USM adds cutting-edge technology to an extremely flexible zoom range. Delivering remarkable performance for everyday capture, it’s equipped with Canon’s new NANO USM technology, featuring high-speed and near-silent AF. What’s more, it’s also compatible with Canon’s new Power Zoom Adapter PZ-E1 for more natural zooming during movie capture. For landscapes, portraits, sports videos and everything in between, the EF-S 18-135mm f/3.5-5.6 IS USM provides great versatility with its magnificent optics, comprehensive zoom range and premium design. It’s an impressive complement to the EOS 80D camera, or any EOS camera with an APS-C size sensor.
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- Focal Length : 18 to 55mm (35mm Equivalent Focal Length: 28.8 to 88mm)
- Maximum Aperture : f/3.5 to 5.6
- Minimum Aperture : f/22 to 38
- Lens Mount : Canon EF-S
- Lens Format Coverage : APS-C
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- Focal Length : 55 to 250mm (35mm Equivalent Focal Length: 88 to 400mm)
- Maximum Aperture : f/4 to 5.6
- Minimum Aperture : f/22 to 32
- Lens Mount : Canon EF-S
- Lens Format Coverage : APS-C
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Canon’s newest “L” series lens is its first mid-telephoto macro lens to include Canon’s sophisticated Image Stabilization. With the highest quality optics available, combined with near-silent Ultrasonic focusing and life-size close-up capabilities without an adapter, the EF 100mm f/2.8L Macro IS USM is simply unrivaled.
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- 24.1megapixel APS-C CMOS sensor & DIGIC 4+ image processor
- 9 point AF with 1 centre cross-type AF point
- Standard ISO 100 - 6400 (expandable to 12 800)
- Wi-Fi / NFC supported
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- Lens Mount Canon EF
- Sensor Type 36 x 24 mm (Full-Frame) CMOS
- Sensor Resolution Actual: 21.5 Megapixel
- Effective: 20.2 Megapixel (5472 x 3648)
- Aspect Ratio 3:2
- Image File Format JPEG, Raw
- Bit Depth 14-Bit
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Canon is proud to present the highly anticipated EOS 5D Mark III PL Mount. With supercharged EOS performance and stunning full frame, high-resolution image capture, the EOS 5D Mark III is designed to perform. Special optical technologies like the 61-Point High-Density Reticular AF and an extended ISO range of 100–25600 expandable to 50 (L), 51200 (H1) and 102400 (H2) make the EOS 5D Mark III PL Mount ideal for shooting weddings in the studio or out in the field, and great for still photography.
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Marking a new standard in high-resolution digital SLR photography, the Canon EOS 5DS camera shatters the status quo with a new 50.6 Megapixel, full-frame CMOS sensor. Perfect for commercial and fine art photography, or any other application that calls for extremely high-resolution, the EOS 5DS is the ultimate combination of EOS performance and ultra-high megapixel capture. It features an advanced, 61-point High-Density Reticular AF system that includes 41 cross-type AF points and EOS iTR AF for precise AF in numerous situations.
