05/11/2011, by Eric MacIver
Our Arri Alexa Plus and Red Epic-M highlight an assortment of new digital cinema camera bodies to hit our shelves.
The Arri Alexa Plus features the ability to record full 2k uncompressed image to a deck, in addition to its onboard Sony SxS cards. It also features a built-in wireless remote receiver for FIZ (focus, iris and zoom) control, position and motion sensors, lens data system, 3D lens synchronization, second monitor out and a third accessory power output.
The Red Epic-X records a super-high resolution 5k image to onboard SSD cards while maintaining a highly compact form factor, light weight and touchscreen controls.
Both cameras usher in a new level of high-quality 35mm style production. For smaller productions, direct to web or blu-ray, the new Sony F3 and Panasonic F100 feature the ability to use 35mm cinema lenses and record to common digital formats. The Sony in particular is gaining high praise for its easy workflow and solid images - in fact, Sony was so pleased with its performance, they gave it the coveted "Cine Alta" moniker.
For any shoot, if you need super-slow-motion, our new IDT Diablo Y5 camera can shoot 640 frames in 2k or up to 1,000 frames in 1080p. Our body in particular features twice the onboard memory of existing cameras. This camera was made famous for the beautiful and deadly slow-motion explosion sequence from "The Hurt Locker" and also works with PL-Mount lenses.
To supplement the new batch of cameras, we've added a full compliment of Cooke S4/i and Panchro prime lenses. Optically matched, the Panchro lenses are a bargain and shoot at T2.8. For faster lsens, the S4/i lenses go to T2.0.
If you're in need of a zoom, our Angenieux Optimo 17-80 fits the needs of average productions and is optically suited to work alongside our 15-40 and 24-290 zooms.