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The PXW-Z450 4K UHD Shoulder Camcorder from Sony features a single Exmor R CMOS sensor with 3840 x 2160 resolution. The PXW-Z450 camcorder supports the Sony XAVC codec up to 4K UHD, 1080/59.94p and 50p recording, in addition to MPEG and DVCAM formats. In combination with the optional PWS-100RX1 Network RX Station, this camcorder enables simple yet high-quality wireless ENG workflow, providing QoS (Quality of Service)-based live streaming that will save considerable time.Key Features:

• Single 2/3" 4K Exmor R Sensor


• B4 Lens Mount


• 4K UHD/FHD up to 59.94p


• Simultaneous Recording to Both SxS Slots


• 4 x 3G-SDI Outputs


• HD-SDI Input for News Pool Sharing


• Genlock & Timecode


• Built-In Network Protocols

Create » Content Acquisition and Capture » Cameras » Digital Cinema Cameras »

 

 

 

MONSTRO 8K VV

 

 

 

RED’s premier sensor provides cinematic Full Frame lens coverage and delivers 17+ stops of dynamic range.

 

• 35.4 Megapixel CMOS Sensor


• 40.96 mm x 21.60 mm (Diag: 46.31 mm)

 

Included:

 

• DSMC2 BRAIN w/ selected sensor

 

• DSMC2 BRAIN Case

 

• DSMC VV Al PL MOUNT 2.0 (MONSTRO Only)

 

• DSMC2 Standard OLPF w/ case

 

Highlights

 

• 8K Full-Frame CMOS Sensor

 

• 8192 x 4320 Recording up to 60 fps

 

• REDCODE RAW, ProRes, and DNx Recording

 

• High-Speed Recording up to 300 fps in 2K

 

• Records to RED MINI-MAG Media

 

• Uses DSMC2 Accessories

 

• Interchangeable Lens Mounts

 

• Includes PL Lens Mount

 

• Aluminum Alloy Construction

 

• 12/24/25/30/48/50/60 fps and Higher

Create » Content Acquisition and Capture » Cameras » Digital Cinema Cameras »

Sony PXW-FS7 II 4K XDCAM Super 35 Camcorder Kit with 18-110mm Zoom Lens from Sony provides you with a camera and lens system ready for today's Super 35mm 4K single-camera productions. Well suited to cinema, documentaries, news magazines, or as the base of a kit to build upon for commercial production. A sturdy locking E-mount, which can support cinema-style zoom lenses, and an electronic variable ND filter highlight some of the camera's features. The camera supports recording of HD, UHD 4K, and DCI 4K to integrated XQD media card slots.The included Sony 18-110mm power zoom lens covers the Super 35mm format and supports 4K resolution. It features a Sony E-mount, which allows it to mount directly on the camera without requiring an adapter. The power zoom incorporates a mechanically linked zoom ring for precise control with no motor lag, and it features separate geared focus, zoom, and iris rings for manual image control.

PXW-FS7 II XDCAM Super 35 Camera SystemExpanding on the original FS7, Sony's PXW-FS7 II XDCAM Super 35 Camera System is a flexible 4K camera system. Designed as a camera that is at home on productions as diverse as "Cinéma Vérité"-style documentaries, reality TV, commercial, and corporate applications It features a Super 35mm sized sensor that allows you to capture images with cinematic depth of field. The camera incorporates a stronger locking E-mount that is fully compatible with E-Mount lenses, and supports all electronic connections. The locking mount reduces lens play, and allows you to use most 35mm lenses including PL, EF, Leica, and Nikon via optional adapters. This stronger E-mount is ideal for using heavier-long cine-zooms without the need for additional lens support.

Just behind the lens mount sits an electronic variable ND system that provides a clear filter and 3 user definable presets. The variable ND can be adjusted to provide between 2 and 7 stops of ND. The camera can capture footage to optional on-board XQD media cards in either DCI 4K (4096 x 2160) or UHD 4K (3840 x 2160) at up to 59.94 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.

SensorThe 4K Super 35 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 4:2:2 for HD and the choice of 10-bit 4:2:2 or 8-bit 4:2:0 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.

Signal ProcessingThe Camera supports two signal processing modes; Cine-EI and Custom. Cine-EI offers three color grading spaces for electronic cinematography production. The Custom mode supports Rec-709 and Rec BT-2020 at UHD 3840 x 2160 with Y, Cb, Cr color subsampling. You can set the PXW-FS7 II to record onboard and monitor on a BT 2020 compliant monitors via HDMI 10-bit 4:2:2 or SDI at 10-bit 4:2:2 with a 709 monitor LUT applied.

Locking E-MountThe PXW-FS7 II is equipped with a locking E-Mount that provides improved stability and strength compared to a standard E-Mount. It features a safety interlock system that helps prevent accidental disengagement of your lens from the camera body. The locking mount also reduces lens play compared to a standard E-Mount and the locking mount is strong enough to support long cine and ENG zooms that normally require a lens support.

It accepts optional E-Mount lenses from Sony, Zeiss and other manufacturers. The shallow flange distance of the E-Mount allows you to mount most 35mm lens types such as PL, Canon EF, Leica, Nikon, as well as many others with simple mechanical adapters.

Electronic Variable NDBehind the lens mount sits a retractable clear filter. When you engage the internal ND filters, the clear filter retracts and a stepless electronic ND filter drops into place maintaining the proper flange focal distance. You can program the electronic ND filter to act as three individual filters and rotating the filter knob will step between these presets.

Additionally, you can manually adjust the density of the filter from 2 to 7 stops. One of the advantages of the electronically variable ND filter is that you can use the iris on your lens to set your depth of field, and then make exposure adjustments with the ND, as it does not introduce any color shift as the strength of the ND changes.

Magnesium ConstructionThe camera body is made from magnesium, which is lighter and stronger than aluminum. This allows the camera body to weigh only four pounds. It also incorporates a shoulder pad and is designed to sit on the operator's shoulder by extending the support arm of the SmartGrip, which allows the camera to be held in front of the operator without requiring a support rig.

SmartGripThe 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, and it has been re-designed for additional extension adjustment.

Redesigned Viewfinder and Mic Holder MountWith the FS7 II the viewfinder and mic holder mount has been repositioned. The viewfinder and mic holder now attach to a replaceable 15mm rod. This allows you to swap out the included rod with a longer rod (not included), allowing you to move the position of the viewfinder or mic holder relative to the camera. You can adjust the position of the viewfinder so a left-eye shooter can use their left eye, while the camera is resting on their right shoulder.

In addition, the viewfinder itself now rides on a square mounting rod that ensures level operation.

Internal RecordingThe FS7 II records internally in both DCI 4K and UHD 4K at up to 59.94 fps, and in HD up to 180 fps using XAVC-I or up to 120 fps with XAVC-L. DCI 4K (4096 x 2160) can be recorded internally without the need of an external recorder.

Media Card SlotsThe camera features two XQD media slots that support simultaneous or relay recording. The XQD card slots are shallower on the FS7 II compared to the FS7, making inserting and removing media cards easier.

Genlock and TimecodeGenlock and timecode breakout is available with an optional XDCA-FS7, this also allows for raw and ProRes recording with optional recorders.E PZ 18-110mm f/4 G OSS LensWith a wide focal-length range and a constant f/4 aperture in a compact form factor, the Sony E PZ 18-110mm f/4 G OSS Lens offers videographers and cinematographers a versatile lens choice for lightweight operations. While the lens may seem small, it has professional features to back it up. The 18-110m focal-length range covers moderately wide to narrow angles-of-view. Sony's built-in Smooth Motion Optics leverage the internal mechanics of the lens to minimize focus breathing, focus shifting, and other anomalies that would otherwise be noticeable when adjusting the lens during recording.The body of the lens sports separate focus, zoom, and iris rings for complete manual control. Just pull the focus ring back and full-time manual focus is engaged. The focus ring itself has built-in cinema-standard gearing for follow-focus compatibility. Zoom functionality can be operated both manually and electronically. The zoom ring is connected to the lens mechanically, so crash-zooms can be achieved without lag. Iris operation can be done automatically, or by rotating the iris ring. By disengaging the iris click switch, manual iris adjustments can be made smoothly.For smaller, less robust cameras, a quick-release tripod foot is included. The foot secures towards the rear of the lens for tripod use. Alternatively, a conventional lens support can be attached near front of the lens for compatibility with rod-based lens supports. The filter thread will accept 95mm-diameter round filters and the included lens cap. A lens hood is also included for minimizing flare. The hood's shuttered design can be closed when the camera is not in use.

Smooth Motion OpticsSony's SMO (Smooth Motion Optics) design and construction minimizes optical shifts that can have a negative impact on image quality. Focus breathing is minimized by an internal focus mechanism, focus shift while zooming is eliminated by precise focus tracking adjustment, and axial shift is minimized by a constant-length design.

Versatile Zoom ControlIn addition to a smooth servo zoom, mechanical manual zoom ensures precise control with an immediate response. The desired angle of view can be accurately reached by preventing over or undershoot due to lag. Zoom ring direction can be easily switched as required, smooth, slow powered zoom is supported, and an inner zoom mechanism means that the length of the lens remains constant, regardless of focal length.

Professional Focusing FeaturesThe focus ring slides back to quickly engage manual focusing. Cinema-standard MOD 0.8 gear teeth are built into the focus ring, enabling use of standard follow focuses without requiring cumbersome focus gear accessories.

Compact DesignThe lightweight form-factor of this lens contributes to the kind of mobility that active movie shooting demands. Small size and low weight can be advantageous when using gimbals and other types of support as well.

Optical SteadyShotBuilt-in Optical SteadyShot (OSS) image stabilization helps to keep recorded images stable and free of excess blur in a wide range of handheld or locked-down shooting conditions involving camera movement.

Weather ResistanceA dust and moisture-resistant design provides extra protection and ensures reliable operation in challenging environments and inclement weather. Shoot with confidence in light rain or windy conditions.

Teleconverter SupportThis lens is fully compatible with Sony's separately available SEL14TC 1.4x and SEL20TC 2x teleconverters, providing extended reach while maintaining sharp images and reliable autofocus.

Buy Sony PXW-FS7 4K Compact XDCAM Camcorder From UBMS DUBAI.

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Built around a large-format 4K version of the original ALEXA sensor, the ARRI ALEXA LF (LPL) camera in this Basic Camera Set offers native 4K recording in three sensor modes, with ARRIRAW or ProRes recording in LF Open Gate, LF 16:9, or LF 2.39:1 modes. The ALEXA LF combines large-format resolution with an optimal pixel size for excellent image quality, producing vivid, nuanced images with natural skin tones and smooth bokeh. The ALEXA LF is designed with ARRI's LPL lens mount that has been optimized for large-format capture, and is compatible with all PL-mount lenses with the use of a PL-to-LPL adapter. A wider diameter, and shorter flange focal depth than the original ARRI PL mount, enable LPL-mount lenses to be smaller and lighter than earlier large-format optics.

The ALEXA SXT LF offers an array of recording format choices in ARRIRAW and ProRes, recording to 1 or 2TB SXR capture drives, or SxS PRO+ 256GB cards. With a base sensitivity of EI 800, 16-bit processing, and a dynamic range of 14-plus stops, your footage is effectively future-proofed for compatibility with HDR displays. Frame rates up to 150 fps produce smooth slow motion and enable capture for higher-clarity HFR (High Frame Rate) projects.

The wireless connectivity of the ALEXA SXT W is built into the ALEXA LF, providing Wi-Fi and compatibility with ARRI ECS lens/camera control systems. One WVR-1 receiver is included in this basic kit, offering wireless video transmission in a range up to 2000'. An internal filter holder can be used to insert one of eight Large Format Full Spectrum Neutral Density (LF FSND) filters (available separately). Additional ALEXA LF features include compatibility with existing ARRI Look files and workflow, clip playback in both ARRIRAW or ProRes, and 2-channel, 5-pin XLR audio input. This basic ALEXA LF set also includes SXR and SxS media adapters, the EVF-1 electronic viewfinder with a VMB-3 mounting bracket and cable, the CCH-1 center carrying handle, and an SD card for storing/loading LUTs, SUPs, etc.

Large Full-Frame Sensor with Three Operating Modes

Like the entire ALEXA line, the ALEXA LF combines high-resolution with an optimal pixel size for excellent image quality. The ALEXA LF offers a choice of recording in 4448 x 3096 Open Gate, 3840 x 2160 16:9, and 4448 x 1856 2.39:1 anamorphic.

Native 4K Recording with ALEXA Image Quality

The ALEXA LF records vivid, nuanced images with natural-looking skin tones in native 4K. Its colorimetry is compatible with HDR (High Dynamic Range) and WCG (Wide Color Gamut) workflows, providing a subtle, immersive look.

Array of Recording Choices

Recording rates (using SXR capture drives) range from 90 fps ARRIRAW to 40 fps ProRes 4444 XQ in LF Open Gate, 90 fps ARRIRAW to 60 fps ProRes 4444 XQ in LF 16:9, and 150 fps ARRIRAW to 60 fps ProRes 4444 XQ in LF 2.39:1 anamorphic. ARRIRAW and ProRes 444 XQ/4444/422 HQ/422 options are available in all three sensor modes.

Wide Exposure Latitude

A base sensitivity of ASA 800, reduced noise, and a dynamic range of 14+ dovetails with HDR workflows.

New LPL Lens Mount

The new LPL lens mount, designed specifically for large-format sensors, is integrated into the ALEXA LF. With its wider diameter and shorter flange focal depth than the original ARRI PL mount, LPL-mount lenses can be designed smaller and lighter than earlier large-format optics.

ARRI Signature Primes

ARRI now offers a range of 16 large-format, LPL-mount Signature Prime lenses, ranging from 12 to 280mm. These separately available lenses display natural skin tones, smooth bokeh, and an organically pleasing look. The Signature Primes feature ARRI's quick and comprehensive LDS-2 lens metadata system, and are constructed with machined magnesium for durability and lighter weights.

Compatible with PL Lenses, ALEXA Accessories & Workflow Tools

The ALEXA LF camera works with existing ALEXA-compatible lenses, accessories, and workflows. Use your favorite existing ARRI Look files and software tools with the ALEXA LF. A separately available PL-to-LPL mount adapter attaches to any PL-mount lens, both Super 35 or full-frame. The ALEXA LF transmits data from LDS-2, LDS-1, or /i (Cooke) lens data systems.

Same Wireless Connectivity as the ALEXA SXT W

The ALEXA LF features the same integrated Wi-Fi and wireless video transmitter as the ALEXA SXT W, providing quick compatibility with the included WVR-1 wireless video receiver, as well as ARRI's various ECS (electronic lens/camera control system) components. This built-in wireless system saves build time on set, reduces cable spaghetti, and saves weight on your camera rig.

Image Processing

Internal: 16-bit linear processing in full ALEXA Wide Gamut/Log C color spaceTarget Output: Log C, Rec 709, or Rec 2 color spacesSupports ARRI Look File (ALF-2) with CDL values and a 3D LUT3D LUTs available for SDR, HDR PQ, and HDR HLG

Internal ND Filter

One of eight available Large-Format Full-Spectrum Neutral Density (LF FSND) filters can be manually inserted in front of the ALEXA LF sensor (ND 0.3 to ND 2.4).

Playback

Play back your ARRIRAW or ProRes clips from the ALEXA LF.

Create » Content Acquisition and Capture » Cameras » Digital Cinema Cameras »

 

GEMINI 5K S35

 

Featuring Dual Sensitivity Modes, GEMINI™ is RED’s highest-sensitivity sensor to date and delivers exceptional low-light performance allowing for cleaner imagery with less noise and better shadow detail.

 

• 15.4 Megapixel Dual Sensitivity CMOS Sensor

 

• 30.72 mm x 18 mm (Diag: 35.61 mm)

 

Included:

 

• DSMC2 BRAIN w/ selected sensor

 

• DSMC2 BRAIN Case

 

• DSMC VV Al PL MOUNT 2.0 (MONSTRO Only)


• DSMC2 Standard OLPF w/ case

 

Highlights

 

• 5K Super 35mm CMOS Sensor

 

• 5120 x 3000 Recording up to 75 fps

 

• REDCODE RAW, ProRes, and DNx Recording

 

• High-Speed Recording up to 300 fps in 2K

 

• Records to RED MINI-MAG Media

 

• Uses DSMC2 Accessories

 

• Interchangeable Lens Mounts

 

• Aluminum Alloy Construction

 

• 12/24/25/30/48/50/60 fps and Higher

Create » Content Acquisition and Capture » Cameras » Digital Cinema Cameras »

Trust in this multi-purpose workhorse for everything from corporate video to education, live events to weddings. Stunning pictures made easy Designed to get the job done quickly and efficiently, the NX5R’s advanced three 1/2.8-type Full HD Exmor CMOS system can be relied upon to deliver sharp, cleanly focused imagery in almost any shooting scenario. Recorded images are remarkably lifelike in texture and detail, while shooting is fast and hassle-free with all the NX5R’s key functions right at your fingertips. Direct Menu options display on-screen, so shooting parameters can be changed quickly and conveniently without taking your eyes off the action.

Extending the NXCAM line of solid-state camcorders, Sony's HXR-NX5R offers improved network functionality over previous cameras in the line, and it allows you to select from XAVC-S 50 Mb/s to AVCHD/DV recording. Suitable for documentaries, corporate, weddings, events, nature, sports, and journalism, the NX5R shoots at NTSC broadcast frame rates from 59.94 to 23.98. The built-in Wi-Fi and FTP wireless connections enable you to send footage to your editor from the camera while on location, instead of having to send the media cards to the editor. The legacy codec support allows you to shoot and subsequently edit your footage into older projects shot on AVCHD or even DV formats. However, just because the NX5R supports older codecs doesn't make it any less capable. It incorporates a 3G-SDI output that supports Full HD 1920 x 1080p video at 59.94 fps, as well as 1080i, 720p, and the previously mentioned 720 x 480i.

Three 1/2.8" CMOS Exmor sensors and a 20x optical zoom Sony G lens with 40x Clear Image Zoom provide sharp and clear images. And if you need more illumination there is a built-in LED light above the lens. Professional audio is not forgotten with two XLR inputs that support Line, mic, and mic +48 (phantom power). The Slow & Quick Motion function enables 1080p recording at selectable frame rates. The camera features two media card slots that support recording on Memory Stick PRO Duo or SDHC/SDXC media cards.

Built-In LED LightMounted above the lens and just below the built-in mic, the LED light features a roughly 90° beam angle, outputting a color temperature of about 5500K. It has an integrated dimmer and includes a snap-on diffuser to soften the output.Wi-Fi and FTPBuilt-in Wi-Fi, NFC, and FTP allow you to send your footage to your editor while you are still shooting, so post-production doesn't have to wait on the data cards being sent from the shoot.XAVC SThe NX5R can record 1920 x 1080p footage at 59.94 fps using the XAVC S codec.AVCHD FormatThe AVCHD format utilizes the MPEG-4, AVC/H.264 video codec, allowing users to record HD video footage onto random-access media, such as Memory Stick PRO Duo and SDHC memory cards. The NX5R supports AVCHD and AVCHD 2.0G Lens"G Lens", the lens featured in other successful Sony camcorders, already enjoys an excellent industry reputation. In the HXR-NX5R, this sophisticated lens is optimized to complement the camcorder's advanced image sensor and image processing technology.Built-In ND filtersThe HXR-NX5R is equipped with three built-in ND (Neutral Density) filters—1/4, 1/16, 1/64—which help vary the depth of field with iris control.Relay Record with Dual Memory SlotsAnother new feature is continuous recording between two memory card slots. The new HXR-NX5R camcorder automatically cycles between the dual memory slots. When using two 32GB memory cards, six hours of continuous HD footage can be recorded.Buy Sony HXR-NX5R NXCAM Professional Camcorder with Built-In LED Light From UBMS.

Create » Content Acquisition and Capture » Cameras » Digital Cinema Cameras »

In a move that will increase efficiency on set, ARRI has integrated a high-quality and low-latency HD video transmitter and WiFi into the new ALEXA SXT W model ("W" for Wireless). Based on the popular ALEXA SXT Plus, the SXT W will replace the SXT Plus and Studio models. As always, there are attractive upgrade options for existing owners of ALEXA SXT EV and ALEXA SXT Plus cameras.

The new hardware will be accompanied by software upgrade SXT SUP 2.0, which adds improved HDR monitoring, support for current SxS PRO+ and CFast 2.0 cards, quicker frame grabs, various WCU-4 and lens motor features, and other refinements.

Having a video transmitter built into the ALEXA SXT W makes the camera smaller and lighter than it would be with an external transmitter. It also means fewer cables around the camera and fewer associated problems, since cable failure is by far the most common technical hitch on set. Camera setup and power-up will be quicker, and productions will be able to move faster. Interference between different radio frequencies can be a time-consuming issue for camera crews. The ARRI Wireless Video System eliminates this issue because it works harmoniously with ALEXA SXT W’s other radio-based offerings: the WiFi and the ECS, ARRI’s proprietary camera and lens control system.

In addition, the integrated WiFi radio opens up a whole range of options, starting with wireless look control on set and continuing with wireless camera remote control using the ALEXA Web Remote. Other exciting WiFi options are currently under development. The introduction of a built-in wireless video transmitter is a significant upgrade for the ALEXA SXT and reflects ARRI’s commitment to continually improve the SXT platform with additional functionality.

A fully wireless camera

Integrated wireless videoIntegrated WiFiIntegrated ARRI ECS wireless camera/lens controlInterference-free operation between video, WiFi and ECS radios

Replaces SXT Plus and SXT Studio

SXT W is based on popular ALEXA SXT Plus"W" stands for Wireless

Integrated wireless video

Smaller & lighter than with external transmitterNo cable problemsFaster setup

Integrated WiFi

Wireless look controlWireless camera controlMore features in development

ARRI is committed to the SXT platform

Create » Content Acquisition and Capture » Cameras » Digital Cinema Cameras »

Canon Cinema EOS C500 Mark II

Impressive usability and imaging power combine in the EOS C500 Mark II, the customizable full frame cinema camera that’s built for creative freedom. Discover Canon EOS C500 Mark II, the new generation cinema EOS system euipped with a 5.9K full frame sensor. Visit UBMS Dubai showroom to get the best price.

The lightweight body comes equipped with Canon's 5.9K full-frame CMOS sensor capable of over 15 stops of dynamic range. The newly developed DIGIC DV 7 Image Processor expands functionality and flexibility by enabling features such as 5.9K recording, internal recording of Canon Cinema Raw Light and Dual Pixel Autofocus.

Canon Cinema EOS C500 Mark II Manual

The Cinema EOS C500 Mark II is the perfect expression of form and function, exceptionally adaptable to virtually any production with its modular design. Three expansion units and user changeable lens mounts enable operators to build their ideal cinema system.

5.9K Full Frame CMOS Sensor, with support for Super 35mm and Super 16mm crop modes

The Cinema EOS C500 Mark II features Canon’s high-resolution 5.9K (38.1 x 20.1mm) Full Frame CMOS sensor, which offers exceptional low noise and a broad range of tonality with over 15 stops of dynamic range. The sensor’s expansive native cinema gamut goes beyond that of current standards, including ITU-R BT.2020 and DCI-P3, helping the EOS C500 Mark II achieve more natural skin tones and allowing for greater freedom in color grading in both SDR and HDR productions. Buy Cinema EOS C500 Mark II from UBMS Dubai. Canon EOS C500 Mark II Price is very good in UBMS Showroom. Come and experience the Canon EOS C500 Mark II camera at UBMS showroom and get the best price. We can ship Canon EOS C500 Mark II to all GCC countries (Bahrain, Kuwait, Oman, Qatar, Saudi Arabia ) & African Countries .

The Full Frame sensor is capable of capturing footage in a wide variety of aspect formats, including DCI-4K, UHD and Anamorphic Widescreen. The Cinema EOS C500 sensor supports both anamorphic and spherical lenses. In addition to full-frame, the sensor can also be paired with conventional Super 35mm and Super 16mm lenses using appropriate sensor crop modes, lens mount and adapter. To know more about EOS C500 Mark II contact UBMS.

The EOS C500 Mark II features a newly developed DIGIC DV 7 image processor which enables Cinema RAW Light recording internally at 5.9K, as well as supporting recording of Canon’s XF-AVC format in 4K 4:2:2 10-bit. Simultaneous recording of the same file format is possible to the dual CFexpress card slots, with an additional SD card slot for proxy files

The EOS C500 Mark II uses a high-quality debayering algorithm when over sampling 5.9K for 4K/UHD recording. This suppresses moiré and reduces noise, resulting in a superior quality image.

User Changeable Lens Mounts which gives users freedom to use the lenses they desire

User interchangeable lens mounts and an available B4 mount adapter gives operators the freedom to make bold creative choices based on the subject matter.

The EOS C500 Mark II ships with an EF Mount that can be user swapped to an optional Locking EF (EF-C) or PL mount. Each mount swaps easily by simply removing four M3 hex screws. A shim set is provided with each mount kit in order to adjust back focus for the precision in focusing accuracy that professionals rely

Newly developed DIGIC DV 7 Image Processor, which powerfully processes high-resolution image data The EOS C500 Mark II uses a newly developed DIGIC DV 7 Image Processor that takes the extensive RAW information captured from the 5.9K imaging sensor and processes it for output. DiG!C is also the engine behind features such as high frame rate recording, Dual Pixel Auto Focus, Cinema Raw Light Recording, HDR(PQ and HLG) output, electronic image stabilization, proxy recording and oversampling 5.9K processing.

Canon Cinema RAW Light and XF-AVC Recording

Thanks to the powerful DIGIC DV 7 image processing platform, the EOS C500 Mark II can record Cinema RAW Light directly to onboard CFexpress cards, which keeps the data-rich signal captured by the 5.9K full-frame sensor intact. Cinema RAW Light offers plenty of freedom for grading in file sizes that are about 1/3 to 1/5 the size of Cinema RAW, offering a great combination in terms of codec efficiency and quality.

When recording in 5.9K Cinema RAW Light, 60 fps is available, which is an ideal range of high-quality slow-motion capture for typical human movements. In 2K (Crop) mode, frame rates up to 120fps are available allowing users to slow down the action even further, for more dramatic scenes and special effects. Two new buttons S&F(Slow and Fast Motion) and S&F FPS (Slow and Fast Motion – Frames per Second) have been added to gives quick access to desired speed settings, making it simple to utilize this creative tool quickly and spontaneously when the moment is right.

To accurately record the extensive data produced by the 5.9K imaging sensor and provide greater recording times, the EOS C500 Mark features two CFexpress recording slots. CFexpress is the future of onboard recording media providing write speeds needed for higher resolutions and frame rates. The dual card slots can be used to either create an instantaneous backup thorough simultaneous recording or extend record run times by relay recording.

Proxy Recording

Higher resolution, greater bit depths and faster frame rates provide versatility and greater image quality but come at the cost of much larger file sizes. Proxy files can greatly speed up the editorial process by providing a lower bandwidth alternative for the initial file sharing and edits.

Canon’s powerful, high-speed DIGIC DV 7 image processor makes it possible for the EOS C500 Mark II to simultaneously record 2K Proxy files. Cinema RAW Light (5.9K, 4K Crop, or 2K (Crop)) can be recorded to the internal CFexpress card while an XF-AVC 2K 4:2:0 8-bit Proxy can be recorded directly to an internal SD card.

Compatibility with EF and PL Lenses*

With optional mount kits, users can swap from EF to Locking EF-C or PL mounts on their own. PL lenses are a cinema legacy. With a wide breath of options available to cinematographers choosing a lens is an important part of the creative process. The EOS C500 Mark II’s interchangeability now makes it possible to take any PL lens and pair it with Canon’s state-of-the-art sensor to meet the needs of any project.

Using Canon’s EF still lenses offer remarkable new possibilities for cinematographers including the use of specialty lenses like the fisheye zoom, tilt-shift and super-telephotos.

The amount of viable lens options can be further increased through an optional B4 lens mount adapter. This adapter is available for the PL or EF mount allowing 2/3” lensing options to be used with the camera.

Anamorphic Lens Support

The EOS C500 Mark II offers cinematographers anamorphic lens support. Users can now achieve wide cinematic looks and oval bokeh particular to anamorphic glass. It is a distinctly cinematic palette that is within reach for your next project.

Electronic Image Stabilization

The EOS C500 Mark II is the first Canon Cinema EOS camera to feature built-in five-axis electronic IS that works with almost any lens including anamorphic.

Modular Design with three available Expansion Units allows a high level of connectivity and interoperability

A new modular design allows productions to optimize and customize the EOS C500 Mark II to specific shooting needs. Accessories and expansion units can be easily attached to provide different levels of functionality. The camera is equally at home fully rigged with a large zoom lens, FIZ unit, audio accessories and rangefinder as it is stripped down flying on a drone.

Support for Custom User LUTs

Users can upload and apply custom LUTs to the EOS C500 Mark II. LUTs can be assigned to specific output terminals and the LCD or viewfinder. Clients can be viewing one LUT, while production works from another, giving different production roles the ability to customize the look of the image to their needs.

4 Channel Audio Recording

With Expansion Unit EU-V2, the EOS C500 Mark II supports up to 4-channel audio recording. Audio input from the camera’s internal microphone, mini mic port, and XLR ports can be assigned to the 4 different audio channels. This flexibility allows a wide range of audio devices to be connected and mixed directly on the camera.

Create » Content Acquisition and Capture » Cameras » Digital Cinema Cameras »

The HXR-NX80 allows you to record a wide range of 4K (QFHD) and HD formats for maximum flexibility from this stunning palm-sized camcorder. The NX80 supports XAVC S 4K 100/60 Mbps recordings at 30p/25p/24p, XAVC S and AVCHD.

The HXR-NX80 Full HD XDCAM camcorder from Sony offers phase-detection Autofocus (AF) and HDR capabilities in a compact, palm-style body. Suitable for corporate events, broadcast news, and television production, the HXR-NX80 camcorder features a stacked 1" Exmor RS CMOS sensor with 14.2MP, a 12x Zeiss optical zoom, an OLED viewfinder, and 3.5" touchscreen LCD monitor. This camcorder records 4K in XAVC S 4K, streams via 2.4/5 GHz frequency bands, and includes S-Log3/S-Gamut3 functions for additional image control. Looking for Sony HXR-NX80 price ? . Please contact UBMS .

The HXR-NX80's Fast Hybrid AF uses high-density placement of autofocus points and a newly developed AF algorithm to offer highly accurate focusing and tracking, especially useful for individual operators. In movie recording mode, use the appearance of phase-detection AF frames to monitor your subject's focus. The HXR-NX80's 3.5" touchscreen is used to quickly switch focus among subjects. AF Drive Speed, Tracking Depth Range, and Subject Switching Sensitivity can each be configured to suit different subjects and content styles. Sony HXR-NX80 Price is very good in UBMS Dubai Showroom. Come and experience the Sony HXR-NX80 camera at UBMS showroom and get the best price. We can ship Sony NX80 to all GCC countries (Bahrain, Kuwait, Oman, Qatar, Saudi Arabia ) & African Countries .

Hybrid Log-Gamma (HLG) enables you to future-proof your output by smoothly integrating your recordings into an HDR workflow without the need for color grading during post-production. Capture images with high-quality contrast and resolution using the HXR-NX80's 12x optical Zeiss zoom, and 18x 4K digital zoom (24x in HD). An integrated ND filter function enables greater exposure and depth-of-field control. Looking for Sony HXR-NX80 avilability ? . Please contact UBMS

The HXR-NX80 camera supports Sony's Slow & Quick Motion for shooting HD video at variable frame rates, including 120 fps. Footage is recorded to via two SD memory card slots, either simultaneously to both cards, or in relay mode to create a backup.

Additional features include built-in 2.4 GHz for multiple streaming and FTP options. The HXR-NX80's audio features include two 3-pin XLR audio inputs that support line, mic, and mic + 48V (phantom power) for using external microphones; you can also use the HXR-NX80's built-in microphone to record audio when shooting. For multicamera productions, the HXR-NX80 integrates seamlessly with Sony's MCX-500 live switcher (available separately). Looking for Sony HXR-NX80 dealer ? . Please contact UBMS

1" EXMOR RS CMOS SENSOR

1.0"-type Exmor RS CMOS sensor with approximately 14.2 million effective pixels provides optimal image quality

FAST HYBRID AUTO FOCUS

Offers highly accurate focusing and tracking, especially useful when shooting sharp UHD 4K footage

ZEISS T* LENS WITH 12X OPTICAL ZOOM

Fixed 12x optical wide-angle zoom with 18x Clear Image Zoom technology in UHD 4K (24x in HD)

FRAME RATE FLEXIBILITY

Record up to XAVC S 4K video

SUPER SLOW MOTION

Offers slow-motion recording up to 960 fps

SLOW & QUICK RECORDING

Uses Sony's Slow & Quick Motion for recording 1080p/i60 HD video at 1, 2, 4, 8, 15, 30, 60, and 120 fps

MULTIPLE CODEC CHOICE

XAVC S recording up to 100 Mbps in 4K mode, and Full HD recording

IMAGE CONTROL OPTIONS

S-Gamut3/S-Log3 recording captures wide range of colors, highlights, and shadows

BUILT-IN ND FILTERS

Incorporated ND filter function with Clear, 1/4, 1/16, and 1/64 ND for optimal exposure and depth-of-field control

MEDIA SLOTS

Dual memory card slots, one for SDHC/SDXC cards only, and one compatible with SDHC/SDXC and Memory Stick PRO Duo (Mark 2) / Memory Stick

PRO-HG DUO CARDS

Wi-Fi/NFC

Built-in capability to send FTP files directly from the camcorder or live stream over 2.4 GHz Wi-Fi.

Buy Sony HXR-NX80 Full HD XDCAM with HDR & Fast Hybrid AF From UBMS Dubai.

Create » Content Acquisition and Capture » Cameras » Digital Cinema Cameras »

The new flagship of Sony's CineAlta family, the Sony VENICE CineAlta 6K Digital Cinema Camera (6K with 6048x4032*), offers an interchangeable PL or E-Mount*, integrated ND filters in 8-stages, 15+ stops of exposure latitude, a wide color gamut and improved color management system.
VENICE will also include a Dual Base ISO mode, supporting an additional High Base ISO of 2500. This feature takes full advantage of the sensor's unique design for exceptional low light performance and dynamic range (from 6 stops over to 9 stops under 18% middle gray). This new capability represents an increase in exposure indexes at higher ISOs for night exteriors, dark interiors, slower lenses, or where content needs to be graded in High Dynamic Range, while maintaining maximum shadow detail

Create » Content Acquisition and Capture » Cameras » Digital Cinema Cameras »

Compact, lightweight and self-contained, the ARRI ALEXA Mini is a versatile additional tool in the ALEXA camera range. Crews will find that the ALEXA Mini perfectly complements their ALEXA shooting kit, eliminating the complications of working with third-party cameras for specialized shots and keeping everything within a single system that is trusted all over the world.

Key Features:

Versatile additional tool in the ALEXA camera rangeExciting variety of application areasSuper-lightweight carbon bodyExchangeable lens mountsALEXA sensor and image quality with internal 4:3 & ARRIRAW recordingIntegrated lens motor control and ND filtersPerfect for gimbals and multicoptersFuture-proof technology with 4K UHD, HDR & HFR recording

Complementing the ALEXA range

Compact, lightweight and self-contained, the ARRI ALEXA Mini is a versatile additional tool in the ALEXA camera range. Crews will find that the ALEXA Mini perfectly complements their ALEXA shooting kit, eliminating the complications of working with third-party cameras for specialized shots and keeping everything within a single system that is trusted all over the world.

Strength and agility through state-of-the-art materials

To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount – also made of titanium – to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.

Versatile mounting and shooting options

The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm’s length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions.

Uncompromised image quality for specialized shots

The overwhelming advantage of the ALEXA Mini is that it marries such a compact and lightweight form factor with the same unparalleled image quality that has made the ARRI ALEXA system a gold standard for the industry. Combine the Mini with any other ALEXA camera and you will have perfectly matched images, even on anamorphic productions – thanks to the 4:3 sensor and automatic de‑squeeze function. Workflows will also be identical, with options to record ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder.

Cost-saving camera and lens metadata

Integrated ARRI Lens Data System (LDS) technology brings the added value of frame‑accurate metadata about focus, iris and zoom settings. With these lens settings and exact depth‑of‑field displayed live on wireless hand units, precise adjustments can be made during a shot. The data also allows lens mapping to pre‑marked focus rings and reduces the time and expense involved in achieving complex visual effects in post.