Cameras + Lenses

Featuring a sensor slightly larger than full frame, ALEXA LF records native 4K with ARRI’s best overall Image quality.  Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150Fps, encompass all on-set requirements.

Combining the compact size and low weight of the popular ALEXA Mini with the large-format ALEXA LF sensor, ALEXA Mini LF brings exciting new creative possibilities to ARRI's large-format camera system. This system features an immersive large-format look, lower noise with higher usability sensitivity, the highest dynamic range of any production camera, and ARRI color science for natural skin tones, easy color correction and clean VFX. 

The ALEXA SXT is one of the most versatile and flexible cameras in the industry, a true all-rounder. Providing the user with a film-like, organic look and high dynamic range, the ALEXA SXT offers the best value and widest range of uses. 

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.

The ARRI AMIRA Premium is a versatile documentary-style camera that features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 or 2K pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 200 fps, AMIRA will deliver beautiful, life-like images in any situation.

The RED DMSC2 HELIUM 8K S35 provides 8K resolution in a Super 35 format and is the recipient of the highest DxO score ever.

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

Designed for the cinematographer, the Phantom Flex4K is a high-speed camera providing exceptional flexibility with its frame rate capabilities and by adapting to different shooting styles. The super 35 4K sensor provides sharp, detailed images with extremely low noise and high dynamic range. The Flex4K is capable of shooting from 15 frames-per-second (fps) up to 1,000 fps at 4K, and almost 2,000 fps at 2K/1080p.

The Sony PMW-F55 CineAlta 4K Digital Cinema Camera features an 8.9MP Super 35 image sensor, capable of capturing 4K, 2K and HD resolution video in a variety of formats via the camera's internal recorder. The F55 is among the first digital motion picture cameras with a global shutter, which completely eliminates motion skew and other "rolling" shutter distortions. Sony has designed the F55 as the foundation of an exceptionally versatile, modular system.

Built from the ground up for hand-held and long-form shooting, Sony’s PXW-FS7 is the ideal camcorder for documentaries, unscripted TV, news, indie features, corporate video and more. Featuring 4K resolution and a Super 35 sensor, the FS7 adds a level of comfort in shooting not previously experienced and balances smoothly on the shooter’s shoulder.

The Sony VENICE CineAlta 6K Digital Cinema Camera was created by and for the cinematographer. It’s equipped with a newly developed full-frame image sensor meeting the needs of the film industry in pushing the boundaries of large format image capture with exceptional picture quality. It offers interchangeable PL or E-mount, built-in ND filters in 8-stages, 15+ stops dynamic range, a wide color gamut and LED menus on the camera body.

Canon's brilliant Cinema Zoom lenses offer extraordinary optical performance for demanding high-end productions. The 30-300mm has best-in-class zoom magnification and telephoto focal length for the Super 35 format, and features an advanced optical design with fluorite and large aspherical lens elements to achieve sharp, consistent images throughout their zoom range. One of the lightest and smallest lenses in its class, this lens offers consistent form factors and markings optimized for motion picture production.

The Canon CINE-SERVO 50-1000mm ultra-telephoto zoom lens provides 4K performance for Super 35 large-format single-sensor cameras and accommodates either broadcast or cinema-style production due to its removable Digital Drive unit. This lens is great for sports, nature documentaries, and other types of long-zoom field production, yet it's easy to carry! It can be used with major brands of single-sensor Super 35 cameras and conforms to industry-standard camera-to-lens communication protocols including 12-pin serial communication (common to major broadcast camera brands) and Canon EOS technology.

The ARRI Signature Prime lense offers a unique look never seen before in cinema. Warm smooth skin; open shadows with crisp blacks; and bokeh like looking through a window in the rain. The timeless look of Signature Primes will never go out of style. 

Setting the standard for optics technology and performance, the Optimo 24-290, 12x spherical zoom lens meets the most demanding requirements. Manufactured with exquisite precision, it helps you bring greater artistry and cinematic expression to your production in any format. The Optimo long lens is unrivaled as the industry’s reference lenses for every type of production from feature films and television to sporting events and concerts.

The Optimo 44-440 is a 10x zoom lens featuring a traditional 2x horizontal squeeze with minimum breathing and distortion and a fast aperture of T4.5 across the zoom range. This lens brings the speed and flexibility of the long range anamorphic zoom to the set and creates a unique image that combines controlled background with an aesthetically dimensional foreground. The Optimo 44-440 brings what many refer to as a “creamy and organic look,” which Angenieux zooms are known for and is ideal for work with digital cameras.

The Fujinon Cabrio 25-300mm zoom series is a 12x PL mount cine lens which gives you the versatility to cover a wide variety of shooting situations and spectacular 4K performance! The 25-300 with its generous focal range, makes it ideal for shooting documentaries, nature and wildlife, and car commercials, as well as the closer shots that can only be made with a wider-angle lens. The 25-300 covers 31.5mm sensor size.

This Fujinon ARRI Alura lens comes from a partnership between the two major companies, both known for their outstanding optics, and provides high resolution and contrast with minimized ghosting and flares as well as reduced chromatic aberration. The ARRI Alura has a consistent aperture of T2.6 across the entire focal and zoom range, is lightweight, and is compatible with PL mount cameras. 

The CINE-SERVO 17-120mm lens provides cinematographers and broadcast operations with a compact, lightweight design using Canon optical elements, while offering outstanding performance and reliability in professional shooting environments. The new lens is fully 4K-ready, with a high optical resolution and support for Super 35 large-format cameras. Acknowledging that broadcasters often need to control zoom, focus and aperture in different ways than filmmakers, Canon has developed this zoom lens with full external servo control for drama, documentary and other broadcast productions.

This Cinema Zoom lens rivals best-in-class zoom magnification and mid-range focal lengths for the Super 35 format, and is engineered to offer superb 4K optical performance for demanding high-end productions. Intended for the working professional, the 30-105mm lens has markings on angled surfaces on and both sides of the barrel, making its settings easy to read from behind, or from either side of the camera.

The compact and lightweight 15.5-47mm Cinema Zoom lens rivals best-in-class zoom magnification and wide-angle focal length range for the Super 35 format, and is engineered to offer superb optical 4K performance for demanding high-end productions. Intended for the working professional, the 15.5-47mm lens has markings on angled surfaces and on both sides of the barrel, making its settings easy to read from behind, or from either side of the camera.