It may not look like much: a black/grey camera, on a black/grey tripod, on a black/grey dolly, in a black/grey landscape. But we thought you might like to see a Wally Dolly Compact in action anyway.
Getting a smooth tracking shot on the rough sedimentary deposits at the edge of a glacier was the goal. Wally Dolly scored! The Compact is lightweight to carry, quick and easy to set up, and gives super-smooth results. It’s more than tough enough for this location too.
Many thanks to Chris Du’Mont for the shot.
Prokit have been appointed as an ARRI Lens Partner. ARRI lenses are consistently clean and distortion-free, but they are not without life or character. The lustrous colour rendition and pleasing skin tones, as well as the beautiful out-of-focus highlights and deep texture result in rich images that are full of vitality and emotion. Below is a summery of some of their range, if you have any questions or would like to arrange a demonstration please contact us on 020 8995 4664 or email.
The ARRI/ZEISS Ultra Prime series has the widest focal length range of any prime lens set available on the market. From the unique Ultra Prime 8R extreme wide-angle lens to the most advanced telephoto lens designed specifically for motion pictures, the Ultra Prime 180, this complete series covers every possible angle.
Ultra Prime lenses retain their excellent image quality across the whole Super 35 frame, even at close focus. The Ultra Prime lenses are lightweight, standard speed lenses that are a perfect optical match to the high speed ARRI/ZEISS Master Prime series, giving you the flexibility to get the coverage you need.
“ROBUST, COMPACT, MATCHED, RELIABLE. THEY STAND THE TEST OF LONG HAUL PROJECTS LIKE THE LORD OF THE RINGS, KING KONG AND THE HOBBIT.”
Cinematographer Andrew Lesnie, ACS, ASC
Ultra Prime lenses were the first to be kitted out with ARRI’s revolutionary Lens Data System (LDS).
The LDS Ultra Prime series consists of Ultra Prime optical elements transplanted into specially designed housings that allow each lens to communicate with the camera electronically, easing tasks on set and providing valuable metadata for post production.
“HAVING THE DATA EMBEDDED DIRECTLY IN THE SOURCE FOOTAGE ENSURES THAT WE HAVE THE INFORMATION WE NEED WHEN IT COMES TIME FOR POST. ADDITIONALLY HAVING FRAME BY FRAME LENS AND CAMERA INFO GIVES US AN ADVANTAGE WHEN TRACKING 3D CAMERAS TO OUR FOOTAGE.”
Director Andrew Sinagra, Ntropic
The ARRI/ZEISS Master Prime series finally realized a dream of many cinematographers: lenses that are not only fast, but that surpass all standard speed primes in their image performance. Master Prime lenses offer consistent optical quality across the T-stop and focus scales, and display no breathing, while their incredible speed opens up new creative opportunities.
There is simply no better choice than the Master Prime lenses for film or digital productions shooting spherical. Totaling 16 lenses, the Master Prime series boasts more focal lengths than any other set of modern primes, an amazing nine of which are at or under 35 mm, providing unparalleled flexibility for wide-angle shots.
“THE IMAGE QUALITY IS ABSOLUTELY BEAUTIFUL. IT IS SHARP WITHOUT FEELING CLINICAL AND NEUTRAL IN TONE.”
Cinematographer Roberto Schaefer, ASC
The four lenses in the ARRI/FUJINON Alura Zoom range offer a complete imaging solution to productions wishing to benefit from the speed and flexibility of working with zooms. Suitable for both film and digital cameras, all four of the lenses are colour matched not just to each other, but also to ARRI prime lenses, exhibiting high contrast and high resolution for sharp, punchy images.
Comprising two production zooms, two lightweight zooms and two extenders, the Alura series covers a focal length range of 15.5 mm to 500 mm. The lightweight zooms are unprecedented in the level of optical sophistication they pack into such compact housings offering the perfect solution for fast-moving productions, Steadicam and handheld work, smaller cameras and action shots.
“THE BOLD CHOICE IN ONLY USING THE ALURA ZOOM 18-80 PROVED TO BE THE RIGHT CHOICE FOR SHOOTING THIS ADVERTISEMENT AS IT PROVIDED PRODUCTION VALUE, AFFORDABILITY AND HIGH-END QUALITY. IT SACRIFICES NOTHING COMPARED TO PRIME LENSES.”
Cinematographer Luan Shi
More info on their popular CP 2 range to follow!
New Canon CINE-SERVO 17-120mm T2.95 Zoom Lens Features 4K Optical Performance, a Dynamic 17-120mm Focal Length Range, and Removable Digital Drive Unit for Cine-Style or Shoulder-Mounted Operation.
Designed to perform in a shoulder-mounted application or as a traditional cinema lens, the Canon CINE-SERVO 17-120mm T2.95 zoom lens has an ENG-style Digital Drive handgrip with zoom rocker switch, which can also be detached to allow for manual cinema operation. The new CINE-SERVO lens features high 4K optical performance throughout the broad focal length of 17mm to 120mm within its compact and lightweight body, a three-group inner focus system to help minimize focus breathing and provide a stable angle of view, an 11-blade iris to help achieve creative depth-of-field manipulation and natural “bokeh” background, user-friendly design features, support for matte boxes, follow focus and other accessories, and rugged reliability. Designed to work with single-sensor cameras, the lens will be available in either PL- or EF-mount.
Available soon. Please contact Prokit on 0208 995 4664 or email@example.com to pre-order or to arrange a demonstration.
The Prokit team who visited NAB in Las Vegas this year were able to get their hands on the superb new studio matte box from Arri, the SMB-1. Here’s Arri’s Product Manager Philip Vischer at NAB with a demonstration:
Click HERE for more info.
A range of new cameras have been announced at this years NAB from Blackmagic, AJA, Canon and Sony. Here’s a quick rundown:
Inside its incredibly tough, lightweight magnesium alloy body you get a massive 10” viewfinder, 4 hour battery, talkback, tally indicators, phantom powered microphone connections and built in optical fiber and SDI connections that let you connect to your switcher with a single cable! The Blackmagic Studio Camera is available in HD and 4K models, and is packed with all the advanced features you need for multi camera production and broadcast!
Built to handle the ergonomics of large film crews as well as single person use, URSA has everything built in, including a massive 10 inch fold out on set monitor, large user upgradeable Super 35 global shutter 4K image sensor, 12G-SDI and internal dual RAW and ProRes recorders. Because the sensor and lens mount assembly can be changed, you can choose EF or PL lens mounts, or even a broadcast video sensor with B4 mount. This means you can upgrade to the latest sensor technology in the future and keep your investment in the camera body!
CION™ is the new 4K/UHD and 2K/HD production camera from AJA. Record directly to Apple ProRes 422 and 444 at up to 4K 60fps or output AJA Raw at up to 4K 120fps. CION features an ergonomic design and open connectivity to give complete flexibility in the field or studio.
The PXW-X180 three 1/3-inch type Exmor™ CMOS sensors camcorder records Full HD XAVC Intra and XAVC Long GOP, as well as MPEG HD 422 50 Mbps, MPEG HD 420 35 Mbps, AVCHD and DV, making it ideal for a wide range of applications from education/videography to news and broadcast production. As the successor to the HVR-Z7E, HXR-NX5E and PMW-150, the PXW-X180 has a lot of attractive features, including dual SxS memory card slots, proxy recording on SD card, a G Series fixed 25x HD zoom lens with 26mm wide angle and variable ND filter, that provides four conventional mechanical 4 ND filter positions or a linear switch dial for more control in changing light conditions. The camcorder also has wireless functions and NFC (Near Field Communication) capabilities.
Offering high-end image quality, easy integration and dual-format recording, the XF205/XF200 camcorder is built for HD content creation. Feature-rich yet compact, it’s a powerful professional tool.
All these cameras can be pre-ordered from Prokit, please contact us for more info.
Domke Next Generation brings evolutionary features to the trusted name of Domke bags. These revolutionary bags, with functionality as the core design inspiration, integrates their patent-pending systems for personalising, protecting and accessing your kit. The first generation was designed by Jim Domke for press photographers. The Next Generation, in our opinion, will also appeal to many in our video world.
There’s still that delightfully understated Domke look to the range which doesn’t shout “steal me”.
Please take a look here: http://www.domkephoto.com/products
We are offering their entire range of world leading products. Some of the accessories we would most like to show you will be in our showroom shortly. A selection is already on our website, with plenty more to follow.
The best things come in threes…
Normally around this time all the product announcements revolve around the first day of NAB. On Monday all the trade press and retailers are running around the aisles getting the scoops and busily blogging away.
Canon made it easier on us all this year by pre-announcing their next set of product launches.
On the camcorder front we’ve got the XF200 and XF205. They build on the tremendous success of their existing XF range, and add a host of unique features, including a 20x optical zoom, OLED display, and built in Wi-Fi. The cameras use the same 50mbps 4:2:2 codec as the rest of the XF range, so the workflow remains unchanged.
Building upon the success of the Cinema EOS lens range Canon has announced their first servo driven Super 35mm zoom. The catchily titled CN7X17 KAS S has a focal length from 17-120mm, and is optically designed around a 4K sensor. The drive module is removable, allowing it to be used cinema style if need be. Like the rest of the Cinema Zoom range, it’ll be available in EF or PL mount. Unusually, the mount will feature a flange back backfocus adjustment, reducing the need to shim the lens to correct backfocus errors.
All these product are available to pre-order from PROKIT.
We live in a time of Steadicams, Brushless Gimbals and post-production stabilisation software: A whole world obsessed with getting shots level.
But haven’t we seen enough rock solid shots? Isn’t it time filmmakers stepped out of that perfectly-balanced comfort zone?
The Prokit Action Cam Spring Mount opens up a new world of Point Of View shooting. Wobbly, bouncy and unpredictable shots are now possible thanks to our unique design. Here’s the science:
The Prokit Action Cam Spring Mount features:
At first things don’t look too different. The head – Dedo DLED4 – is now available in two versions. One is the Daylight only version that Prokit has been recommending for a while. The newer version, just arrived in stock, is the Bi-Colour head. It looks much the same on the outside as the original one. The power supply also looks much the same. However, the Bi-Colour power supply unit is slightly longer and slightly weightier than the Daylight only version. Also … wait for it … there are two knobs on it.
Both have extraordinary light output: a very clean beam and sharp edged shadows, as well as enormous focus range from a very tight 4° to a usefully wide 60°.
Prokit supports both of them.
They are in the showroom for you to have a look, and in the warehouse too.