Digital cinema cameras.

The evolution of ALEXA 35 expands slow-motion possibilities and streamlines media management with the new ARRICORE codec.

• Super 35 sensor and REVEAL colour science.
• Up to 330 fps while retaining full dynamic range, depending on the recording format.
• Up to 660 fps in Sensor Overdrive with reduced dynamic range.
• Records to CODEX Compact Drive and works with ALEXA 35 accessories.

65 mm format in a compact body, designed to explore the depth, scale and detail of large-format images.

• 54.12 × 25.58 mm sensor and 6.5K Open Gate resolution (6560 × 3100).
• Recording speeds from 0.75 to 60 fps.
• REVEAL colour science and cartridge-based ND filters.
• Records to 1 TB and 2 TB CODEX Compact Drives.

ARRI cinematic imaging for concerts, sports and live productions, with high-speed tools for slow-motion replays.

• Super 35 ALEV 4 sensor and REVEAL colour science.
• HFR output up to 8× in HD or 2× in UHD with the LPS-1 system and a compatible replay server.
• Simultaneous normal-speed live signal and HFR signal.
• Fibre integration with the ARRI Live Production System LPS-1.

An integrated cinema system for productions that require large format, high speed and exposure control directly from the camera body.

• 8K VV 8192 × 4320 global-shutter sensor.
• REDCODE RAW up to 120 fps at 8K 17:9 and 240 fps at 4K 17:9, depending on compression.
• Integrated electronic ND from 2 to 7 stops plus clear position.
• Interchangeable PL mount, CFexpress Type B recording and RED Global Vision tools.

Large-format capture and global shutter in a compact body, suited to lightweight shoots, studio configurations and virtual production.

• 40.96 × 21.60 mm 8K VV global-shutter sensor.
• Up to 120 fps at 8K 17:9 and 240 fps at 4K 17:9, depending on REDCODE compression.
• Locking RF or Nikon Z mount versions.
• CFexpress Type B, dual 12G-SDI outputs, Extended Highlights and Phantom Track.

A camera focused on essential production tools, built around the V-RAPTOR family large-format global-shutter sensor.

• 8K VV 8192 × 4320 global-shutter sensor.
• REDCODE RAW up to 60 fps at 8K 17:9, 120 fps at 4K 17:9 and 240 fps at 2K 17:9.
• Locking RF or Nikon Z mount versions.
• CFexpress Type B, dual 12G-SDI outputs and simultaneous proxy recording.

The evolution of KOMODO combines a compact form with higher capture speeds and improved shadow detail for mobile productions.

• 6K Super 35 global-shutter sensor.
• REDCODE RAW up to 80 fps at 6K 17:9 and 120 fps at 4K 17:9.
• Locking RF or Nikon Z mount versions.
• CFexpress Type B recording, 12G-SDI output and integrated Micro V-Lock battery interface.

The DSMC3 platform with a Super 35 sensor delivers 8K resolution and high frame rates for cinema lenses designed for this format.

• 35.4-megapixel Super 35 sensor with 8192 × 4320 resolution.
• Up to 120 fps at 8K 17:9 and 240 fps at 4K 17:9, depending on REDCODE compression.
• Locking RF mount and CFexpress Type B recording.
• Remote control through RED Control and a REDCODE RAW workflow.

Compact, light and autonomous – the ARRI ALEXA Mini was the small and versatile all-rounder of the ARRI camera family.

Its symmetrical design allows filming in any orientation, including upside down and portrait mode, while multiple accessory points allow for very creative mounting solutions. Additionally, ALEXA Mini comes with a series of interchangeable lens mounts, allowing the use of B4 video, EF mount lenses, or even with the ARRI Signature Primes with the LPL mount for ALEXA Mini.

The ALEXA 35 is a 4K Super 35 camera that takes digital cinematography to unprecedented levels.

The ALEXA 35 is the smallest, full-featured ARRI production camera ever, packing the features and processing power of a larger ALEXA into a mini-sized body that can record native 4K at up to 120 fps.

Quick and easy operation is ensured through numerous usability improvements and a simple menu structure that will be intuitively familiar to crews. ALEXA 35 is the best A-camera, B-camera and action camera on the market, all in one.

The VENICE 2 features one of two 36 x 24mm full format image sensors, specifically designed for the demands and performance of high-end cinematography. Each offers outstanding sensitivity, latitude and colour reproduction, and because the sensor units are interchangeable, users can easily change sensors without the need for additional firmware, and can even use the sensor from their original VENICE. The new 8K sensor captures images up to 8640 x 5760, while the established 6K sensor captures images up to 6048 x 4032. Both offer powerful upsampling for incredible 4K images.

RED KOMODO 6K is the latest innovative product in RED's long line of image capture technology. The new member of RED is a compact and very powerful film camera.

It features cinematic RED image quality, amazing colour and technology so users can take their camera anywhere and adapt it to any filming scenario.

The new sensor is a 6K S35 global shutter sensor that breaks technical boundaries by eliminating the need to sacrifice dynamic range while meeting the RED standard of unmatched imaging without creative or technical compromise.

The next-generation EOS C300 Mark III features Canon's new DGO 4K Super 35mm sensor, with 4K slow motion at 120p, high dynamic range and Dual Pixel CMOS AF in the same body as the EOS C500 Mark II. The Canon EOS C300 Mark III is the first camera in the EOS Cinema System to feature a Canon Dual Gain Output (DGO) sensor, allowing it to capture images with a wider dynamic range and less noise. This makes it ideal for HDR output. With exceptional low-light performance and a maximum ISO value of ISO 102400, the EOS C300 Mark III enables filmmakers to make nuanced, immersive cinematic recordings in the most difficult lighting conditions.

ARRI's big bet for new generation cinema, with large format and LPL mount to get the most out of the ARRI Signature Prime lenses, which go hand in hand with this camera.

Sus 800 true ASA with reduced noise, 90 fps in LF Open Gate and LF 16:9 sensor modes, and 150 fps in LF 2.39:1 for use in slow motion shots. EVF-2 electronic viewfinder with improved image quality and a completely wireless design, it becomes a real powerhouse to squeeze into the next high-budget productions.

With a flexible, solid and high-capacity 4.5k CMOS sensor, suitable for recording plays, independent films and documentaries and configurable for different workflows, such as assistance for HDR supervision.

Its integrated ND filters, 14 stops of dynamic range, Dual Pixel CMOS AF technology, make the C700 a camera very complete and versatile.

It is the world's first camera to combine a RED 15-stop dynamic range 8K image sensor with Light Iron colour management technology, an image and colour space mapping process that delivers a true cinematic look right in-camera.

The SSD storage system makes workflows comfortable and fast.

It is the first Sony camera that is completely designed for cinema. With 6K sensor, capable of capturing images with a maximum resolution of 6048 x 4032 pixels.

With a revolutionary system of simultaneous recording on two different supports and prepared for PL mounts, double ISO system, modular body, internal ND filters and two screens on the body, it makes the work of operator and assistant more comfortable and fluid.

4K resolution RAW at up to 120 fps with a simple workflow through Codex's Production Suite solution that allows you to generate ProRes files, with Cinematic VariCam Look, and dual native ISO (800/5000), send V-RAW files to ultra-reliable capture units Codex.

With a complete daily viewing copy system on camera, its modular design and support for Apple ProRes and Avid DNxHR makes it a great bet for feature films.

CMOS sensor ARRI ALEV III (A2X) large format with Bayer pattern colour filter array.

Features the 4.5X ALEXA LF sensor in the compact form of the ALEXA Mini. It has three internal motorized FSND filters (0.6, 1.2 and 1.8), 12 V power input,

Its new Codex Compact Drive unit allows us faster reading and writing speeds, as well as a new high-contrast HD MVF-2 viewfinder and LPL lens mount.

Perfect for advertising, but delivers excellent results in virtually any field.

A versatile camera that combines exceptional image quality and CFast 2.0 card workflows, with an ergonomic design optimized for single-operator use.

It also allows slow motion recording at up to 200 fps. AMIRA ARRIRAW license key unlocks MXF / ARRIRAW 16:9 2.8K (2880 x 1620) recording in-camera at frame rates up to 48 fps.

Adaptable to any type of production, documentaries and corporate videos, television and low-budget films.

Retaining the solid foundation on which ALEXA is built, they offer ProRes 4K recording, improved image quality, three fully independent HD-SDI outputs and support for high-speed, high-capture SXR.

The use of the advanced colour management engine originally developed for ARRI AMIRA. It takes advantage of the native colour gamut of the ALEXA sensor, allowing unprecedented control that, in the end, means greater creative freedom for the filmmaker.

Despite being in direct competition with RED, Panavision's has designed the Millennium DXL2 with the Monstro 8K sensor from RED making its features a luxury.

Panavision has also adopted the modular structure of RED and made the Millennium DXL2 with interchangeable modules, which allows us to go from a studio setup, to a handheld one or a configuration with a Steadicam gimbal easily.

Characterized by offering high resolutions and image quality.

The MONSTRO sensor goes one step further, offering 17x more resolution than HD and 4x more than 4K. It is a 35.4 megapixel CMOS with a maximum resolution of 8192x4320 and a size of 40.96x21.60mm, with a dynamic range of 17 steps.

Making it one of the most powerful cameras on the market in 2019.

The considerable number of pixels that reflect greater power, highlighting its superior image quality and having the best resolution in its class. It also has the HELIUM 8K S35 sensor that allows any audiovisual professional to offer still and motion images with great detail.

So the camera, with its 35 million pixels, is able to capture subtle and valuable nuances, imperceptible in lower resolutions.

The RED RAVEN 4.5K Camera is capable of recording in REDCODE RAW at 4.5K up to 120 fps and at 2K up to 240fps with its Red Dragon 9.9 Megapixel CMOS sensor. It offers a dynamic range of up to 16.5 stops.

RED has strived to simplify workflows, allowing recording in Apple ProRes 422 HQ at 2K@60 and in DNxHD at 8-bit up to 60fps.

Red's flagship in low light. It uses a custom S35 5k sensor prepared for use in outer space.

With dimensions of 30.72 mm x 18 mm. It is larger than RED EPIC-W Helium but smaller than RED WEAPON Monstro. The 1.22x crop factor will leave the field of view a little wider than the EPIC-W Helium.

With its RED DRAGON CMOS sensor it offers an aesthetic similar to 35mm film.

The 16.5 stops of dynamic range it offers and a resolution of up to 6k with speeds of up to 300 fps and allowing recording in Anamorphic, becomes an ideal option for Video clips.

With a 5K and 14 MegaPixels sensor and with recording in HDRX achieving an exposure latitude that reaches 13.5 f-stops. Using its HDRX function extends the dynamic range to an impressive 18 stops.

With a base sensitivity of 800 ISO, it makes it a great option for night shooting.

The Phantom Camera line was a marketing commitment made by Vision Research.

The flex 2k with 32Gbs of RAM is one of the reference cameras in the high-speed environment, with frame rates that reach up to 1455 fps in 2K and 2570 in full HD, to which is added spectacular colour performance and a dynamic range that never disappoints.