Filmmaking cameras
Film cameras and Lenses used for
'Hustle'
.jpg)
Director of photography Zak Mulligan: "The KOMODO was totally crucial to getting our shots! That size and quality matched with a global shutter seemed like it was designed just for Hustle. I put it on a Ronin S and made a super-compact gimbal we could run and jump with easily. We also used it handheld, on rigs and in tight spots."
CAMERAS
Red Komodo
With the release of the KOMODO 6K Digital Cinema Camera, RED has taken fresh steps by bringing their legendary image quality and color science into an ultra-compact, all-in-one design. Key to achieving this goal was the use of the Canon RF lens mount and the KOMODO 19.9MP Super35 CMOS sensor which boasts Global Shutter technology. This sensor can create images with 16+ stops dynamic range and eliminates rolling shutter artifacts. Users can also be certain they are getting RED quality thanks to the ability to in REDCODE RAW for incredible flexibility in post-production.
You can simply pop in a CFast 2.0 card into its media slot and you are ready to roll with data rates up to 280 MB/s. A top 2.9" 1440 x 1440 touchscreen makes it easy to configure and monitor your footage or you can use the RED Control system for using an iOS or Android device for preview and settings. This is possible through integrated 2.4/5 GHz Wi-Fi. Wired control is also possible via the USB Type-C port and optional adapters.
Red Monstro
The RED Monstro 8K is part of the 2018 unified DSMC2 lineup and is designed to be built up the way you want, to tell your story in almost any way possible. The MONSTRO 8K full-frame sensor boasts up to 17 stops of dynamic range and can record the full image circle of full-frame 35mm lenses. You can also use Super35 lenses with a windowed capture area for high frame rate recording. Sitting in front of the full-frame sensor is an interchangeable PL mount. This way you can use industry-standard cinema lenses right out of the box or exchange the mount to use alternative photo and video lenses.
Sony Venice Rialto
The VENICE Extension System enables cabled separation of the VENICE camera body and image sensor block by up to 5.5m with no degradation in image quality.
The kit consists of a front panel cover, image sensor block case and a 2.7m (9 ft) cable with an additional 2.7m (9 ft) extension cable. The Extension System also has an HD-SDI output and a 24V output for powering accessories such as lens servo motors and monitoring. The Extension System is fully compatible with all existing and future VENICE cameras upgraded to V3 or higher firmware. Used for Top Gun Maverick, to mount six cameras in a jet fighter cockpit.
LENSES
Leica R
Sharp, yet forgiving, smooth bokeh, with moderate lens flares. The Cine-Mod version is perfect if you need a really small, light-weight form factor, and the original Leica mechanics are actually quite smooth, and work well for focus pulls.
Each lens has been Cine-Modded by Duclos lenses, and features a new 80mm front with threads for 77mm filters, permanent focus gear, de-clicked iris, and Canon EF mount. All lenses have full Frame coverage.
Hawk class-X
Calculated from scratch, and built in a strictly classic design without resorting to nontraditional methods, Hawk class-X anamorphic lenses deliver an iconic 2x anamorphic look. Built on 25 years of lens design and manufacturing experience, Hawk class-X lenses reflect the tremendous changes in filmmaking technology. This glass delivers improved definition, close focus and edge distortion while maintaining the organic look and feel of all Hawk lenses.
And because the generational resolution loss and image softening of photochemical post and printing processes are no longer a consideration, Hawk class-X lenses are designed with today’s lossless postproduction in mind. Due to these changes, clinical sharpness is not always a virtue in today’s cinema lenses.
Leitz Prime
With a consistent high resolution and illumination across the entire frame and a smooth focus roll off, the LEITZ PRIME lenses present a clean image to build any looks on and are well-suited for VFX, virtual production, and post production as well.
Available in 13 focal lengths from 18 mm to 350 mm, in PL and LPL mount with Cooke/i and LDS-2 metadata contacts.
The LEITZ PRIME lenses colour match with the LEITZ ZOOM lenses, therefore making them a perfect set for all production needs.
Cooke Cine Varotal
The new Varotal/i FF zoom range matches the S7/I range (9 bladed Iris). Capable of achieving beautiful, classical skin tones that characterise legendary Cooke look.
Cooke Varotal lenses have a T2.9 full aperture covering Full Frame sensors. The lenses are designed for all shooting applications, including handheld and Steadicam, providing comfortable balance ratio with the latest digital cinema cameras. Cooke Varotal/i FF lenses are designed to meet a market requirement for fully reliable performance with a minimum of downtime.