DigiBroadcast is home to an amazing range of audio and visual broadcast equipment from industry-leading manufacturers including Sennheiser, Sony and Panasonic. No matter what your requirement, you’ll find our range of film equipment, including used camcorders, lenses, tripods, headphones and more, all of which you’ll find in great condition and ready to operate immediately.
Our broadcast equipment is available at amazing prices, and we ensure that each and every one of our products is given a stringent examination to identify any faults and ensure that the equipment is in full working order. With a fantastic selection of second-hand cameras and camcorders available for all of your filming and broadcast needs, whether professional or a budding hobbyist, there’s a massive range of used VTR & DDRs, cameras, lenses, accessories, microphones and much more to pick from among our premium selection of pre-owned products.
Lens: Angenieux Optimo DP 30-80 Zoom Ratio: 2.7X Focal Length: 30-80mm Aperture: f/2.6 (T2.8) MOD: 2 ft (0.6m) Internal Focus: Yes Image Coverage: Super 35 (S35) 5K (32mm diagonal) Weight (approx): 4.2 lbs (1.9Kg) Length: 186mm Front Diameter: 114mm
Lens: Angenieux Optimo DP 30-80 Zoom Ratio: 2.7X Focal Length: 30-80mm Aperture: f/2.6 (T2.8) MOD: 2 ft (0.6m) Internal Focus: Yes Image Coverage: Super 35 (S35) 5K (32mm diagonal) Weight (approx): 4.2 lbs (1.9Kg) Length: 186mm Front Diameter: 114mm
Focal Length: 16-42mm Max Aperture: T/1.5 Lens Format: 35mm Lens Type: Ultra Wide, Wide Zoom Lens Mount: PL Scale: Imperial, Metric Type: Cine, Video
In the Box Panasonic Cinema VariCam LT 4K S35 Digital Cinema Camera (EF Mount) EF Mount Control Panel Top Handle Viewfinder Touch Screen IDX V-mount plate
Included in the box 1x BP-U30 Battery 1x BC-U1 Charger 1x Viewfinder and hood 1x Hand Grip 1x Mains cable
Blackmagic BMD-CINECAMURSAM40K/EF ( BMDCINECAMURSAM40KEF, BMD CINECAMURSAM40K EF, BMD/CINECAMURSAM40K/EF, bmd-cinecamursam40k/ef ) URSA Mini 4K EF Camcorder
Compact and lightweight digital film camera with 4K Super 35 sensor
Introducing URSA Mini, a lightweight miniaturized URSA featuring an incredible 4K Super 35 image sensor with global shutter and a massive 12 stops of dynamic range! The super compact and lightweight design is perfectly balanced for handheld use and comfortable enough for all day shooting. That means you get a handheld camera with higher resolution and better dynamic range than most Super 35mm film! URSA Mini shoots up to 60 frames per second, has a super bright 5 inch foldout viewfinder, dual RAW and ProRes recorders and more. You can select from four models of URSA Mini with 4.6K or 4K image sensors and either EF or PL lens mounts.
Handheld Digital Film Camera
Perfect for feature film, television production and more.
Blackmagic URSA Mini is designed to be used on feature films, television shows, commercials, indies, documentaries, music videos and more. The stunning quality of its 4K sensor with 12 stops of dynamic range lets you capture epic cinematic shots, while its compact size is perfect for solo shoots or smaller crews! You can easily customize URSA Mini with high quality cinema lenses, rails, matte boxes and more. The optional shoulder mount kit features a quick release mounting plate so you can go from handheld to shoulder or tripod in seconds, making it perfect for pickup and run shooting situations. It’s the handheld Super 35mm digital film camera that you can use anywhere and, because it’s an URSA, everything you need is built right in.
Revolutionary URSA Design
All the big camera features you need built into a lightweight, portable design
URSA Mini features a compact, perfectly balanced body made out of advanced technology magnesium alloys so it’s rugged, lightweight and comfortable enough to be used all day. Like all URSA cameras, it includes everything you need built right in! You get a super bright 5 inch fold out 1080 HD touch screen for on-set monitoring and to change camera settings, professional connectors such as 12G-SDI, a high quality stereo microphones and a side grip with control buttons mounted on a standard rosette. The optional Blackmagic viewfinder and shoulder mount kit allow you to go from tripod to over the shoulder shooting in seconds, so you can keep up with the action.
Highly Customizable
Flexible enough to be rigged for any production
Blackmagic URSA Mini is completely customizable so you can create a rig that’s built specifically for your production! You can add accessories like the Blackmagic URSA Viewfinder and Blackmagic URSA Mini Shoulder Kit, or choose from hundreds of third party accessories. URSA Mini has 9 standard ¼”
threaded mounting points on the top and bottom of the camera so you can mount it directly to a tripod as well as add accessories such as rails, sliders, matte boxes, microphones, ring lights, batteries and more. Whether you’re building a feature film rig or outfitting the camera for an ENG style shoot, URSA Mini has all of the mount points and connections you need.
Cinematic 4K Sensor
Capture incredible digital film images with 12 stops of dynamic range
URSA Mini operates at a resolution and dynamic range that goes well beyond traditional motion picture film. Built in refrigeration cooling ensures maximum dynamic range so you get incredibly clean pictures with amazing detail in both the dark shadows and bright highlight areas of the image. You can also choose a higher cost 4.6K model of URSA Mini with 15 stops of dynamic range when you need the performance and have a bigger budget.
High Frame Rate Recording
Capture the action with crystal clear slow motion
URSA Mini can shoot at high frame rates and then play it back at the edit frame rate so you get smooth slow motion video. Simply set the sensor frame rate to get different types of slow motion effects. URSA Mini can capture full resolution 4K recordings at up to 60 frames per second and up to 160 frames per second in regular 1080 HD! When you need even more dramatic, higher frame rate slow motion shooting, you can use the regular URSA which can record high resolution 4K images at an amazing 120 frames per second.
Stunning Ultra HD
Higher resolution creates smooth vivid Ultra HD images
Because URSA Mini features a 4K native resolution image sensor it can capture much higher resolution than Ultra HD. This means when you’re working in Ultra HD you have a lot of extra resolution that can be used through the de-bayering image processing so you can recover full colour for incredible images. The wide dynamic range blows away high end broadcast cameras to give you dramatically better images that can be coloured corrected for a truly cinematic look. For faster post production, quickly switch settings to use regular video dynamic range, so you can shoot great looking video without the need for colour correction.
Non Stop Recording
Change memory cards even while recording
Blackmagic URSA Mini features dual CFast 2.0 recorders so you never have to stop recording when you need to change the media! When the current card is full, recording continues onto the second card so you can swap out the full card and just keep shooting. URSA Mini uses the latest, incredibly fast CFast 2.0 technology for recording speeds up to 350 MB/s. You get perfect high frame rate RAW recording and instant play back on the built in 5 inch screen. Files can be saved as lossless 12-bit CinemaDNG RAW for the highest possible quality, or as ProRes for easy post production workflows with minimum storage requirements.
Four Incredible Models
Choose the sensor resolution and lens mount that’s right for you
URSA Mini comes in four models so you can choose from two different sensors and two different lens mounts. You can choose the 4.6K sensor with 15 stops of dynamic range in EF or PL lens mount models. If you’re on a tight budget, you can choose the more affordable 4K sensor with 12 stops of dynamic range with either EF or PL lens mount models. The PL mount works with professional cinema lenses and the EF models let you choose from an incredible selection of high quality photographic lenses from manufacturers like Zeiss, Canon, Sigma and more. Because EF lenses are used on high resolution DSLR cameras they have incredibly precise optics that can handle the high resolution of the URSA Mini 4.6K sensor.
Touchscreen Control
Change settings and monitoring with the touch of your finger
The high resolution 5 inch fold out monitor includes a touchscreen so you get easy access to the revolutionary URSA camera interface. All of your settings, controls and monitoring tools are at your fingertips. That means you don’t have to hunt through confusing menus to make changes. You can see and change all camera settings, view timecode, histograms for checking levels, audio levels and a focus peaking indicator for checking focus.
Professional Connections
All the connections you need for virtually any use.
Blackmagic URSA Mini features multiple connections such as 12G-SDI out, HD-SDI monitoring out, 2 LANC inputs, balanced XLR audio with phantom power, timecode in and reference input. On the front right side of the camera the 4 pin XLR DC and HD-SDI monitoring output are located in the perfect position for connecting to an optional viewfinder or on set monitor. The 12G-SDI output handles up to 2160p60 using a single BNC cable and also switches to 6G-SDI or HD-SDI depending on the shooting format.
Advanced 12G-SDI
Get the latest in SDI video technology
12G-SDI is an incredible 8 times faster than regular HD-SDI which makes it fast enough for Ultra HD video at up to 60 frames per second, all over a single regular SDI cable! The high quality BNC connections are multi rate so it can automatically switch and work with 6G-SDI, 3G-SDI, and regular HD-SDI equipment. That means URSA Mini is compatible with all of your existing HD and Ultra HD equipment so you can plug it into things like ATEM live production switchers, on-set monitors, decks and more.
Professional Audio
Built in production quality sound recording
URSA Mini has the highest quality built in microphones and professional audio recording built in so you don’t have to carry around extra sound equipment. Use the built in stereo microphone to record natural location sound or connect professional microphones using the two XLR wide dynamic range mic inputs. The XLR connections have 48V of switchable phantom power so you can plug in everything from shot gun to wireless clip on mics for capturing every detail of the performance. You can quickly adjust levels using the physical knobs and monitor audio using the onscreen audio meters.
Embedded Metadata
Store location, camera orientation, scene details and more
The built in touchscreen makes it astonishingly simple to set up and enter metadata for tagging clips. Metadata is saved directly in the video files so you don’t have to worry about managing extra sidecar files. Some models of URSA Mini also include GPS and gyroscopic sensors so that information can be stored as metadata in the video files. That means you can import the files directly into software like DaVinci Resolve, Final Cut Pro and Avid Media Composer then use the metadata to sort, search and find the clips you need so you can spend more time on creative editing and less time managing mountains of media.
Flexible Power
Compatible with industry standard batteries and power
URSA Mini includes a 4-pin XLR industry standard power connector that works with 12V to 30V external power supplies. That means it’s easy to use the camera with all of your existing power supplies and batteries! URSA Mini uses the same battery power connector and mounting points on the rear of the camera as used on URSA so you can use the same range of battery plates from a wide range of manufacturers such as IDX, Frezzi, Anton Bauer and more. You can also add the optional Blackmagic URSA VLock Battery Plate for using popular V-Mount batteries.
Includes DaVinci Resolve
Professional editing and colour grading included free.
URSA Mini includes the full version of DaVinci Resolve for Mac and Windows for editing, colour grading, media management, mastering and delivery.
DaVinci Resolve can easily handle the 12-bit log RAW images from URSA Mini so you can take advantage of URSA Mini’s amazing image quality and wide dynamic range. DaVinci Resolve features advanced, multi layer timeline editing with powerful trimming tools, along with the industry’s leading suite of creative grading tools! The combination of URSA Mini and DaVinci Resolve gives you a complete production and post-production solution.
Sony XDCA-FS7 (XDCAFS7, XDCA FS7, XDCA/FS7, xdca-fs7) (PXW_FS7,PXW/FS7) (PXW_FS7K, PXW/FS7K) Extension Unit, used for the Sony PXW-FS7 and PXW-FS7K 4K Video Cameras
comes with 3 month warranty
This extension Unit offers multicamera support for the PXW-FS7 4K video camera, including Apple ProRes 422 encoding
While the PXW-FS7 XDCAM camera comes with internal XAVC and MPEG-2 recording on XQD media you can attach the optional XDCA-FS7 Extension Unit. The box is attachable via a MultiPin connector so there are no hassles about cables. The Extension Unit offers additional I/O connectors like Timecode and Genlock for multi-camera operation or the possibility to use common V-Mount batteries. It also allows RAW data output to record 12-bit RAW footage on the AXS-R5 (in combination with HXR-IFR5), or another third party RAW recorder via the FS RAW Interface. The XDCA-FS7 will encode the video stream into the Apple ProRes 422 codec, which is then recorded on to the internal XQD media.
Apple ProRes 422 recording
• A built-in Full HD ProRes encoding function enables ProRes-format recording to an XQD card in the camera.
• Firmware update, early 2015.
Allows 12-bit RAW recording on an external recorder
• The XDCA-FS7 is needed for PXW-FS7 to record 12-bit RAW footage on the AXS-R5 (in combination with HXR-IFR5), or another third party RAW recorder. The RAW data will be outputted via the FS RAW Interface on the extension unit and is fully compatible with the NEX-FS700 RAW data.
Multi-camera operation
• Enables Timecode and Genlock for multi-camera operation or the possibility to use common V-Mount batteries.
Canon C300 MK II Camcorder Package 1200 Hours, Used, Great Condition, 3 Month Warranty
*The following applies to new units of the camera*
The EOS C300 Mark II is a new 4K video camera allowing filmmakers and broadcast producers to realise their creative vision in stunning cinematic detail. Building on the unprecedented success of the acclaimed EOS C300, the more rugged EOS C300 Mark II features an advanced imaging engine with dual DIGIC DV5 processors, new professional codecs and outstanding dynamic range, making it the most capable, flexible and accessible Cinema EOS video camera to date.
Supreme 4K image quality and versatility
With the ability to record 10-bit 4:2:2 files internally at up to 410Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD,withup to 15 stops of dynamic range,the EOS C300 Mark II provides footage suitable for extensive post-production work, producing crisper images across the full colour spectrum with reduced “colour bleed”. The cameraoffers professional filmmakers and broadcasters alike the very best image quality,recording 4K in both broadcast (3840 x 2160) and DCI cinematic (4096 x 2160) resolutions.The EOS C300 Mark II can record high bitrate 4K files internally to dual CFast 2.0™ media, while simultaneously recording 4K RAW files to an external recorder,offering the flexibility and universal appeal for production at the highest quality available today. Additionally,the ability to record 2K/Full HD Proxy files to an internal SD card, at the same time, further streamlines the production workflow process.
The new Canon-designed Super 35mm CMOS sensor and an increased ISO range up to ISO 102,400 deliver exceptional low light performance, allowing operators to capture low-noise footage across a variety of challenging environments without compromising on image quality.
To meet the requirements of a diverse range of shooting applications, the EOS C300 Mark II offers both full manual control, ideal for cinematic environments, as well as automatic modes. These include,enhanced Dual Pixel CMOS AF (now covering approx. 80% of the frame vertically and 80% horizontally), auto white balance and Face Detection AF, all making it easier for independent news gatherers and documentary filmmakers to shoot on the go.
Instant integration into professional workflows
Canon’s new range of XF-AVC H.264 codecs, designed to be compatible with industry standard Non-Linear Edit systems, makes integrating both 4K and 2K/Full HD footage into workflows effortless, while maintaining the highest image quality.The range features XF-AVC intra for 4K, andXF-AVC Long GOP and Proxy options for 2K/Full HD recording,both of which utilise H.264 codec, offering post production flexibility and ease of use.Filmmakers can select the resolution and codec type that best suits their production,with the EOS C300 Mark II capable of shooting at up to 30P in 4K or up to 120P in 2K/Full HD. The EOS C300 Mark II offers support for a wide range of colour space options, including BT.2020, the Canon Cinema Gamut and DCI-P3. The camerais also the first Cinema EOS model to feature brand new Canon Log2 technology, which enables the 15-stops of dynamic range, significantly widerthan previous Cinema EOS cameras.The camera offers new versatility for sound recording too, supporting 4-channel audio recording in 16 or 24 bitand 48 kHz.
Designed for versatility
The EOS C300 Mark II boasts the iconic Cinema EOS design DNA – a modular body that can be adapted to suit the needs of each shooter and filming situation, through the extensive range of compatible accessories. Internally, the EOS C300 Mark II also includes built-in electronically controlled glass ND (neutral density) filters, which reduces the amount of light reaching the sensor by up to 10 stops in expansion mode.Compatibility with the RC-V100 remote control and optional Wi-Fi controlalso enables ease of use in a wider range of locations.
The camera’s sensor read-out speed is now twice as fast as the original EOS C300, and further reduces rolling shutter distortion, allowing for crisp image capture in a moving environment, making it perfectly suited for capturing action sequences.
Leveraging Canon’s rich heritage in lens design, the EOS C300 Mark II is compatible with more than 90 current EF and EF Cinema lenses allowing operators to use their existing EF mount lenses. In addition, the EOS C300 Mark II comes equipped with Canon Cine servo zoom lens support, delivering one of the most comprehensive selections of lens possibilities for movie and broadcast production available in the market today.For further flexibility, shooters can opt to change the lens mount from the default EF Mount,to EF Mount with Cinema Lock, or tothe industry standard PL mount, as a service option.
Canon C300 MK II Camcorder Package 350 Hours, Used, Great Condition, 3 Month Warranty
*The following applies to new units of the camera*
The EOS C300 Mark II is a new 4K video camera allowing filmmakers and broadcast producers to realise their creative vision in stunning cinematic detail. Building on the unprecedented success of the acclaimed EOS C300, the more rugged EOS C300 Mark II features an advanced imaging engine with dual DIGIC DV5 processors, new professional codecs and outstanding dynamic range, making it the most capable, flexible and accessible Cinema EOS video camera to date.
Supreme 4K image quality and versatility
With the ability to record 10-bit 4:2:2 files internally at up to 410Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD,withup to 15 stops of dynamic range,the EOS C300 Mark II provides footage suitable for extensive post-production work, producing crisper images across the full colour spectrum with reduced “colour bleed”. The cameraoffers professional filmmakers and broadcasters alike the very best image quality,recording 4K in both broadcast (3840 x 2160) and DCI cinematic (4096 x 2160) resolutions.The EOS C300 Mark II can record high bitrate 4K files internally to dual CFast 2.0™ media, while simultaneously recording 4K RAW files to an external recorder,offering the flexibility and universal appeal for production at the highest quality available today. Additionally,the ability to record 2K/Full HD Proxy files to an internal SD card, at the same time, further streamlines the production workflow process.
The new Canon-designed Super 35mm CMOS sensor and an increased ISO range up to ISO 102,400 deliver exceptional low light performance, allowing operators to capture low-noise footage across a variety of challenging environments without compromising on image quality.
To meet the requirements of a diverse range of shooting applications, the EOS C300 Mark II offers both full manual control, ideal for cinematic environments, as well as automatic modes. These include,enhanced Dual Pixel CMOS AF (now covering approx. 80% of the frame vertically and 80% horizontally), auto white balance and Face Detection AF, all making it easier for independent news gatherers and documentary filmmakers to shoot on the go.
Instant integration into professional workflows
Canon’s new range of XF-AVC H.264 codecs, designed to be compatible with industry standard Non-Linear Edit systems, makes integrating both 4K and 2K/Full HD footage into workflows effortless, while maintaining the highest image quality.The range features XF-AVC intra for 4K, andXF-AVC Long GOP and Proxy options for 2K/Full HD recording,both of which utilise H.264 codec, offering post production flexibility and ease of use.Filmmakers can select the resolution and codec type that best suits their production,with the EOS C300 Mark II capable of shooting at up to 30P in 4K or up to 120P in 2K/Full HD. The EOS C300 Mark II offers support for a wide range of colour space options, including BT.2020, the Canon Cinema Gamut and DCI-P3. The camerais also the first Cinema EOS model to feature brand new Canon Log2 technology, which enables the 15-stops of dynamic range, significantly widerthan previous Cinema EOS cameras.The camera offers new versatility for sound recording too, supporting 4-channel audio recording in 16 or 24 bitand 48 kHz.
Designed for versatility
The EOS C300 Mark II boasts the iconic Cinema EOS design DNA – a modular body that can be adapted to suit the needs of each shooter and filming situation, through the extensive range of compatible accessories. Internally, the EOS C300 Mark II also includes built-in electronically controlled glass ND (neutral density) filters, which reduces the amount of light reaching the sensor by up to 10 stops in expansion mode.Compatibility with the RC-V100 remote control and optional Wi-Fi controlalso enables ease of use in a wider range of locations.
The camera’s sensor read-out speed is now twice as fast as the original EOS C300, and further reduces rolling shutter distortion, allowing for crisp image capture in a moving environment, making it perfectly suited for capturing action sequences.
Leveraging Canon’s rich heritage in lens design, the EOS C300 Mark II is compatible with more than 90 current EF and EF Cinema lenses allowing operators to use their existing EF mount lenses. In addition, the EOS C300 Mark II comes equipped with Canon Cine servo zoom lens support, delivering one of the most comprehensive selections of lens possibilities for movie and broadcast production available in the market today.For further flexibility, shooters can opt to change the lens mount from the default EF Mount,to EF Mount with Cinema Lock, or tothe industry standard PL mount, as a service option.
Sandisk SDCFSP-128G-G46D 128GB 525MB/s Extreme Pro CFast
Designed in parallel with leading-edge camera manufacturers, the SanDisk Extreme PROR CFastT 2.0 memory card offers more than twice the shot speed of today's fastest memory cards. As the next generation CFast 2.0 memory card, it delivers the speed and capacity professionals need for Full HD recording specifications, including high-definition 4K video recording**. Next level write speeds help you keep up with the new generation of professional cameras and camcorders, while data transfer speeds of up to 515MB/s** make your post-production workflow more efficient. And capacities of up to
128GB** give you plenty of room for large RAW image files and the high-quality video that broadcast and cinema demands.
For New-Generation, High Performance Cameras and Camcorders
Designed in collaboration with leading-edge manufacturers, this new CFastT
2.0 memory card delivers the high performance of the broadcast, cinema and photography industries demand today.
Nikon TLS Aurora Zoom 24-70mm, Metric, Lens, used, 3 months warranty.
The Aurora 24-70mm is a TLS mid-range zoom and the second in line of the three lens Titan zoom range, which use Nikon glass. All of the lenses in this range are fixed T2.8 speed and cover the full frame 35mm format (36 x
24mm) that comfortably cover 6K sensors, which further proofs your optical investment.
The ergonomics and build quality of the lens are akin to the 80-200mm Morpheus, with a 110mm front diameter, easy to read scales in your choice of either metric or imperial markings, integrated lens support ring, standard 0.8″ pitch focus, zoom and iris gears, expanded iris scale and an industry standard PL mount.
The most notable modification is the expanded and reserved focus mechanism, in order to correct the Nikon focus barrel direction and operate the correct way for film operations.
Containing the same optics as inside the Nikon’s best mid range zoom for Nikon 35mm and FX format digital cameras, and just like the 80-200mm, the AR coatings reduce flares and veiling glares for deep, rich blacks.Extra Low Dispersion (ED) glass reduces chromatic aberrations.
These lenses provide the perfect combination of image and build quality at an affordable price, which meet the requirements of today’s operators within an industry where high-end equipment is now attainable at reasonable rates.
EK 100 G4 Frequency range: GB: 606 - 648 MHz Dimensions : Approx. 82 x 64 x 24 mm Compander : Sennheiser HDX THD, total harmonic distortion: ≤ 0.9 % Weight (incl. batteries): approx. 160 g Audio output: 3.5 mm jack socket: +12 dBu (mono, unbalanced) Signal-to-noise ratio: ≥ 110 dBA Switching bandwidth: up to 42...
In Box: Included: -Epic Dragon -Side SSD -4x 64GB SSD cards. -1 card readers (one is USB 3.0). -Ti PL Mount + Cap. -Side Handle -Redmote. -Fan upgrade. -Red Bomb EVF -Red Touch 5'' -LCD/EVF cables. -OLPF interchangeable system + Low-Light + Skin-Tone OLPFs. -Bebob Hot Swat Adapter -Easy Top. -RED PRO & Top Handle.
Comes with 2 Years Sony Prime Support Warranty - Beware of grey imports.
Professional features
Includes wireless operation, picture cache recording, built-in GPS, Digital Extender, variable ND filter control, HyperGamma and more.
Three 2/3-inch type PowerHAD FX Full HD CCD sensors offer high sensitivity and improved S/N ratio
The PXW-X500 is equipped with three 2/3-inch type Full HD CCD sensors which offers a high sensitivity of F12 at 50i (F11 at 60i) and improved S/N ratio of 60 dB (with NS on). Minimum illumination of 0.003 lx (typical) in 1080/59.94i mode +42 dB gain, with 16-frame accumulation.
Slow and Quick Motion function 1 fps to 120 fps at 1080 in XAVC Intra and XAVC Long* and 1 fps to 30 fps in MPEG HD 422
The PXW-X500 offers a powerful Slow and Quick Motion function as an option that enables users to create elegant fast- and slow-motion footage. The
PXW-X500 can capture images at frame rates selectable from 1 fps (frame per second) to 120 fps in 1080p in the XAVC codec.
Wireless operation
Lens, camera and media WiFi Remote or XMPilot live logging from a tablet or smartphone is achievable with built-in wireless module.
Proxy recording on SD card
The PXW-X500 can record proxy video H.264 on an SD card. The resolution and bitrate of proxy video can be changed for a more flexible workflow. The proxy files are recorded in MP4 format for better compatibility with broadcast systems. The lightweight proxy video files are generated separately from the main line recording and recorded to SD cards for quick sharing of content over low-bandwidth mobile networks.
The PXW-X500 is equipped with two SxS memory card slots. The camcorder is compatible with SxS PRO+ and SxS-1 memory cards, XQD, SDXC and SDHC cards can be also used with an appropriate card adaptor.
ND filter control mechanism
The PXW-X500 is equipped with a variable ND Filter function, allowing you to choose four conventional mechanical ND filter positions from Clear, 1/4ND, 1/16ND to 1/64ND.
Wide choice of connections
The camcorder offers numerous connections to suit the broadcast workflow, including 3G HD-SDI, HDMIR, USB, composite output, timecode input/output and genlock input.
2/3-inch lens mount
The PXW-X500 is fitted with a 2/3-inch B4 lens mount.
GPS functionality
The PXW-X500 is equipped with a GPS device. The GPS data is automatically recorded in two file locations.
High resolution 16:9 LCD
The PXW-X500 incorporates a 3.5-inch 1,555K dot LCD, offering high resolution and flexible composition options.
Viewfinder options
The camcorder allows various functions to be displayed in the viewfinder, including Focus Mag and Waveform/Vectorscope/Histogram. Viewfinder options include the HDVF-20A, HDVF-200 and CBK-VF02.
HyperGamma and User Gamma
Four types of HyperGamma curve - inherited from Sony's CineAlta camcorders - are provided in addition to six standard gammas.
Digital Extender
The Digital Extender function of the PXW-X500 enables images to be digitally increased in size 2x, 3x or 4x. Unlike lens extenders, the Digital Extender function performs this increase without any F-drop phenomenon (i.e., without loss of image sensitivity).
ALAC (Automatic Lens Aberration Compensation)
This feature decreases any chromatic aberration caused by the lens. ALAC is activated only with some third-party lenses that incorporate compensation data. (Please check with lens manufacturers for ALAC support.)
24-bit four-channel audio recording
The PXW-X500 records uncompressed four-channel, 24-bit 48 kHz audio in XAVC Intra and XAVC Long MPEG HD 422 mode or MPEG IMX mode. Each channel level can be adjusted independently by individual level controllers.
Why not check out our full range of camcorders by visiting our Camcorders Category or shop more items from the Sony range.
Zoom Ratio: 22x Built-in Extender: 2.0x Range of Focal Length: 7.6~168mm (with Extender): 15.2~336mm (2.0x) Maximum Relative Aperture: 1:1.8 at 7.6~114.1mm 1: 2.65 at 168mm (with Extender): 1:3.6 at 15.2~228.2mm 1:5.3 at 336mm (2.0x) Angular Field of View: 4:3 Aspect Ratio 60.1°x46.9° at 7.6mm (with Extender) (8.8 x 6.6mm) 3.0°x2.25° at 168mm 32.3°x24.5° at 15.2mm...
Zoom Ratio: 22x Built-in Extender: 2.0x Range of Focal Length: 7.6~168mm (with Extender): 15.2~336mm (2.0x) Maximum Relative Aperture: 1:1.8 at 7.6~114.1mm 1: 2.65 at 168mm (with Extender): 1:3.6 at 15.2~228.2mm 1:5.3 at 336mm (2.0x) Angular Field of View: 4:3 Aspect Ratio 60.1°x46.9° at 7.6mm (with Extender) (8.8 x 6.6mm) 3.0°x2.25° at 168mm 32.3°x24.5° at 15.2mm...
Zoom Ratio: 22x Built-in Extender: 2.0x Range of Focal Length: 7.6~168mm (with Extender): 15.2~336mm (2.0x) Maximum Relative Aperture: 1:1.8 at 7.6~114.1mm 1: 2.65 at 168mm (with Extender): 1:3.6 at 15.2~228.2mm 1:5.3 at 336mm (2.0x) Angular Field of View: 4:3 Aspect Ratio 60.1°x46.9° at 7.6mm (with Extender) (8.8 x 6.6mm) 3.0°x2.25° at 168mm 32.3°x24.5° at...
Canon HJ11 x4.7B IRSE Wide Angle Lens, Used Comes with 3 month warranty Good condition Canon HJ11ex4.7B IRSE e-HDxs 11x 2/3 In. EFP High Definition Ultra-Wide Angle Lens, with 2x Extender, Manual Focus, Servo Zoom and Iris provides the performance ENG and EFP shooters demand at every production platform budget level. The HJ11ex4.7B utilized breakthrough...
Canon HJ11 x4.7B IRSE Wide Angle Lens, Used Comes with 3 month warranty Good condition Canon HJ11ex4.7B IRSE e-HDxs 11x 2/3 In. EFP High Definition Ultra-Wide Angle Lens, with 2x Extender, Manual Focus, Servo Zoom and Iris provides the performance ENG and EFP shooters demand at every production platform budget level. The HJ11ex4.7B utilized breakthrough...
Aperture - T1.9 Zoom Ratio / Range - 11x / 4.7mm - 52mm Built-in Extender - 2X Close Focus 12" / 0.3m (from front of lens) Close Focus 23" / 0.59m (from image plane) Front Diameter - 95mm Length - 9.5" / 241mm Weight - 4.29 lbs...
Sony PXW-FS7 (PXWFS7, PXW/FS7, PXW FS7, pxw-fs7) 4K Super 35mm Exmor CMOS Sensor XDCAM Camcorder (Body Only) 1400 hours, used
Comes with 3 months warranty
High mobility professional camera with continuous Super Slow Motion
capabilities and Mount lens system compatible with wide variety of E-Mount
and A-Mount* lenses
The PXW-FS7 XDCAM camera has an ergonomic grip design for easy handling and operability, making it ideal for one-man operation in situations where the
extraordinary flexibility of its Mount lens system and compatible
interchangeable lenses can be used to maximum advantage. The PXW-FS7 features a 4K Super 35mm Exmor CMOS sensor and support for shooting in 4K** 60p or Full HD at high frame rates up to 180 fps (frames per second).
Selectable recording formats include XAVC, which supports 4K* 60p, Full HD 60p even in 4:2:2 10-bit recording, as well as the common MPEG-2 HD 422 format used by many broadcast stations around the world. Attach an optional Extension Unit (XDCA-FS7) to open up the possibilities of multi-camera shooting and ProRes 422 encoding**. Connect an HXR-IFR5 interface and AXS-R5 recorder to support parallel recording and 4K/2K RAW recordings up to 240fps in 2K.
A-Mount lenses require LA-EA4 lens adaptor.
Lightweight ergonomic design and low power consumption ideal for one-man operation and lower investment costs
The PXW-FS7 has a host of ergonomic design features including a grip design for easy handling and operability, and adjustable arm section.
High-sensitivity 4K Super 35mm Exmor CMOS sensor supports 4K* motion-picture shooting
The PXW-FS7 supports internal recording at 4K resolution as well as a wide range of frame rates 59.94P, 50P, 29.97P, 25P and 23.98P), and provides outstanding sensitivity of ISO2000 and the dynamic range of 14-stops.
Super Slow Motion continuous recordings
The PXW-FS7 offers continuous recording in Full HD image quality and a frame rate of up to 180 fps on internal XQD media. Using external RAW recorder images can be captured in 2K up to 240fp
Mount System for a wide selection of E-Mount and A-Mount lenses
The PXW-FS7 incorporates the Mount System with an E-mount lens mount,
ideal for the SELP28135G 35mm full frame powered zoom lens. The use of A-mount lenses via the LA-EA4 lens adaptor.
FS7 v4.30 Firmware
Sony's new firmware version has been designed to improve ISO sensitivity in CineEI mode and improve the overall stability of the camera. For more details please visit Sony's firmware upgrade page.
The most versatile of the ALEXA SXT digital cinema cameras, the ARRI ALEXA SXT Plus Camera Body (LDS PL) features built-in, wireless camera and lens control, tilt and roll sensors, a fourth monitor-out port, and a third RS/accessory connector. Wireless lens and camera control is increasingly popular, and the SXT Plus saves time on set by enabling you to plug lens motors directly into the camera, no motor control box is needed.
The SXT Plus is compatible with ARRI controllers like the WCU-4, as well as with the cmotion hand units. The integrated wireless control also eliminates the weight of a motor controller from your camera rig. The built-in tilt and roll sensors are viewed as an electronic horizon in the EVF by the operator, and the information is stored in your recording metadata for VFX and shot-matching uses.
Record in UHD 4K, Cine 4K, 2K, or HD with 16-bit processing for sharp, natural-looking images. The ALEXA SXT Plus provides an array of recording format choices in ARRIRAW and ProRes including 6:5 and 8:9 anamorphic modes (with SUP 3.0). With a base sensitivity of EI 800, and a dynamic range of 14-plus stops, your footage is effectively future-proofed for compatibility with HDR displays. The ALEXA SXT Plus' Wide Color Gamut exceeds current display standards, and is compatible with the Rec 2020 color space.
Full-image frame rates up to 120 fps enable capture for higher-clarity HFR (High Frame Rate) projects.
The ALEXA SXT Plus' improved image-processing system includes the ability to "bake-in" 3D LUTs at capture, a mild noise reduction feature (ANR), and a pixel correction function. ARRIRAW recording is optimized for VFX and archival capture, with uncompressed data available for sculpting with today and tomorrow's latest post-production processing. The look management architecture has been updated with the new ARRI Color Tool (ACT) and ARRI Look File (ALF-2), offering the ability to maintain your look from prep to post with on-set grading. Look files are stored in your recordings' metadata, enabling the automatic application of your on-set look to dailies, proxies, and editing files using popular NLE systems.
User-friendly features include the ability to apply customized settings to each of the ALEXA SXT Plus' outputs (EVF and four monitor outs), enabling the director, DP, DIT, or AC to see just the on-screen information they need, in SDR or HDR, in the color space of their choice. Standard and high-speed recording rates are now accessible in the same mode, eliminating the need to switch to a high-speed mode.
The modular ALEXA SXT family includes the flexibility of recording to the current or future media of your choice for each of your projects. Capture options include XR and SXR Capture Drives with write speeds up to 20 Gb/s, SxS PRO and SxS PRO+ cards, and CFast 2.0 cards. Faster in-camera processing speeds, and capture to SXR drives boost the ALEXA SXT Plus' maximum frame rates. RAID 1 (mirroring) capture provides additional data security for ALEXA SXT ProRes files.
The ARRI LDS (lens data system), the IFM-1 filter holder, shoulder mount, and 15mm LWS rod support are built into the ALEXA SXT Plus. A 5-pin XLR connector supports 2-channel, 24-bit, 48 kHz audio. Choose from separately available Gold or V-mount battery plates, or an AC power supply to power the camera.
Extremely fast aperture of T2.8 with no ramping 320° focus rotation with over 20 precise focus witness marks and no breathing Optical design optimized for today’s large format single sensor cameras Calibrated focus marks in feet or meters Optimo quality at an affordable price Available in PL Mount Does not fit on cameras with optical...
Canon HJ17ex7.6BIRSE, Lens, used, 3 months warranty.
The HJ17ex7.6B IRSE A/IASE A answers the pressing demands of broadcast newsgathering and for low-weight and high-mobility and the exacting performance requirements for HDTV acquisition. Superb optimization strategies helped achieve the sought-for performance – having a high sensitivity, an excellent MTF profile over the entire image plane, minimization of chromatic aberrations, and maximization of image contrast. The maximum aperture of 1.8 makes this lens eminently suited to low-light newsgathering acquisition.
Uniformity of brightness across the image plane combines with the high contrast and excellent picture sharpness to produce vividly clear HD pictures. Contrast was extended by superb control of black reproduction – with optical and mechanical design innovations that substantially reduced flare, veiling glare, and any internal reflections. Similar attention to minimization of ghost images and other highlight-related chromatic distortions caused by strong light sources on-axis and off-axis further extend the operational contrast range of the lens.
