Used Camcorders

Image Sensor: 1/3.1-type (1/3.1-inch) BSI MOS Sensor Effective Pixels: 6.03 megapixels [16:9] F Value: F1.8 ― F3.6 Optical Zoom: 20x Focal Length: 4.08 ― 81.6 mm 35 mm Film Camera Equivalent (Motion Image/Still Image): 29.5 ― 612 mm [16:9] Filter Diameter: 49 mm Lens Brand: Panasonic Lens Standard Illumination: 1400 lx Minimum Illumination: 1.2 lx...

Find Out More

CODEC: Apple ProRes, Avid DNxHD, R3D HDMI Output: No Recording Media: SSD SDI Output: No Video Resolution: 4K Camera Type: Large Sensor Form Factor: Modular Maximum Video Resolution (recorded): 4096x2160 Sensor Resolution (Mega Pixels): 8.8MP

Find Out More

Product Specification AEB (Bracketing) 2, 3, 5 or 7 Shots +/-3 EV 1/3 or 1/2 stop increments Aspect Ratio 3:2 Autofocus Points 61 Autofocus System TTL-CT-SIR Battery Model LP-E6 Connectivity Hi-Speed USB, HDMI mini output, Video output (PAL / NTSC), Headphone mini jack, External microphone (Stereo mini jack) Crop Factor 1.0x Exposure Compensation +/-5 EV...

Find Out More

Bundle of GoPro accessories, notably including: ARMTE-001 remote and Wasabe Power charger

Find Out More

Camera Sensor 1-Chip 1/4" CMOS Optics Zoom Optical: 20x Digital: 40x Recording System NTSC Recording Media x SD/SDHC/SDXC Still Image Resolution JPEG: 2944 x 1656 Display Display Type LCD Touchscreen Yes Screen Size 2.7" Features Image Stabilization Optical Lux 5 (1/30 sec) 3 (1/15 sec) Built-In Mic Yes Built-In Speaker Yes Input/Output Connectors Inputs 1...

Find Out More

Power Supply (rated) 7.4V DC (battery pack), 8.4V DC (DC-IN) Recording/Codec Signal System: NTSC and PAL Compression: 8 Bit MPEG-2 Long GOP Color Space: 4:2:2 at 50Mbps recording Maximum Bit Rate: 50Mbps (CBR) Canon Log Gamma: Available File Format: MXF (OP-1a) Recording Options 50Mbps (CBR) 4:2:2 422P@HL 1920x1080: 59.94i/29.97p/23.98p; 50i/25p; True 24 (24.00) 1280x720: 59.94i/29.97p/23.98p;...

Find Out More

Sensor Type - Super 35 format ARRI ALEV III CMOS sensor with Bayer pattern color filter array Sensor Maximum Resolution and Size - 3200 x 1800 28.25 x 18.17 mm / 1.112 x 0.715" ⌀ 33.59 mm / 1.322" Sensor Frame Rates - 0.75 - 200 fps Weight - ∼4.1 kg / ∼9.2 lbs

Find Out More

    HELIUM 35.4 Megapixel CMOS     16.5+ stops     REDCODE RAW up to 8K Full Frame (8192 x 4320) and 60 fps      REDCODE RAW up to 8K 2.4:1 (8192 x 3456) and 75 fps     Apple ProRes 422 HQ up to 4K (4096 × 2160) and 29.97 fps  ...

Find Out More

3 month warranty, very good condition

Sony PXW-FS7M2 (PX-WFS-7M2, PXWFS7M2, PXW/FS7M2, pxw-fs7m2) Mark II 4K XDCAM Super 35mm Camcorder

Expanding on the original FS7, Sony's PXW-FS7M2 XDCAM Super 35 Camera System is a flexible 4K camera system. Designed as a camera that is at home on productions as diverse as "Cinéma Vérité"-style documentaries, reality TV, commercial, and corporate applications It features a Super 35mm sized sensor that allows you to capture images with cinematic depth of field. The camera incorporates a stronger locking E-mount that is fully compatible with E-Mount lenses, and supports all electronic connections. The locking mount reduces lens play, and allows you to use most 35mm lenses including PL, EF, Leica, and Nikon via optional adapters. This stronger E-mount is ideal for using heavier-long cine-zooms without the need for additional lens support.

Just behind the lens mount sits an electronic variable ND system that provides a clear filter and 3 user definable presets. The variable ND can be adjusted to provide between 2 and 7 stops of ND. The camera can capture footage to optional on-board XQD media cards in either DCI 4K (4096 x 2160) or UHD 4K (3840 x 2160) at up to 59.94 fps or HD at up to 180 fps.

The camera records in your choice of XAVC-I, XAVC-L, or MPEG-2. However,

MPEG-2 recording does not support the high data rates the camera is capable of generating when shooting in UHD, and is limited to recording HD video only. The camera incorporates Dual XQD media card slots that support simultaneous or relay recording. An ergonomically designed handgrip provides control of many of the camera's functions and features an adjustable length support arm.

Sensor

The 4K Super 35 EXMOR sensor features 14 Stops of latitude and a wide color gamut. It offers a choice of XAVC or MPEG-2 codecs. The XAVC codec can be used for 4K and HD recording, while MPEG-2 is limited to HD recording.

XAVC comes in two flavors, XAVC INTRA, and XAVC Long, allowing you to encode from HD to UHD using Intra-Frame or Long GOP compression with 10-bit 4:2:2 for HD and the choice of 10-bit 4:2:2 or 8-bit 4:2:0 for UHD. XAVC intra compression is very efficient, recording at modest bit rates and XAVC Long also substantially extends the recording time while attaining very high quality and low noise.

Signal Processing

The Camera supports two signal processing modes; Cine-EI and Custom.

Cine-EI offers three color grading spaces for electronic cinematography production. The Custom mode supports Rec-709 and Rec BT-2020 at UHD 3840 x

2160 with Y, Cb, Cr color subsampling. You can set the PXW-FS7M2 to record onboard and monitor on a BT 2020 compliant monitors via HDMI 10-bit 4:2:2 or SDI at 10-bit 4:2:2 with a 709 monitor LUT applied.

Locking E-Mount

The PXW-FS7M2 is equipped with a locking E-Mount that provides improved stability and strength compared to a standard E-Mount. It features a safety interlock system that helps prevent accidental disengagement of your lens from the camera body. The locking mount also reduces lens play compared to a standard E-Mount and the locking mount is strong enough to support long cine and ENG zooms that normally require a lens support.

It accepts optional E-Mount lenses from Sony, Zeiss and other manufacturers. The shallow flange distance of the E-Mount allows you to mount most 35mm lens types such as PL, Canon EF, Leica, Nikon, as well as many others with simple mechanical adapters.

Electronic Variable ND

Behind the lens mount sits a retractable clear filter. When you engage the internal ND filters, the clear filter retracts and a stepless electronic ND filter drops into place maintaining the proper flange focal distance. You can program the electronic ND filter to act as three individual filters and rotating the filter knob will step between these presets.

Additionally, you can manually adjust the density of the filter from 2 to 7 stops. One of the advantages of the electronically variable ND filter is that you can use the iris on your lens to set your depth of field, and then make exposure adjustments with the ND, as it does not introduce any color shift as the strength of the ND changes.

Magnesium Construction

The camera body is made from magnesium, which is lighter and stronger than aluminum. This allows the camera body to weigh only four pounds. It also incorporates a shoulder pad and is designed to sit on the operator's shoulder by extending the support arm of the SmartGrip, which allows the camera to be held in front of the operator without requiring a support rig.

SmartGrip

The camera includes an ergonomic handgrip that Sony calls a SmartGrip, which features Zoom, Start/Stop, and Assign controls. The SmartGrip facilitates camera operation with the right hand, leaving the left hand free to operate the lens. Both the arm and handgrip can be positioned at different angles permitting great flexibility, and it has been re-designed for additional extension adjustment.

Redesigned Viewfinder and Mic Holder Mount

With the PXW-FS7M2 the viewfinder and mic holder mount has been repositioned. The viewfinder and mic holder now attach to a replaceable 15mm rod. This allows you to swap out the included rod with a longer rod (not included), allowing you to move the position of the viewfinder or mic holder relative to the camera. You can adjust the position of the viewfinder so a left-eye shooter can use their left eye, while the camera is resting on their right shoulder.

In addition, the viewfinder itself now rides on a square mounting rod that ensures level operation.

Internal Recording

The PXW-FS7M2 records internally in both DCI 4K and UHD 4K at up to 59.94 fps, and in HD up to 180 fps using XAVC-I or up to 120 fps with XAVC-L. DCI 4K (4096 x 2160) can be recorded internally without the need of an external recorder.

Media Card Slots

The camera features two XQD media slots that support simultaneous or relay recording. The XQD card slots are shallower on the PXW-FS7M2 compared to the FS7, making inserting and removing media cards easier.

Genlock and Timecode

Genlock and timecode breakout is available with an optional XDCA-FS7, this also allows for raw and ProRes recording with optional recorders.

Alexa Mini Camera Kit, 2021 Hours, Used

3 months warranty

Excellent condition

Complementing the ALEXA range 

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.

Strength and agility through state-of-the-art materials 

To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount – also made of titanium – to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage

Versatile mounting and shooting options

The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm’s length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions.

The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, the ALEXA Mini’s interchangeable lens mount can be replaced with any of those designed for the ARRI AMIRA, allowing the use of B4 video and EF mount stills lenses.

Uncompromised image quality for specialized shots 

The overwhelming advantage of the ALEXA Mini is that it marries such a compact and lightweight form factor with the same unparalleled image quality that has made the ARRI ALEXA system a gold standard for the industry. Combine the Mini with any other ALEXA camera and you will have perfectly matched images, even on anamorphic productions – thanks to the 4:3 sensor and automatic de‑squeeze function. Workflows will also be identical, with options to record ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder.

Save time on set

With the ALEXA Mini, no extra time need be spent on set configuring third-party cameras previously required for specialized shots, or on wrangling the image files coming out of them. Multi-camera setups such as 360° plate shots will be made simpler and faster by the external Codex recorder, which can record image streams from up to four ALEXA Minis simultaneously. The camera’s maximum frame rate of 200 fps means it can also be used for stunning slow-motion cinematography, saving further time and money on set by doing away with the need for a separate high-speed camera.

Save time in post 

In the past, productions combining small cameras from other manufacturers with an ARRI ALEXA shooting kit have encountered time-consuming difficulties in the grade, trying to match images from those cameras to ALEXA’s famously natural colorimetry and pleasing skin tones. With the ALEXA Mini these difficulties are eliminated because all images come from the same sensor and share the same color space. The ability to use CDLs and 3D LUTs in-camera for on-set color management will also reduce time and money spent in post.

Greater efficiency through integrated functions 

An integrated lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, so focus, iris and zoom settings can be controlled from ARRI hand units without an additional external box. Further operational settings can be made remotely when working with the ARRI WCU-4 hand unit.

Built-in Wi-Fi connectivity facilitates remote control of camera functions from iOS or Android devices, with no need for a special app.

The motorized and remotely-controllable internal ND filters permit rapid responses to changing light conditions, and help keep clutter around the camera to a minimum.

Cost-saving camera and lens metadata 

Integrated ARRI Lens Data System (LDS) technology brings the added value of frame‑accurate metadata about focus, iris and zoom settings. With these lens settings and exact depth‑of‑field displayed live on wireless hand units, precise adjustments can be made during a shot. The data also allows lens mapping to pre‑marked focus rings and reduces the time and expense involved in achieving complex visual effects in post.

Unsurpassed overall image quality

Like the ARRI AMIRA, the ALEXA Mini can record 4K UHD ProRes images, facilitating real-time 4K UHD output and simple pipelines for high-resolution deliverables. More important than this, however, is the fact that the Mini and all other ARRI cameras with the ALEV III sensor offer unrivalled overall image quality by focusing not just on spatial resolution, but also on other image quality parameters such as dynamic range.

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.

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.

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.

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.

Find Out More

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.

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.

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.

Included in the box 1x BP-U30 Battery 1x BC-U1 Charger 1x Viewfinder and hood 1x Hand Grip 1x Mains cable

Find Out More

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

Find Out More