Cameras
A 6K powerhouse in a small package. Can be operated on gimbals, almost all rigs and tripods except for small drones. Contains a Super-35 HDR sensor and can record 6K up to 50fps. Also, EF/EF-S mounts.
Offers superb cinema-grade footage. You can even intercut it with Alexa footage and no one would be the wiser. Seriously.
Used to be the "lightest full-frame DSLR" in the market, with 20.2 megapixel CMOS sensor and an insane maximum 102400 ISO expanded. 4.5 frames per second of continuous shooting, 11 point autofocus system, and even a 1080p, 30fps video recording capabilities, just in case the main camera dies on set.
There’s a reason why film is still around, despite many people saying that it’s a dying medium. No digital sensor has been able to perfectly replicate the fine texture, colour and rendering nature of film emulsion. But with film prices forever hiking up, Fujifilm stepped up to convince those old schoolers with a new solution.
Fujifilm has brought their expertise in years of film emulsion development, colour science and technology together to create a series of cameras that can easily convince a film lover that these are indeed shot on film, when its more digital than your kitchen microwave. Using a unique array of photosites on their X-Trans IV S35 sensor, they are able to create a digital noise that closely mimics a film grain, along with superb colour science and filmic emulation that brings that ever so hard to emulate filmic tone to its images.
There’s that indescribeable quality and aesthetic to the early 2000s HD camcorders. Sony’s HDR-CX12 is one of them; boasting a 5-megapixel 1/3.3 inch ClearVid CMOS sensor, this camcorder produces a neutral image that is detailed and smooth. This camcorder also comes with a Carl Zeiss Vario-Sonnar T 4.9-58.8mm f1.8-3.1 lens which allows a 12:1 optical zoom, with the widest angle allowing a 49 degree field of view. Utilizing a Memory Stick PRO Duo media for its capture, it records 1080p HD video at 60i (that’s interlaced) for a smooth, video-like look. The camera also comes with a built in flash/light, 2.7” touchscreen display, optical “SteadyShot” image stabilization and a “NightShot” mode which displaces the camcorder’s internal IR cut filter to allow the CMOS sensor to receive much more light.
Less than 2 inches in any direction, this small and rugged GoPro can shoot 4K footages and will produce superbly sharp and detailed images hands down. It also has a built in stabilizer that gives smooth and fluid footage whether you're running or jumping off a cliff. Built like a tank and waterproof up to 10 meters, even without a housing.
This small 4K monster will mount to anywhere, to anything.
A Medium format TLR (Twin Lens Reflex) made by Zeiss Ikon from 1952 to 1956. This camera takes 12 6x6 frames on a standard 120 film roll, almost equivalent to the size of a 70mm IMAX frame. WIth an integrated Zeiss-Opton 75mm f3.5 lens and a Prontor SV leaf shutter, this quiet monster takes images that are sharp and shallow with beautiful falloff and a swirly edge. Simple yet beautiful, this camera is built like a tank with its full metal build.
When the Soviet forces won WWII, they took equipment and personnel from the German Zeiss Ikon factories and made Kiev. Thus, technically this Soviet rangefinder camera is also a Zeiss! Made in 1973, this Contax clone has an exceptionally long rangefinder base, allowing for an accurate focusing. Selenium cell type light meter on the top doesn't require batteries and is pretty accurate and the Jupiter-8M 50mm f/2 lens on this camera takes some pretty sharp pictures.
When the Soviet forces won WWII, they took equipment and personnel from the German Zeiss Ikon factories and made Kiev. Thus, technically this Soviet rangefinder camera is also a Zeiss! Made in 1973, this Contax clone has an exceptionally long rangefinder base, allowing for an accurate focusing. Compared to the Kiev-4, the 4A does not have the selenium light meter and keeps a low profile. The Jupiter-8M 50mm f/2 lens on this camera takes some pretty sharp pictures.
Also known as "The Brick", this 35mm rangefinder camera was produced from 1939 to 1966 and was featured as The Camera that Colin Creevey uses in Harry Potter. While heavy and being a bit more difficult to use than a regular 35mm mechanical camera due to the separate viewfinder and knob-style winding mechanism, the mechanism allows the user to easily shoot multiple exposure photos that is also tack sharp thanks to the Cintar 50mm f/3.5 lens. Also built like a tank. More like a brick that you can throw at tanks.
Soviet influence? Check. German engineering? Check. Made in the German Democratic Republic (AKA East Germany) in 1977, this is a simple yet fascinating piece of history that everyone falls in love with once they have it in their hands. With a waist-level viewfinder that can also be switched out for an eye-level viewfinder within seconds, this super light 35mm film camera captures every moment with a satisfying shutter sound that goes 'clop!' Comes with an M42 mount.
The younger brother to the excellent EXA 1b camera mentioned above, the EXA 1c was produced in 1985 as the production moved from the Pentacon's main factory in Dresden to Pentacon's Certo Camera Werk factory. Being the last model in the EXA lineup and only produced for 3 years, the Ihagee EXA 1c would be the last camera to have the name Ihagee associated to it. In order to reduce the cost of production, many of the parts were swapped from metal to plastic, making the integrity of the camera weaker and more delicate but also making the camera significantly lighter than the 1b.
Made during the height of the Cold War in the capitalist West Germany in 1954, the Voigtländer Vito B is probably one of the most compact and cutest zone-focus cameras ever produced. While having to guess the distance from your subject might not be easy, the Vito B can produce one of the most gorgeous looking photos with its integrated Color-Skopar 50mm f/3.5 lens, and its compact size allows it to be carried in any size bag or purse.
A piece in a line of super compact, pocketable 35mm film camera series produced by Rollei, this camera was truly revolutionary for its time, being the smallest full frame 35mm camera in the world. Weighing only 12oz and smaller than an iPhone 13, this zone-focus camera has an integrated, collapsible Sonnar 40mm f/2.8 lens that is super sharp.
Lenses
Used in Barry Lyndon, Alien, HER, American Hustle, Manchester by the Sea, the Handmaiden's Tale and much more, the Canon K35 series of cine lenses are one of the most legendary lenses ever to exist. Why am I talking about K35s when these are vintage FD lenses? Well, the K35 and the FD has practically the same lens elements, except for the aspherical part. The Canon FD Super Spectra Coating set produces super shallow depth of field and beautiful skin tones, with lesser contrast and creamier, more vintage look. Made of brass internals, these lenses will also stand the test of time. While the FD series lenses have a hard time adapting to an EF mount, this Simmod-Edmika EF-conversion kit has replaced the existing FD Breech Lock mount with a brass-made modern EF mount, with zero loss in optical quality. Standard 0.8 pitch gearing insures smooth, cinematic operation.
This is the fastest lens in our collection. At f/1.2, the lens produces a creamy, dreamy image that still retains great sharpness and details. Flares, in addition, are stunning bar none. The Canon FD Super Spectra Coating set produces super shallow depth of field and beautiful skin tones, with lesser contrast and creamier, more vintage look. Made of brass internals, these lenses will also stand the test of time. While the FD series lenses have a hard time adapting to an EF mount, this Simmod-Edmika EF-conversion kit has replaced the existing FD Breech Lock mount with a brass-made modern EF mount, with zero loss in optical quality. Standard 0.8 pitch gearing insures smooth, cinematic operation.
Medium format lenses by the legendary lens manufacturer Carl Zeiss Jena, the Jena Pentacon Six Medium Format lenses were made with an image circle capable of covering an IMAX format film plane. At wide open, the image is pleasantly soft, creating nice colors and retains decent contrast. The designs vary from focal length to length, and includes Biometar, Flektogon and Sonnar.
The Flektogon 35mm f/2.4 was added to this set to cover wider focal lengths, but only covers up to Full Frame, and is available only in EF-mount. However, this lens has an impressive minimum focus of just 0.2 meters, or 7.87 inches.
[15, 28, 50, 85]Carl Zeiss + Contax
Contax Yashica / Carl Zeiss lenses, aka "CONTAX ZEISS" prime lenses manufactured between 1957-2005. These lenses were made along side the famous Zeiss Super Speeds and Standard Speeds. As such, they share the same coatings and general optical design as their S35 cinema siblings. While they are slightly slower than their cinema counterparts as they are designed to cover full frame 35mm image circle, they still each boast a respectable f-stop and produces wonderful images. Comparable to the Standard/Super Speeds, these lenses render a clean, sharp and contrasty image with low distortion. Thanks to their T* coating, they are extremely flare resistant yet produces a subtle bloom around bright highlights. Most of the Contax Zeiss Distagon 50mm f/1.4 produced now have internal haze in the one or both of the doublet groups in the lens due to the type of cement used on the doublet. Our 50mm f/1.4 has had its doublet separated, cleaned then recemented with modern optical cement, and now produces clean, contrasty images with no fogging and haze. The iris ring has been declicked and dampened.
Created with trial and error by the team at Echo Five Film, this lens is a combination of the Carl Zeiss Jena 20mm f/4 and the front element of a Zeiss 12mm Standard Speed. The combination of two parts has resulted in a lens that is approximately 15mm in focal length while retaining f/4 speed, that is also practically distortion free and a nice, very subtle fall off at the edges of frame. While this lens just barely vignettes on full frame, it is sharp from edge to edge, and the additional elements create spectacular flares never before seen in either the Jena 20mm, or the Standard Speed 12mm.
A predecessor and a direct descentant of the Meyer-Optik Görlitz, the Pentacon 50mm f/1.8 is a fast fifty that creates lovely soap-bubble bokeh that is also subtly swirly. The lens is sharp, but has the vintage softness to it without compromising any of its resolution. The flares and bokeh strongly resemble those of the Jena lenses, thus making this fast fifty a perfect pair to the Jena set.
A revolutionary, non-telescoping zoom lens with insanely wide, consistent f/1.8 aperture combined with versatile zoom capability. A nine-bladed diaphragm creates stunning bokeh along with sharp details and color accuracy in the image. Also built to endure a heavy beating. I haven't seen anyone who hates this lens (except for those who complain that it's overused). The lens has also been adjusted to be parfocal; it holds its focus when zooming. Comes with hardstop focus and zoom gears.
A 10mm ultrawide angle cinema lens by Rokinon, this lens will cover an entire room with just a Super35-sized sensor and an insane angle of view of 105.9º. Seriously, it is insanely wide. It is so wide that the art department will scream at you for having to set dress everything past the camera. With an integrated industry-standard 0.8 pitch gearing on both the focus and the de-clicked aperture rings, this lens was made for digital cinematography. The Rokinon's Nano Coating System along with the integrated lens hood reduces surface reflections, lens flares and ghosting.
To meet user demands for a fast EF-S zoom lens, Canon has specially designed a new lens with a large aperture of f/2.8 for select Canon Digital SLR cameras. The large circular aperture produces a shallow depth-of-field, creating background blur that draws attention to the photographic subject. The lens construction includes UD and aspherical elements, which deliver impressive image quality throughout the entire zoom range. Image Stabilizer lens groups shift to compensate for camera movement so that the image appears steady on the image plane, ensuring clear, crisp images, even in dim light. With a Ring-type USM, inner focusing and new AF algorithms, this lens achieves autofocus quickly and quietly, and with full-time mechanical manual focusing, manually adjusting the focus is possible even in AF mode.
A medium format lens from the Soviet Union, produced since forever all the way up to 1980 as the standard lens for the Kiev-6S and Salyut-S medium format cameras. It is a copy of the Carl Zeiss Jena Biometar 80mm f/2.8, but the focal length was stretched to 10mm in order to maintain quality with the crude Soviet instruments. The 6 aperture blades create a rounded but hexagonal bokeh. At wide open, the bokeh is a soap-bubble with a rainbowy lateral chromatic abberation, creating a truly bubbly out-of-focus background. With a full-metal construction and an insane focus throw of 300 degrees, the VEGA-12B allows for a smooth and accurate focus. A versatile beast from the Commies.
A vintage Soviet lens made in 1958, this lens is a copy of the Carl Zeiss Biotar 2 and produced by the KMZ factory in the Soviet Union. As the predecessor to the Helios 44-2 shown below, this earlier series of lenses were made to a higher tolerance and finish, resulting in a sharper and contrastier image compared to its successors. A manufacturing defect causes the lens to create mesmerizing "swirly" bokeh that is sought after by many photographers for it's unique looks. Lack of an anti-flare coating produces that classic vintage vibe. Comes with focus gears.
A soviet-made vintage lens from the 80s, a Cold War artifact. It is one of the most mass-produced lenses to exist and, just like anything else soviets made back in the day, built like a soviet arsenal. A manufacturing defect causes the lens to create mesmerizing "swirly" bokeh that is sought after by many photographers for it's unique looks. Lack of an anti-flare coating produces that classic vintage vibe. Comes with focus gears.
Same lens as the one above? Yes, but not exactly. This Helios 44-2 has been modified to create intense falloffs, intense blooming and general softness while keeping details sharp in the centre. Perfect lens for creative looking shots.
Comes without focus gears.
Remember the Helios 44-2? The ones right above this one? Well, the professional lens-rehousing company IronGlass from Ukraine produced this version, specifically modified for cinematography use. With an integrated industry-standard 0.8 pitch gearing on both the focus and the de-clicked aperture rings, along with a firmly integrated EF-Mount that has ZERO wobble, shooting video with this is a breeze and jaw-dropping amazing. Not to mention the ever circular 16-bladed aperture diaphragm and the special 'anamorfake' mod that produces anamorphic cat-eye bokeh and beautiful orange horizontal lens flares without the hassle of using actual anamorphic lenses (you know, poor minimum focusing distance, sharpness, diopters, size, etc). Don't forget the dope silver polish-job!
What do you get when you combined a vintage 58mm f/2 spherical lens, a variable diopter, and a high-quality anamorphic projection lens? Well, a high-quality 2x squeeze, 58mm f/2 anamorphic lens of course! This beast of a chonker was assembled in-house at E5F using a Helios 44M-4, a Schneider Super Cinelux MC Projector lens, and an SLR Magic Rangefinder variable diopter. This anamorphic lens will produce sharp images at f/2.8 and up, and will have all the characteristics of an anamorphic lens: distortion, beautiful bokeh, and horizontal flares. We have also carefully removed the coating on the rear element, allowing the once suppressed flares to be more prominent, yet subtle. Suitable for an APS-C or a Super35 sensor size, the Rangefinder negates the need to double focus; just attach a follow focus to the 0.8 pitch gearing at the front and you are good to go! Give your project that super high-budget, Hollywood cinematic look.
Learn more about this unique lens HERE.
Tripods & Support
With a 88lb (40kg) payload capacity for the legs and 13lb (5.9kg) for the fluid head, this tripod will do it's job just as well as all the higher end ones with the added bonus of 'ease of use'. The fluid head has six counterbalance settings and four fluid drag grades for those buttery smooth pan. With a top-mountable design along with just a single lever lock on each leg for both stages, this tripod will speed up the entire production process by reducing the time needed to set up the tripod. Just shot an over the shoulder and need a worm's eye view? No problem. No more glancing over at the camera guy contemplating whether or not to ask if he can shoot a top-down shot from behind, a shot that you just thought up that isn't in the storyboard, because you worry that he might get pissed asking for an unscripted shot for the twelfth time today. The tripod can reach a maximum height of 72.5 inches (184cm) and as low as 32.5 inches (82cm).
Compared with traditional knob or flip leg lock setup tripods, SIRUI SVT75 is One-Step Height Adjustment design, which means that you can pull only one ergonomic flip on every leg to set up and lock the tripod. Even with heavy equipment, this One-Step Height Adjustment design allows adjusting height up and down quickly and flexibly, which is suitable for quick moving shooting. The carbon fiber legs boast a 55.1lb (25kg) load capacity and can go as high as 60.2 inches (153cm) and as low as 8.3 inches (21cm) with the mid-level spreaders removed.
Boasting a respectable 44lb (20kg) payload capacity and lightweight at 3.97lb (1.8kg) thanks to its carbon-fiber legs, this tripod can do things that a full on production stick like the one above can't do. With a minimum height of 4.72in (12cm), this goes as low as a hi-hat but is versatile enough to be used as a baby stick. The legs can also reach a maximum height of 63in (160cm) so your bases are covered. The tripod has a 75mm bowl for use with any compatible fluid heads, and also comes with a 3/8" adapter for heads that use those threads.
This Manfrotto hi-hat is one of the most versatile in the market. With a sturdy single-column aluminium build, this hi-hat is light and robust, and allows utilization in the most compact spaces. While the legs themselves do not extend in order to maintain a high payload, adjusting the angle of the legs can net you a height of 24.3cm (9.56 inches) all the way down to 11.6cm (4.56 Inches) off the ground. 75mm bowl allows the use with all conventional 75mm bowl heads for quick level adjustments, and the rubber feets remains on when screwed down to reveal the internal spikes.
Don't be put off by the size of this thing. This fluid head boasts 17.6lb (8kg) payload capacity and is capable of tilting down to 90-degrees. It uses the universal Manfrotto plate for compatibility with other tripod mounting plates such as the DJI RS2.
A 12ft (3.7m) track dolly that can be assembled and disassembled in 10 minutes. This tripod dolly is (relatively) light and easy to use, and allows the user the option of using any tripod and fluid head they like. The dolly base has a 3/8" screw so the user can attach a fluid head directly and get super low-angle dolly shots.
An in-house modification of the SmallRig shoulder kit 2896, this shoulder rig was made with one man operation in mind. With a Manfrotto Quick Release mount, the camera can go from tripod to handheld and vise-versa in less than a minute. A mount for the Tilta Nucleus Nano controller on the right within just a thumb's reach allows the operator to pull focus on the fly while framing shots. An extended front rod with a Quick Release mount means a monitor can be attached in front of the operator's face for framing with the added bonus of ease of use.
An Easyrig-esque camera support system that allows you to shoot handheld for longer periods with heavy gear. The system translates the weight of the gear from the arms to the upper body and the hips, essentially removing arm fatigue and making the camera feel weightless. Camera is suspended in front of the operator by a heavy duty line, allowing for a smoother operation and freedom of movement. The bumps and movement of your body will be smoothened out by the pulley and the industrial-grade heavy spring system provided by the Placid 2-axis spring arm, allowing cameras up to a payload of 16lb (or 7.5kg) to be used.
3-axis gimbal with a 10lb (4.5kg) payload capacity. Has a built in follow focus system that allows for an easy one-man-operation. Angled rear motor arm allows an unobstructed view of the camera monitor. Multiple special operational modes such as "Inception" style--barrel-rolling the camera as you push in--allows for creative visuals and unique shots that'll define your project. 12 hours of runtime will insure your project to continue on without major hiccups.