This is a Mamiya 200mm f/2.8 APO lens that has been modified for cinema use by Duclos Lenses. It has been fitted with an Arri PL mount, front 77mm threads with a standard 80mm O.D., the iris dampened and de-clicked, and a standard 0.8 mod focus gear added. This telephoto lens is a great way to expand any cinema prime lens kit.
The lens was designed to cover medium format, making it very well-suited for full frame and larger sensors, with exceptional sharpness corner-to-corner. Vignetting is almost nonexistent, even wide open. Close focusing is limited to 2.5 meters (8.2 feet), if you’ll be using this lens for extreme closeups or macro work, we advise adding a PL extension tube or using diopters.
The Metabones EF to Sony NEX Speedbooster Ultra allows you to connect EF lenses to E-mount Sony cameras like the FS7, A7s, and FS700. The adapter reduces the focal length by .71x, increases the aperture by one stop, and allows for electronic control, including aperture adjustments, image stabilization, and EXIF data. Now, you can use all your Canon and EF mount lenses with your Sony camera.
The Ultra line of speedboosters is Metabones’ second generation, offering improved sharpness and optical quality, particularly for lenses with short exit pupil distances. For most users, you won’t notice a difference, but some wide lenses in particular will perform better on Metabones’ Ultra speedboosters. We suggest using 15mm rails for most lenses, especially heavier lenses like CP2s and long zoom lenses.
This is a fantastic adapter for video, but some photo lenses may autofocus more slowly with the adapter. Most EF-S and some third-party lenses converted to EF may not work properly. Nearly all native EF lenses are supported, but please check the adapter when you pick up your rental to confirm that it will work for your purposes.
Sony’s 18-105mm f/4 image stabilized midrange zoom is a versatile lens for both still and video uses. The Optical Steady Shot (OSS) image stabilization makes handheld still photos sharper and handheld video smoother. The lens covers an APS-C/Super 35mm imaging area, meaning you’ll have complete sensor coverage on cameras like the Sony FS7 and A6000, but can still work in crop mode on full frame cameras like the Sony A7s II. The lens is surprisingly light, as well.
The lens has a servo motor, making smooth zooms possible on a mirrorless camera body, something no other manufacturer has offered to this point. The E mount (sometimes called NEX mount) works with all modern Sony interchangeable lens cameras.
The Sony Alpha a6500 is an NEX/APS-C format mirrorless camera, powerful for both still and video shooting. Featuring 4K internal video recording as well as 24.2 MP still photo shooting, the a6500 is great when you need a camera that does both jobs well. The small form factor hides a powerful camera that makes it easy for anyone to capture great photo and video, even in challenging situations.
The a6500 builds on the success of the a6000 and a6300. The a6500 adds five-axis in-body stabilization. Now every lens is a stabilized lens, letting you shoot handheld photos and video with reduced motion blur and smoother camera moves. Sensitivity is unmatched among crop-factor cameras, with ISO extending to 51200. Video recording is higher quality, with resolution up to 3840×2160 at 30 frames per second.
The camera accepts any E-mount and NEX lenses, as well as nearly any DSLR lens with the use of an adapter. Lenses designed for full frame (FE lenses) will have a 1.5x crop in field of view, when compared to a full frame camera. We would be happy to help you choose the best lenses for your rental.
Your rental includes the Sony Alpha a6500 body, two batteries, a 64GB SD card, and a charger. You’ll need to add a lens to be ready to shoot.
The Fujinon MK series 50-135mm T2.9 zoom lens is a medium-telephoto zoom designed for E-mount cameras with NEX or super 35 sensors, like the Sony FS7 and a6500. It can also work with FE-mount cameras in crop mode.
The continuous T2.9 aperture, fixed length, and three standard 0.8 pitch gears make this a powerful option for both scripted and run-and-gun shooting styles. The lens is entirely non-electric, meaning that focus, zoom, and aperture are controlled manually, although a servo motor can be easily installed. The lens has an 85mm outside diameter and 82mm front threads. The lens also features a macro mode, which moves the close focus point from 1.2m to 0.85m.
“Fujinon has combined the best parts of great cinema and broadcast lenses together into what is probably the most useful set of zooms available for Sony’s E-mount video cameras. The MK series is somehow able to be lightweight, sharp, relatively fast, and still affordable. The Fuji pedigree shows through with adjustable back focus, for a perfect parfocal lens. In addition, breathing is near zero, flares are relatively well-controlled, and the lenses are usable even wide open.
As for negatives, the MK series is only for E-mount cameras and can’t be easily adapted to EF, PL, or used for full frame. The E mount standard does have some play, so shooters used to PL will probably want to use a lens support.”
The SLR Magic APO Hyperprime Cine 4-lens set is a highly-reviewed family of full frame apochromatic cine prime lenses with a matched T2.1 aperture. The rental kit includes:
SLR Magic APO Hyperprime Cine 25mm T2.1
SLR Magic APO Hyperprime Cine 32mm T2.1
SLR Magic APO Hyperprime Cine 50mm T2.1
SLR Magic APO Hyperprime Cine 85mm T2.1
We offer this rental in your choice of EF or Arri PL mounts.
The lenses project a 44mm image circle, covering all full frame standards and the 7K resolution of the Red Weapon VV. Standard gears control the manual focus and iris, with a 300-degree focus rotation. Focus is internal, maintaining lens length throughout. Each lens has a 95mm front diameter for clamp-on matte boxes, and also features an 82mm front thread for round filters. Your rental includes a hard case.
“The apochromatic design of the SLR Magic APO Hyperprime series is previously unheard of in an “affordable” cine lens. High-contrast areas are rendered without the magenta/green fringing common to most lenses. The lenses are sharp, but not clinical, and effective through the entire aperture range. Vignetting is modest on full frame, and negligible on s35. Breathing is almost nonexistent. The SLR Magic APO series invites comparisons to the Cooke S4i series, and holds up exceptionally well, considering you could buy ten SLR Magic lenses for the price of one Cooke. The biggest drawback of the set is no extreme telephoto or wide angle.”
The Sony A7s II is a combination still and video camera, featuring 4K internal video recording as well as 12.2 MP still photo shooting. Like its predecessor, the Sony A7s, this camera is a low light monster, allowing exposures where other cameras simply can’t. Max ISO goes all the way up to 409,600, with a native ISO of 3200. This camera is the ideal choice for low-light documentary-style work.
The most notable improvement over the Sony A7s is the added in-camera 5-axis image stabilization. Now every lens is a stabilized lens, letting you shoot handheld photos and video with reduced motion blur and smoother camera moves.
The camera accepts any E-mount lenses (also called NEX), as well as nearly any DSLR lens with the use of an adapter. We suggest lenses offering full-frame coverage, but crop-factor lenses will function in crop mode. We would be happy to help you choose the best lenses for your rental.
We include the Sony Alpha A7s II body, two batteries, a 64GB SD card, and a charger. You’ll need to add a lens to be ready to shoot.
The Sony FS7 features a Super 35-sized sensor, 4K internal recording, and codecs including XAVC-I at 113 Mbps, to match Sony’s flagship F55. Capture 14 stops of dynamic range in Slog-3, or choose a picture style to go direct to broadcast. 10-bit 4:2:2 in DCI-4K, QHD, and 1080p HD resolutions without bulky recorders means shooting for the colorist is easy.
We include the extension unit with the kit rental, which adds raw output, timecode in and out, genlock, and multiple power options.
The Sony E-mount on the PXW-FS7 can be adapted to fit EF and PL lenses, and a behind-the-lens ND filter means no more clumsy filter changes. The rental includes an electronic viewfinder/display and adjustable hand grip. The versatility makes the FS7 equally at home in cinema and broadcast applications.
The FS7 camera supports UHD framerates up to 60p, as well as 1080p at 180 fps, all continuous and in-camera. Sony rates native ISO at 2000, and low-light performance is superb, especially when compared with other 4K cameras.
While Sony continues to offer the FS700, the FS7 offers multiple improvements in functionality, higher-quality recording formats, and a more ergonomic layout. The FS7 is a well-matched camera to an F5 or F55, and also works well on a set with an FS700 or even an A7s backing it up. This is Sony’s answer to the Canon C300, and it would appear the FS7 wins in every category worth measuring.This FS7 camera kit includes everything you need to get started shooting in 4K at high speed, just add lenses.
Sony FS7 camera
XDCA-FS7 extension unit
Metabones EF to NEX Speedbooster Ultra
2 64GB XQD cards
1 USB 3.0 XQD card reader
2 V-mount batteries
1 Dual V-mount charger
2 BP-U Batteries
1 BP-U Charger
You’ll want to use a lens support when mounting heavier lenses to the Metabones Speedbooster Ultra.
I’ve been shooting with the Sony PXW-FS7 and Metabones Ultra Speedbooster EF for about six months, yikes, about four years! For some of my earlier notes, check out my first post on the FS7. This post is updated and current as of October 8, 2017, and covers some of the updates available in the FS7 mark II as well.
The FS7 and the C300 mark II have definitely squared off as direct competitors. Excluding a few fanboys on either side, most operators and producers will say both cameras perform relatively equally. The cost to buy, cost of ownership, and flexibility all tilt in Sony’s favor. Canon appears to have the edge in durability and name recognition.
The battery options have gotten a lot better, and most modern BP-U series batteries have been updated to work with the FS7 and FS7 mark II. I’ve had great results from BP-U90 batteries made by Vivitar, with two of them lasting all day. If you’re running on a gimbal/stabilizer, you’ll probably want to scale down to multiple BP-U30 batteries.
The XDCA-FS7 really brings the camera close to the features and functionality of the much pricier F5 and F55. If you’re using the camera professionally, it’s a no-brainer to buy one. Of course, everyone who has one isn’t looking to sell it, so they are pretty rare to find used.
After beating an FS7 up for four years, a few parts are going to break or fall off. In particular, consider reinforcing the connection between the EVF and camera body. Also, be aware the shotgun mount is a target for abuse, and the EVF mount is less than ideal. If you’re able to swap for the mark II version of the EVF mount, I strongly suggest it. At a minimum, you’ll want to trade out the short rod for a longer one to better position the EVF for shoulder work. Be careful, as the screws strip out easily if you’re heavy-handed.
The stream of constant firmware updates has ended, and the latest version is probably the right choice for anyone who is not in the middle of a project. You don’t want to brick your rig halfway through a week’s shooting, or find out that highlight handling or something was changed halfway through your shoot. There are still some weird things about the way the FS7 handles settings, in particular if you’re setting general settings like framerate and resolution. More than once, I’ve gone through all my settings from top to bottom, and then realized that by changing some value, I’ve reset other values as well. And then there’s the menu items that end up grayed out without explanation. I suggest writing your most commonly used settings to an SD card, so you can recall them quickly, rather than spending 10+ minutes making sure every last setting is right or doing a factory reset every shoot.
My key reason for preferring the FS7 over the Canon Cx00 series is the NEX/E mount. The extra flange depth leaves room for optical tricks like speedboosters. There are two big things to know about the Metabones Speedbooster Ultra. First, it needs to be adjusted before you can get infinity focus with most lenses, particularly wide lenses.
Terrible English aside, this is how Metabones suggests you adjust infinity focus on the Speedbooster.
I’ve seen this issue with two different EF Speedbooster Ultras, and have heard about the same problem on the F-mount Nikon version. I needed to rotate each one between 2/3 and 7/8 of a turn counterclockwise before I could get infinity focus on a Zeiss CP2 21mm or a Rokinon 14mm. This seemed to pull the focus witness marks a little closer to accurate, as well. It’s tempting to rotate until you can get past infinity, but I suggest tweaking just enough to get your widest lens happy. Sloppy third-party wide lenses like the Tokina 11-16mm f/2.8 are probably best avoided completely.
Second, sometimes things just don’t work. If you disconnect and reconnect, this will usually fix the problem, but occasionally, I’ve needed to reset the camera before I could get electrical functions on my lenses using a Speedbooster.
With wide lenses, the arm sometimes needs to come off or be flipped back to stay out of the shot.
LUT handling is limited in the camera, and I don’t expect a firmware update that enables preview in one LUT while recording in another. I was using the Gratical HD for awhile, but lately have preferred the Atomos Shogun Flame to help manage LUTs (as well as anamorphic desqueeze and a few other features). Having the EVF set up to view log and the medium-sized monitor for a “normal” color is quite useful.
What are your experiences with the Sony FS7? Let us know in the comments below.
More than half of our lenses are EF mount, but we carry adapters for Micro Four Thirds (MFT) and Sony E/NEX so you can mount them on mirrorless cameras, as well. We also have specialty lenses, including tilt-shift and fisheye. If you need a very hard-to-find lens, we can use our network of other rental companies to help you find exactly the lens you need.
We can add a temporary focus gear to any lens you like, so you can use it with your follow focus. We’re adding new lenses all the time… and we make our inventory decisions based on your requests! Let us know what you’d like to see next!
If you haven't found what you're looking for, try the search box above, or call (414) 939-3653. We have way too many clamps, cables, and widgets to list everything. And we have new stuff coming all the time, too!
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