THE GREEN SCENE
CANON HYBRID RF LENSES
Why rent? Expensive for a full set What else might you need? Powerzoom adapters for zoom lenses If you want the best video lenses to use on the latest Canon RF mount cameras then there is now a set of five to choose from. There are the latest 70-200mm f/2.8L IS USM Z, 50mm f/1.4L VCM and 24mm f/1.4L VCM lenses, which join the current 24-105mm f/2.8 and 35mm f/1.4 hybrid optics. All these lenses are packed with features for shooting video, such as a smooth-operation iris ring with an 11-bladed circular aperture, fast and accurate low-light performance, as well as advanced optics and minimal focus breathing.
The new 70-200mm f/2.8 is the same size as the 24-105mm and has an identical maximum aperture, while the 24mm and 50mm primes share the same size and aperture range as the 35mm to help with fast rigging and lens changes. They are ideal for use on Canon EOS C70, C80 and C400 cameras, as well as RF-fit Red cameras like the Komodos and V-Raptors. These zooms offer servo zoom control via optional powerzoom adapters, making them great for run-and-gun use or live streaming. The adapters can be used by hand or remotely via Canon’s Camera Connect or EOS Utility apps, Browser Remote function or over IP using Canon’s XC Protocol with compatible models. The primes have Nano USM and Voice Coil Motors for fast autofocus and near- silent operation.
NIKON Z 8
Why rent? It’s a Raw-shooting wonder cam in a compact package What else might you need? Z mount lenses to fit The Nikon Z 8 takes the best of the flagship Z 9, but is lighter and uses a smaller body without an integrated vertical grip. Yet it includes the Z 9’s sensor, codecs, stacked sensor and intelligent AF. The Z 8 balances perfectly on any rig and most gimbals. The Z 8’s 45.7-megapixel full- frame sensor gives an 8.3K native video resolution and can record 12-bit Raw video in camera up to 8.3K/60p or 4.1K/120p. It also records 10-bit HLG video for HDR and 8K/60p internally for up to 90 minutes. The body still has pro-grade weather sealing, and is the first Nikon mirrorless camera to feature two USB-C ports, which makes it possible to transfer files while charging. However, unlike the Z 9 which has two CFexpress Type B slots, the Z 8 only has one, and an SD slot. It can shoot 12-bit Raw footage in camera with Nikon’s NRAW files, which are half the size of a ProRes Raw HQ file. In-camera Full HD proxy files are created when shooting internal 8.3K NRAW or 4.1K ProRes Raw HQ. It can record 10-bit ProRes 422 HQ internally too.
SONY BURANO
Why rent? Incredible colours just like the flagship Venice What else might you need? Lots of CFexpress cards to record in 8K Raw Sony’s Burano cinema camera matches the colour science of the flagship Venice 2, but is designed for single-camera operators and small crews. As the first digital cinema camera with a PL mount to feature in-body image stabilisation, the Burano costs £25,789/$25,000 to buy, but that’s half the price of the Venice 2, which is for multi-person crews. Though still housed in a rugged magnesium chassis, the Burano is 32mm shorter and 1.4kg lighter.
specifications, so it can work alongside the pricier camera. The Burano sensor features a dual base ISO of 800 and 3200 and 16 stops of dynamic range, and can record up to 8K at 30p, 6K/60p or 4K/120p. The camera supports multiple internal recording formats, including the new XAVC H for 8K, which uses the MPEG-H HEVC/H.265 high compression efficiency codec. Other recording formats include XAVC and X-OCN LT. X-OCN is Sony’s original compressed Raw format that can capture information shot with 16-bit linear data, giving more colour grading freedom in post. It can also reduce file transfer time and storage size load.
By removing the Burano’s PL mount, it can be used with Sony E-mount lenses, which supports fast hybrid and subject recognition AF. It also has a new super- thin electronically variable ND filter. The Burano has an 8.6K full-frame sensor that shares most of the Venice 2’s
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