The much anticipated addition to the RED family is the answer to the professional's wildest dreams and exists as the most sophisticated and capable camera ever engineered and built.

In a package one third the size of a RED ONE, resides a 5K Mysterium-X™ sensor and a 27 layer ASIC, the most advanced processor of its type in the world, enabling EPIC to capture up to 120 frames per second, each frame at full 14MP resolution. EPIC is engineered to be a DSMC™ (Digital Still & Motion Camera), a camera that excels in both worlds.

Providing native dynamic range of over 13 stops and resolution that exceeds 35 mm motion picture film, this is the camera of the epoch. Add to that RED's newly developed HDRx™ extended dynamic range technology and EPIC boasts an amazing dynamic range of up to 18 stops. Purpose-built for perfect multi-camera synchronisation.

Supported fps: 23.98, 24, 25, 29.97, 47.96, 48, 50, 59.94

With the modular and variable forms that the Red One camera can take, there are many different configurations out there. We like to think that our red one ultimate kits are the ultimate in design, flexibility and comprehensiveness.

Whether you’re shooting hand-held, on a crane, dolly or in inaccessible areas with the wireless HD transmitters, the kit will always adapt to your specific needs. The best Arri, Cooke or Angenieux optics complete our immaculate and well designed, flight cased kits.

Supported frame rates: 23.98, 24, 25, 29.97 fps @ 4.5K, 4K; 50, 59.94 fps @ 3K, 2K

ALEXA is a compact, lightweight and affordable digital camera that will redefine the limits of motion picture capture with ultra-fast workflows and image quality akin to 35mm film. From major motion pictures and high end dramas to commercials, music videos and mainstream TV, ALEXA suits a wide variety of applications and budgets.

ALEXA is unique in that it can simultaneously record Apple QuickTime/ProRes files, output uncompressed HD video or uncompressed ARRIRAW data. This output versatility makes it ideal for a myriad of productions and workflows from telenovellas to feature films.

As the best recording media for the QuickTime/ProRes files, ARRI has chosen SxS cards because of their high data throughput. Two SxS cards fit into a module on the camera's left side for convenient on-board recording and are hot swapable.

Two outputs which can be configured to 3G or 1.5G HD-SDI deliver an uncompressed high definition video stream with various options such as recording in 4:2:2 or 4:4:4 and ITU Rec709 or Log C tone mapping and color matrixes.

The two recording links can alternatively be used to output the ARRIRAW T-link signal, which can be recorded by a number of certified third party on-board recorders. ARRIRAW is the only way to access the full potential of ALEXA's sensor which has color and dynamic range capabilities far beyond standard HD. ARRI's own ARRIRAW Image Converter (ARC) provides image reconstruction features for the Windows, LINUX and Mac OS platforms. As a result of long term corporate initiatives with key development partners within the ARRIRAW Partner Program, a number of post production tools can now natively work with ARRIRAW files.

Recording format: Uncompressed HD or ARRIRAW
Sony F65

While all previous Sony cameras aimed at equaling 35mm film, the F65 was designed from the outset to exceed 35mm. Here's a combination of ultra sensitivity, extra-wide color gamut, supple grayscale rendition and extraordinary contrast that broadens the cinematographer's canvas. While some cinema productions choose SR File recording (described on the TELEVISION tab), most take advantage of F65RAW 16-bit linear recording. Not only does RAW retain the greatest latitude for manipulation in post; it's also practical and compatible with a broad range of dailies, transcode, editing, grading, DI and VFX tools.

Originally applied to digital still cameras, RAW recording captures the full potential of the image sensor. The RAW file retains maximum resolution. Sixteen-bit linear recording equates to 65,536 shades of tonal gradation per channel, preserving the maximum in grayscale accuracy and dynamic range. The RAW image also reflects a minimum of in-camera processing.

Because RAW recording preserves the full resolution of the image sensor, the F65 RAW files maintain extraordinary flexibility in output resolution.

To cinematographers, 16-bit RAW capture from a 20 megapixel sensor may sound ideal. To data wranglers, it may sound like a potential pain when it comes time to back up, transcode or transfer files over a network. Have no fear. F65RAW files are smaller, lighter and far more practical than you might expect.

Recording format: Uncompressed HD