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    Camera type - 35 format film-style digital camera with lightweight and compact carbon body, 4:3/16:9 switchable active sensor area, support for ARRI MVF-1 viewfinder, built-in remote control capabilities via ARRI Electronic Control System and Wi-Fi, support for cforce motors, built-in motorized ND filters, interchangable lens mounts and ARRI Lens Data System

    Deimensions

      • Length: 185 mm/7.3"
      • Width: 125 mm/4.9"
      • Height: 140 mm/5.5"
      • (camera body with PL lens mount)

    Weight: 2.3 kg/5 lbs (camera body with titanium PL lens mount)

    Sensor: 35 mm format ARRI ALEV III CMOS with Bayer pattern color filter array

    Photo sites (with surround view):

      • 16:9 ProRes HD 2880x162016:9 ProRes 2K 2867x1613
      • 16:9 ProRes 3.2K 3200x1800
      • 16:9 ProRes 4K UHD 3200x1800
      • 4:3 ProRes 2.8K 2880x2160 *
      • 6:5 ProRes De-squeezed to 2K 2560x2145 *
      • 8:9 ProRes De-squeezed to HD 1920x2160 *
      • 16:9 ARRIRAW 2.8K 2880x2160 *
      • Open Gate ARRIRAW 3.4K 3414x2198 *s

    Shutter:Electronic shutter, 5.0° to 356.0°

    Exposure latitude: 14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)

    Exposure index:EI 800 base sensitivity

    Filters:Built-in motorized ND filters 0.6, 1.2, 2.1

    Lens mounts:Titanium PL mount with L-Bus connector and LDS

    Recording media:CFast 2.0 memory cards

    Recording formats:

    • 16:9 ProRes HD (1920 x 1080)
    • 16:9 ProRes 2K (2048 x 1152)
    • 16:9 ProRes 3.2K (3200 x 1800)
    • 16:9 ProRes 4K UHD (3840 x 2160)
    • 4:3 ProRes 2.8K (2880 x 2160) *
    • 6:5 ProRes De-squeezed to 2K (2048 x 858) *
    • 8:9 ProRes De-squeezed to HD (1920 x 1080) *
    • 16:9 ARRIRAW 2.8K (2880 x 1620) *
    • Open Gate ARRIRAW 3.4K (3414 x 2198) *
    • (The pixel count in brackets shows the number of pixels in the recorded file.)
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    If you’re looking for a camera rental that can handle highlights and shadows similar to film, then renting the Arri Alexa is the way to go.

    The Arri Alexa camera was designed to marry the worlds of film and digital acquisition and truly deserves to be called a digital cinema camera. ARRI has over 100 years of experience making high quality lenses, accessories and camera bodies and has used all of that expertise to deliver a camera system that combines the ruggedness and reliability of 35mm film camera bodies with the ease of use and practicality of a digital workflow. Most importantly, the camera delivers stunning film-like images due to a massive dynamic range that is tweaked to deliver natural highlight roll-offs and crisp blacks.

    Under the hood, the camera boasts a 3.5K sensor capable of sending 12bit Arriraw to an external recorder or 1920x1080 ProRes to SXS cards. This flexibility in workflows means the camera can be used on the biggest of features or the smallest of webisodes with a workflow that makes sense for either type of project. The camera also has a native ISO of 800, making it great in low light and adding even more to the practicality factor.

    The Alexa is not perfect by any means; one major drawback is the lack of high speed recording in the base package, something taken for granted with film cameras. Another consideration is that the ALEXA is essentially a 2K camera. With that in mind, for effects work or keying you might be better off renting another camera.

    That said, this is one of the most requested cameras we offer here at Stray Angel for rent. It’s the kind of camera you can put some nice glass on, point in the right direction and get a great image every time and we think that’s a huge reason it’s been such a hit for ARRI.

    The Codex ARRIRAW Onboard recorder is a compact, lightweight and affordable solution that sets the standard for file-based workflows. ARRIRAW provides the best quality digital camera originals for motion pictures and high-end television drama and commercials.





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    The Arri Alexa camera was designed to marry the worlds of film and digital acquisition and truly deserves to be called a digital cinema camera. ARRI has over 100 years of experience making high quality lenses, accessories and camera bodies and has used all of that expertise to deliver a camera system that combines the ruggedness and reliability of 35mm film camera bodies with the ease of use and practicality of a digital workflow. Most importantly, the camera delivers stunning film-like images due to a massive dynamic range that is tweaked to deliver natural highlight roll-offs and crisp blacks.

    Under the hood, the camera boasts a 3.5K sensor capable of sending 12bit Arriraw to an external recorder or 1920x1080 ProRes to SXS cards. This flexibility in workflows means the camera can be used on the biggest of features or the smallest of webisodes with a workflow that makes sense for either type of project. The camera also has a native ISO of 800, making it great in low light and adding even more to the practicality factor.

    The Alexa is not perfect by any means; one major drawback is the lack of high speed recording in the base package, something taken for granted with film cameras. Another consideration is that the ALEXA is essentially a 2K camera. With that in mind, for effects work or keying you might be better off renting another camera.

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    • 3840 x 2160p Global Shutter CMOS Sensor
    • 12 Stops of Dynamic Range
    • 10.1", 1080p Flip-Out LCD Screen
    • Dual 5" Touchscreens for Menu Access
    • Records CinemaDNG RAW and ProRes
    • 12G-SDI Output for 10-Bit 4:2:2 4K
    • 2x XLR Audio Inputs with Phantom Power
    • Aluminum Frame with 3/8"-16 Mounting
    • LANC Port for START/STOP, Iris, Focus
    • Dual CFast 2.0 Card Slots
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    The 4K Blackmagic Production Camera is an EF Mount Ultra HD 4K capable camera.

    After an extra long wait, Blackmagic finally released the 4K Blackmagic Camera and it has not disappointed. From the outside it may not look much different from the original Blackmagic Cinema Camera, but improvements include higher resolution and a global shutter.

    Unbutton your high-waist pants, crack open a PBR, and get ready to geek out because the 4K BMPC has some seriously good specs for the price.

    We’ll start with the 4K Blackmagic’s recording capabilities. This little guy records Ultra HD 4K (3840x2160) and 1080HD in visually lossless compressed CinemaDNG RAW and ProRes 422 (HQ) files. Blackmagic uses a global shutter in this camera so you won’t get rolling shutter artifacts like you would with a CMOS sensor.

    Not only does the Blackmagic 4K Production Camera’s Super 35mm sensor offer impressive resolution, but it also gives you 12 stops of dynamic range. Having this large amount of dynamic range allows the camera to capture more information so you have greater flexibility in post.

    As far as media goes, the 4K BMPC records to standard 2.5” SSDs. While you can playback directly from the camera, it is important to remember that you can not format the cards in camera.

    Our 4K Blackmagic Camera rental includes a cage with power solution, swappable external batteries, and 2 SSDs.

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    The Canon 5D Mark II is a DSLR available for rental at Stray Angel Films.

    The 5D Mark II was the original DSLR that shook up the digital film world. It enabled shooters to use a camera that is low-light sensitive, large depth of field, compact, and budget friendly.

    Canon’s 5D Mark II has a stunning 21.1 megapixel full-frame CMOS sensor with DIGIC 4 Image Processor. The camera also has a vast range of ISO from 100-6400. The camera takes beautiful, high resolution photos as well as 1920x1080 Full HD video.

    If renting a 5D Mark II, you will probably want to add some accessories as the camera was not really designed for video. Check the “Suggested Accessories” section below for things like EVFs and Beachtek Adapters.

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    The OConnor Ultimate 2575D Fluid Head is a fluid head with a Mitchell Ball Base and Tiedown that supports high payload cameras rendering it suitable for cine style shooting.

    Lightweight at 22.6 lb (10.4 kg), the fluid head sustains a heavy payload up to 90 lb (40.8 kg) with greater drag. Conveniently located controls (pan and tilt brakes) at camera operator's side (left side) of the platform enable ease of operation and rapid familiarity. The platform also houses dual scales for counterbalance, and sports 4 handle rosettes that allow left or right hand operation as well as mounting from the front or rear. An intelligently placed, soft handrest enhances the Ultimate 2575D Fluid Head's ergonomic design. You can achieve rapid pan movements owing to the fluid drag system that allows the camera to move from one position to other very quickly and recover without any spring back.

    The Mitchell Ball Base provides for high mobility and is secured in place by the Mitchell Tiedown. A single-touch, Euro-style platform release lever allows you to disengage the safety catch and open the lever effortlessly, providing high mobility to deal with location changes in the field.

    You can achieve sinusoidal counterbalance and stepless pan and tilt drag using the Ultimate 2575D Fluid Head. A collapsible counterbalance crank handle in tandem with a numerical readout allows for easy counterbalancing of the payload. Setting up the camera system in low-light conditions is simple with the illuminated level bubble.

    • Highly ergonomic design based on similar heavy payload units
    • Lightweight at 22.9 lb (10.4 kg) and provides easy maneuverability
    • Sustains heavy payloads up to 90 lb (40.8 kg), thereby allowing a wide payload of cameras to be mounted
    • Convenient controls located on the operator side offer ease of use and familiarity
    • Twin platform scales allow simple and rapid counterbalance adjustments
    • Ergonomically designed comfortable handrest on the left side
    • Achieves rapid pan movements owing to the fluid drag system that allows the camera to move from one position to other very quickly and recover without any spring back
    • Allows high mobility via the Mitchell Ball Base and is secured in place by the Mitchell Tiedown
    • Single-touch platform release lever allows easy unlatching of safety catch and unlocking the lever
    • Offers sinusoidal counterbalance as well as stepless pan and tilt drag
    • Allows easy counterbalance of payload via a collapsible counterbalance crank handle in tandem with a numerical readout
    • Offers easy setup of camera system in low-light conditions via an illuminated level bubble
    • Suited for current styles of cinematography involving light cameras, large lenses, and innovative accessories
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    Material: Aluminum

    Capacity: 309 lbs. (140 kg)

    Weight: 29.3 lbs. (13.3 kg) (with Spreader) 

    Maximum Height: 69.2 in. (175.8 cm)

    Minimum Height: 33.6 in. (85.3 cm)

    Top Casting: Mitchell

    Collapsed Length: 40.4 in. (103 cm)

    Collapsed Width: 11.1 in. (28.2 cm)

    Spreader (OC-C1222-0015) sold separately

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    Material: Carbon Fiber

    Capacity: 209 lbs. (95 kg)

    Weight: 8.8 lbs (4 kg)

    Maximum Height: 61.8 in. (157 cm)

    Minimum Height: 22 in. (56 cm)

    Top Casting: 100mm

    Collapsed Length: 29.5 in. (75 cm)

    Includes: Mid-Leg spreader, set of 3 adjustable feet

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    SPECIFICATIONS:

    Weight: 18.5 lb

    Payload: 309 lb

    Height with spreader: 7.9 - 34.6 in

    Height with mid-level spreader: N/A

    Head fitting: 150mm

    Transport length: 23.6 in


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    The SACHLER TRIPOD is ideal for modern camcorders and video-enabled DSLR cameras. The dual extractible aluminium tripod is an affordable alternative to the Sachtler carbon fibre tripods. The tripod legs are locked with screw caps.

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