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Sydney Camera Hire’s Canon FD vintage cine mod lens kit feature many of the same world famous optics that are in our more expensive rehoused Canon FD lens kit. Each lens been converted form FD to Canon EF and works with any Canon EF camera or mount. They have permanent focus gears, and 80mm front rings with threads that accept 77mm filters. If you you are chasing the iconic Canon FD loo, but need a more affordable form factor, this set is a great option.
Each lens has been Cine-Modded by Duclos lenses, and features a new 80mm front with threads for 77mm filters, permanent focus gear, de-clicked iris, and Canon EF mount. All the lenses have full Frame coverage.
The lens mounts have been converted form FD to Canon EF, and they will work with any Canon EF camera or mount. They have permanent focus gears, and 80mm front rings with threads that accept 77mm filters. If you need the amazing look of Canon FD glass, but need a more affordable form factor, this set is a great option.
Sydney Camera Hire’s Blackmagic Studio 4K Pro camera is regarded as the world’s most advanced self contained studio camera. Blackmagic Studio Cameras have the same features as large studio cameras, miniaturised into a single compact and portable design.
With digital film camera dynamic range and color science, the cameras can handle extremely difficult lighting conditions while producing cinematic looking images. The sensor features an ISO up to 25,600 so you can create amazing images even in dimly lit venues. It even works under moonlight! Advanced features include talkback, tally, camera control, built in color corrector, Blackmagic RAW recording to USB disks and much more! You can even add a focus and zoom demand for lens control!
While Blackmagic Studio Camera is designed for live production, it’s not limited to use with a live switcher! That’s because it records Blackmagic RAW to USB disks, so it can be used in any situation where you use a tripod! The large 7″ viewfinder makes it perfect for work such as chat shows, television production, broadcast news, sports, education, conference presentations and even weddings! The large bright display with side handles, touch screen and physical controls makes it easy to track shots while being comfortable to use for long periods of time. Because it’s so lightweight, it’s perfect when you’re constantly changing locations and doing different kinds of work.
In advanced cameras, ISO is a measurement of the image sensor’s sensitivity to light. This means the higher the ISO the more gain can be added so it’s possible to shoot in natural light, or even at night! The Blackmagic Studio Camera features gain from -12dB (100 ISO) up to +36dB (25,600 ISO) so it’s optimized to reduce grain and noise in images, while maintaining the full dynamic range of the sensor. The primary native ISO is 400, which is ideal for use under studio lighting. Then the secondary high base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set from the camera, or remotely from a switcher using the SDI or Ethernet remote camera control.
Blackmagic Studio Cameras feature a very large tally light that illuminates red for on air, green for preview and orange for ISO recording. The tally light also includes clip on transparent camera numbers, so it’s easy for talent to see camera numbers from up to 20 feet away! The Blackmagic Studio cameras support the SDI tally standard used on all ATEM live production switchers and the HDMI tally used on ATEM Mini switchers. This means that a director can cut between cameras and the tally information will be sent back to the cameras via the SDI program return feed, lighting up the tally light on the camera whenever it’s on air. SDI tally eliminates complex wiring so job setup is faster.
Blackmagic Studio cameras have lots of connections for connecting to both consumer and broadcast equipment. All models feature HDMI with tally, camera control and record trigger, so are perfect for ATEM Mini switchers! You also get headphone and mic connections, and 2 USB‑C expansion ports. The advanced Blackmagic Studio Camera 4K Pro model is designed for broadcast workflows so has 12G‑SDI, 10GBASE‑T Ethernet, talkback and balanced XLR audio inputs. The 10G Ethernet allows all video, tally, talkback and camera power via a single connection, so setup is much faster! That’s just like a SMPTE fiber workflow, but using standard Category 6A copper Ethernet cable.
Sydney Camera Hire’s DZOFilm Catta Ace zoom lens bundle includes the full frame 35-80 and 70-135mm zoom lenses. Both DZOFilm Catta Ace zooms feature versatile focal lengths and accurate colour reproduction. Each zoom lens covers a full frame sensor to accomodate the latest full frame cameras.
The DZOFilm Catta Ace zooms feature a par focal design ensure focus remains accurate throughout the zoom range. Each zoom features a wide T2.9 to T22 aperture, a 16-blade iris for a smooth bokeh, and a long 29.1″ close focus range.
Featuring a light weight design the lenses are perfect when working with gimbals and other accessories. Both Catta Ace zooms come with PL, EF and LPL mounts.
Sydney Camera Hire’s Aputure Light Dome 150’s expansive 5 foot (150cm) transforms Bowens Mount point-source lights into a massive soft source, elegantly illuminating large spaces.
Like other members of the Light Dome family, the Light Dome 150 includes two diffusion options (1.5 & 2.5 Stop), allowing you to adjust the density and quality of your soft light.Using Aputure’s pioneered quick-release setup design, the Light Dome 150 remains one of fastest modifiers on the market and can be assembled in seconds.Following the Light Dome II, the Light Dome 150 utilises a 32-sided design, resulting in one of the most perfectly round modifiers on the market, allowing for completely circular reflections.The entire Light Dome lineup utilizes the most common lighting accessory mount in the world: the Bowens Mount. And the Light Dome 150 is no exception, allowing it to be used in conjunction with any Bowens Mount fixture including Aputure’s Light Storm product line, and works especially well with the output power of the LS 600 series.
Sydney Camera Hire’s Aputure LS 600x Pro boasts an expanded bi-color range of 2700K~6500K while still being able maintain an impressive output. Equipped with its native Hyper-Reflector, the 600x Pro can output 5,610 lux at 3 meters (10 feet). With the F10 Fresnel modifier, the combination can reach an illuminance of 18,5100 lux at 3 meters in 15° spot.
Similar to the LS 300x, the 600x Pro utilizes Aputure-designed color-blending optics that combines its bi-color chipset into a single cohesive light source, allowing it to be used with optical lens modifiers such as the F10 Fresnel and Spotlight Mount.
The LS 600x Pro joins the Light Storm Pro series, featuring a weather-resistant design in a Bowens Mount fixture. Using waterproof fans, sealed internal structures, rubber caps for all ports, and weatherproof connectors, the LS 600x Pro can withstand challenging inclement weather environments.
The LS 600x Pro can utilize 9 different built-in light effects: “Paparazzi”, “Fireworks”, “Lightning”, “Faulty Bulb”, “TV”, “Pulsing”, “Strobe”, “Explosion”, & “Fire”. The 600x Pro is also compatible with the SidusPro FX ecosystem.
Sydney Camera Hire’s Skater Dolly is the most sophisticated camera mounting platform available today. It is a rugged and portable dolly solution for filmmakers wanting a small footprint on set without sacrificing stability or safety.
The Skater Dolly is all about being on the go weighing only 15 kg, it is easy to carry and quick to setup. It is light enough for one person to handle and just easy enough to manoeuvre on the fly. It is constructed of high-grade aluminium for a more robust yet lightweight build; and supports loads of up to 70 kg.
Sydney Camera Hire’s Skater Dolly comes with 1.5″ speed rail/track, which can be configured into variable lengths of 4ft & 8ft. Compatible speed rail and end truss allows mounting the Dolly on Baby Feet, Long Legs, 5/8″ Pins, Tripod, C-Stand, Light Stand and various grip alternatives in seconds, allowing users to start filming in no time. The camera can be inverted for underslung tracking shots on 4ft track length.
The Dolly’s top mount may be quickly changed between 75mm, 100mm, 150mm Bowl or Mitchell Mount configurations to accommodate nearly any camera head type. 1/4″ -20 & 3/8″ -16 threaded holes on the rugged camera platform accommodates all industry-standard connections.