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Broadcast & CorporateFilm, Drama & Commercial

6K / 4K UHD


RED KOMODO 6K Digital Cinematography Camera HireRED KOMODO 6K Digital Cinematography Camera HireRED KOMODO 6K Digital Cinematography Camera HireRED KOMODO 6K Digital Cinematography Camera Hire
Day rate:
£225

RED have made a lot of cameras over the years but the delightfully cute KOMODO 6K will make a lot of friends. Its ideal for use on gimbals as it weighs only 2.1 lbs and its about 4 inches square. It's made with the Canon RF lens mount that allows any other lens to be used with the right adaptor such as the Canon EF or high end PL lenses. The Super 35mm CMOS sensor has a Global Shutter and an impressive 16 stops of dynamic range. The images from this tiny camera and superb and it records footage 6K at 40 fps, 5K at 40 fps, 4K at 60 fps, and 2K at 120 fps.

Our RED Komodo Kit includes...



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Red Weapon 6K Dragon S35

Red Weapon 6K Dragon S35

High on the list of Cameras DOP's chose for acquisition in that cool Californian brand Red, not just cool but awesome frame rates and resolution leading the industry into bigger and better sensor sizes. Our Red Cameras are carbon fibre woven bodies ideal for use on a gimbal or drone and supplied with... 1 x Red Touch 7.0" LCD Screen 2 x Red Mini-Mag 1TB 2 x Red Mini-Mag 512 GB 1 x Red Station Red Mini-Mag 1 x DSMC Low Light Optimised OLPF 1 x DSMC Skin Tone-Highlight OLPF 1 x DSMC Standard OLPF 1 x DSMC2 Top Handle 2 x Red Volt Batteries and Charger Give us a call now to discuss you needs for Red Camera Rental in the Midlands, Birmingham, Scotland, Manchester and throughout the UK. Take a look at some of the films that have been shot on Red www.red.com/shot-on-red Here some facts about our Red Weapon 6Ks... SENSOR TYPE RED DRAGON 19.4 Megapixel CMOS EFFECTIVE PIXELS 6144 x 3160 SENSOR SIZE 30.7 mm x 15.8 mm (Diagonal: 34.5 mm) DYNAMIC RANGE 16.5+ stops MAX DATA RATES Up to 300 MB/s using RED MINI-MAG (480GB & 960GB) Up to 225 MB/s using RED MINI-MAG (120GB & 240GB) MAX FRAME RATES 75 fps at 6K Full Format (6144 x 3160), 100 fps at 6K 2.4:1 (6144 x 2592) 96 fps at 5K Full Format (5120 x 2700), 120 fps at 5K 2.4:1 (5120 x 2160) 120 fps at 4K Full Format (4096 x 2160), 150 fps at 4K 2.4:1 (4096 x 1728) 150 fps at 3K Full Format (3072 x 1620), 200 fps at 3K 2.4:1 (3072 x 1296) 240 fps at 2K Full Format (2048 x 1080), 300 fps at 2K 2.4:1 (2048 x 864) PLAYBACK FRAME RATES (PROJECT TIMEBASE) 23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions REDCODE SETTINGS RANGE FROM 2:1 UP TO 22:1 3:1 REDCODE for 6K Full Format (6144 x 3160) at 24 fps 7:1 REDCODE for 6K Full Format (6144 x 3160) at 60 fps 2:1 REDCODE for 4K Full Format (4096 x 2160) at 24 fps 3:1 REDCODE for 4K Full Format (4096 x 2160) at 60 fps REDCODE RAW ACQUISITION FORMATS 6K Full Format (6144 x 3160), 2:1, 2.4:1, 16:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 5K Full Format (5120 x 2700), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 4K Full Format (4096 x 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 3K Full Format (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 2K Full Format (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x APPLE PRORES ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 × 2160) up to 29.97 fps ProRes 4444 XQ and ProRes 4444 at 2K (2048 × 1080) up to 120 fps ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 120 fps AVID CODECS DNxHR HQX at 4K (4096 × 2160) 12-bit up to 29.97 fps DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 29.97 fps DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps CONSTRUCTION Carbon Fiber, Magnesium, and Aluminum Alloy WEIGHT 3.3 lbs (BRAIN with Integrated Media Bay) COLOR MANAGEMENT Supports 33×33×33, 32×32×32, 26×26×26, and 17×17×17 3D LUTs Variable number of 3D LUT outputs with DSMC2 expander module User programmable shaper 1D LUTs Tetrahedral interpolation, 16-bit processing AUDIO Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz REMOTE CONTROL Integrated R.C.P. WiFi antenna Ethernet, RS232, and GPI Trigger with DSMC2 expander module MONITOR OUTPUTS 3G-SDI (HD-SDI) and HDMI with DSMC2 expander module 1080p RGB or 4:2:2, 720p RGB or 4:2:2 480p RGB or 4:2:2 (HDMI Only) SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio MONITOR OPTIONS DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD and DSMC2 RED EVF (OLED) with cable-free connection. RED Touch 9.0" LCD, RED Touch 7.0" LCD, RED Touch 5.0" LCD, RED PRO 7" LCD, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LEMO Adaptor A and LCD/EVF cable. REDCINE-X PRO DELIVERY FORMATS 4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin) 2K: DPX, TIFF, OpenEXR (.RED via RRencode plugin) 1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, AVID AAF, MXF 1080p 4:2:0, 720p 4:2:0 : H.264, .MP4 VIDEO EDITING SOFTWARE COMPATIBILITY Adobe Premiere Pro, AVID Media Composer, DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro Red Weapon 6K hire Scotland Birmingham Manchester and across the UK

Day rate:
£185

Our modular shoulder rig solution for the FX6 gives you an ergonomic and easy to use shoulder-mount solution for the FX6, making it easier to use for more of a broadcast and TV setting, particularly when handheld for long periods of time.

The rig comprises of:
- soft shoulder mount, on a sliding plate so it can be easily adjusted to the correct position
- a custom-built LCD mounting bracket and monocular for the LCD
- a Shape extension arm, to move the hand grip into a position more ergonomic for handheld work



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Metabones EF Lens to Sony E Mount Adapter

Metabones EF Lens to Sony E Mount Adapter

The Metabones Canon EF Lens to Sony E Mount T Smart Adapter (Mark IV) allows you to use the vast selection of Canon EF mount zoom and prime lenses on cameras such as the Sony PXW-FS7 or Sony A7s. Just attach the adapter to the front of the camera and you are ready to go. The digital contacts will allow you to also control your aperture.
Sony ILME-FX6

Sony ILME-FX6

The FX6 is Sony's new 'in the middle' of their FX range, also comprising the ILME-FX3 (FX3) and PXW-FX9 (FX9). This sits very nicely in the middle slot of the range, to make it a very useful camera for a wide range of projects. It's lightweight, but records outstanding 4K full frame quality at up to 120p. The FX6 has recently been approved for Netflix projects. Excellent low light capabilities with a 409,800 maximum ISO, and a wide dynamic range with it's 10.2 Megapixel Exmor R CMOS sensor. Much like it's bigger brother the FX9, the FX6 can shoot S-LOG3 and S-CINETONE picture profiles, as well as having features to make it a very 'run and gun' camera; real-time eye autofocus, real-time touch tracking and customisable autofocus tracking sensitivity. Like the others in the Sony Alpha range, this is a native E-Mount, so if you plan to use Canon mount or PL mount lenses, you will also need an EF or PL Adapter. Please note that if you wish to record in Super-35mm, the resolution would drop to 2K. If you wanted to 4K in Super-35mm, then check out our PXW-FX9 Hire. In stock and ready to hire, with our branches in Manchester, Glasgow, Birmingham, and shipping throughout the UK.
Sony PXW-FX9 Hire

Sony PXW-FX9 Hire

The latest camera from Sony, the PXW-FX9 (Sony FX9) builds on the success of the popular PXW-FS7, with all the familiar features and setup of the FS7, but with a fantastic 6K Full frame sensor, giving improved image quality, shallower depth of field, and incredible low-light capabilities within the same popular and familiar, ergonomically-designed body. This is a really solid addition to Sony's FX Range, and this camera is positioned beneath the Sony Venice, and above the ILME-FX6. 6K oversampled sensor allows stunning 4K, UHD and HD, in full frame or with a Super35mm sensor crop if you are using APSC lenses. Dual Base ISO of 800/4000, with 15 stops of Dynamic range. S-Cinetone Colour Science as default, which was developed by the same expertise who designed the stunning colour science present in this camera's bigger brother, the Sony Venice. Our kits come with a HawkWoods rear plate to allow power from V-Lock Batteries. This camera has a Sony E-Mount as native, so if you wish to use Canon EF or PL lenses you would need the relevant adapter - just let us know what you are planning and we can make sure you have everything you need.

Blackmagic Pocket Cinema Camera 6k HireBlackmagic Pocket Cinema Camera 6k HireBlackmagic Pocket Cinema Camera 6k Hire
Day rate:
£115

Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K lets you use larger EF photographic lenses to create cinematic images with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects! Extra resolution also gives you more room for reframing in editing and colour correction. This means that you can shoot in 6K and then in post production zoom and re‑frame to allow wide shots and close ups to be created, all from a single camera and without losing image quality!



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Blackmagic URSA Mini Pro 12K (PL Mount) Hire

Blackmagic URSA Mini Pro 12K (PL Mount) Hire

Incredible 12K Super-35 Sensor The Blackmagic URSA Mini Pro 12K (PL Mount) has a 12,288 x 6480 12K Super 35 sensor and 14 stops of dynamic range, in the familiar Ursa Mini Body that has been so popular for it's ergonomic design, build quality and features. With all new colour science and a stunning 80 megapixels per frame, this is a pioneering camera for the world of 12K capture. Don't need 12K? Undersampling from a 12K sensor to 8K or 4K gives incredible definition and detail to every pixel, and subtle skin tones that make this camera compete with the high-end Film cameras. The massive resolution of the sensor means you can reframe shots delivered in lower resolutions by huge amounts, and it’s perfect for great looking vertical and square video, too. You can shoot up to 60 fps in 12K, 110 fps in 8K and up to 220 fps in 4K Super 16. Incredible Workflow The URSA Mini Pro 12K sensor and Blackmagic RAW were designed together to make 12 bit RAW workflows effortless. The Blackmagic RAW codec lets you shoot 12K and edit on a laptop, in 12K, while retaining the full sensor’s colour accuracy. This is simply unheard of up to now and is a testament to how hard Blackmagic have worked on creating such an efficient codec.
Red Weapon 6K Dragon S35

Red Weapon 6K Dragon S35

High on the list of Cameras DOP's chose for acquisition in that cool Californian brand Red, not just cool but awesome frame rates and resolution leading the industry into bigger and better sensor sizes. Our Red Cameras are carbon fibre woven bodies ideal for use on a gimbal or drone and supplied with... 1 x Red Touch 7.0" LCD Screen 2 x Red Mini-Mag 1TB 2 x Red Mini-Mag 512 GB 1 x Red Station Red Mini-Mag 1 x DSMC Low Light Optimised OLPF 1 x DSMC Skin Tone-Highlight OLPF 1 x DSMC Standard OLPF 1 x DSMC2 Top Handle 2 x Red Volt Batteries and Charger Give us a call now to discuss you needs for Red Camera Rental in the Midlands, Birmingham, Scotland, Manchester and throughout the UK. Take a look at some of the films that have been shot on Red www.red.com/shot-on-red Here some facts about our Red Weapon 6Ks... SENSOR TYPE RED DRAGON 19.4 Megapixel CMOS EFFECTIVE PIXELS 6144 x 3160 SENSOR SIZE 30.7 mm x 15.8 mm (Diagonal: 34.5 mm) DYNAMIC RANGE 16.5+ stops MAX DATA RATES Up to 300 MB/s using RED MINI-MAG (480GB & 960GB) Up to 225 MB/s using RED MINI-MAG (120GB & 240GB) MAX FRAME RATES 75 fps at 6K Full Format (6144 x 3160), 100 fps at 6K 2.4:1 (6144 x 2592) 96 fps at 5K Full Format (5120 x 2700), 120 fps at 5K 2.4:1 (5120 x 2160) 120 fps at 4K Full Format (4096 x 2160), 150 fps at 4K 2.4:1 (4096 x 1728) 150 fps at 3K Full Format (3072 x 1620), 200 fps at 3K 2.4:1 (3072 x 1296) 240 fps at 2K Full Format (2048 x 1080), 300 fps at 2K 2.4:1 (2048 x 864) PLAYBACK FRAME RATES (PROJECT TIMEBASE) 23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions REDCODE SETTINGS RANGE FROM 2:1 UP TO 22:1 3:1 REDCODE for 6K Full Format (6144 x 3160) at 24 fps 7:1 REDCODE for 6K Full Format (6144 x 3160) at 60 fps 2:1 REDCODE for 4K Full Format (4096 x 2160) at 24 fps 3:1 REDCODE for 4K Full Format (4096 x 2160) at 60 fps REDCODE RAW ACQUISITION FORMATS 6K Full Format (6144 x 3160), 2:1, 2.4:1, 16:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x 5K Full Format (5120 x 2700), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 4K Full Format (4096 x 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 3K Full Format (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 2K Full Format (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x APPLE PRORES ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 × 2160) up to 29.97 fps ProRes 4444 XQ and ProRes 4444 at 2K (2048 × 1080) up to 120 fps ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 120 fps AVID CODECS DNxHR HQX at 4K (4096 × 2160) 12-bit up to 29.97 fps DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 29.97 fps DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps CONSTRUCTION Carbon Fiber, Magnesium, and Aluminum Alloy WEIGHT 3.3 lbs (BRAIN with Integrated Media Bay) COLOR MANAGEMENT Supports 33×33×33, 32×32×32, 26×26×26, and 17×17×17 3D LUTs Variable number of 3D LUT outputs with DSMC2 expander module User programmable shaper 1D LUTs Tetrahedral interpolation, 16-bit processing AUDIO Integrated dual channel digital stereo microphones, uncompressed, 24-bit 48 kHz Optional 2 additional channels with DSMC2 expander module, uncompressed, 24-bit 48 kHz REMOTE CONTROL Integrated R.C.P. WiFi antenna Ethernet, RS232, and GPI Trigger with DSMC2 expander module MONITOR OUTPUTS 3G-SDI (HD-SDI) and HDMI with DSMC2 expander module 1080p RGB or 4:2:2, 720p RGB or 4:2:2 480p RGB or 4:2:2 (HDMI Only) SMPTE Timecode, HANC Metadata, 24-bit 48 kHz Audio MONITOR OPTIONS DSMC2 RED Touch 4.7" LCD, DSMC2 RED Touch 7.0" LCD and DSMC2 RED EVF (OLED) with cable-free connection. RED Touch 9.0" LCD, RED Touch 7.0" LCD, RED Touch 5.0" LCD, RED PRO 7" LCD, BOMB EVF (OLED) and BOMB EVF (LCOS) compatible with DSMC2 LEMO Adaptor A and LCD/EVF cable. REDCINE-X PRO DELIVERY FORMATS 4K: DPX, TIFF, OpenEXR (.RED via RRencode plugin) 2K: DPX, TIFF, OpenEXR (.RED via RRencode plugin) 1080p RGB 4:2:2, 720p 4:2:2 : QuickTime, JPEG, AVID AAF, MXF 1080p 4:2:0, 720p 4:2:0 : H.264, .MP4 VIDEO EDITING SOFTWARE COMPATIBILITY Adobe Premiere Pro, AVID Media Composer, DaVinci Resolve, Edius Pro, Final Cut Pro, Vegas Pro Red Weapon 6K hire Scotland Birmingham Manchester and across the UK

Sony FX3 Hire Media DogSony FX3 Hire Media Dog
Day rate:
£120

The Sony FX3 Full-frame Cinema Line camera was designed for solo-shooting . With the internal cooling system the FX3 can extend the shooting time and will be able to cover a wider range of shooting situations. It records outstanding 4K full frame quality at up to 120p with minimal rolling shutter, excellent low light capabilities (up to 409,800 ISO) and a wide dynamic range thanks to its 10.2 MP Exmor R CMOS sensor and new Bionz XR processor.



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DJI Ronin-S Handheld Gimbal

DJI Ronin-S Handheld Gimbal

The DJI Ronin-S (RoninS) is an incredibly simple, light and friendly-to-use stabiliser for DSLR and mirrorless video cameras. Unlike the larger Stabalisation systems the Ronin-S does not need as much fine-tuning, making it quick to rig and use without too much faffing around, yet giving you superbly smooth shots. Capable of holding up to 3.6kg and with a battery which can last up to 12 hours. Includes a Sports Mode for fast-paced shots and automative creative modes; Panorama, Timelapse, Motionlapse and Track. Available for hire in Birmingham, Manchester, Glasgow and throughout the UK including London and Bristol.
Sony a7s MKII

Sony a7s MKII

The a7S MKII Camera is a 35mm Full Frame Camera with 4K Video 35mm Camera is a 24.3-megapixel camera that puts as much emphasis on its movie capture capabilities as its still image prowess. While the a7S MKII is a capable still shooter, Sony has emphasised that its real focus is videography. With its XAVC S format video for extremely high image quality and minimal noise, record movies in the high-bit-rate XAVC S format. It enables Full HD (1920 x 1080) image recording at 50Mbps (60p/50p, 30p/25p, 24p). Key Features In-camera 4K recording ISO range 50-409600 giving you ultra-high sensitivity Record 120fps at 100Mbps giving you 4x/5x slow motion in Full HD S-Gamut3.Cine/S-Log3 and S-Gamut3/S-Log3 giving you an impressive 14 stop latitude Sony latest 5-axis image stabilisation system allows you to correct camera shake
Sony ILME-FX6

Sony ILME-FX6

The FX6 is Sony's new 'in the middle' of their FX range, also comprising the ILME-FX3 (FX3) and PXW-FX9 (FX9). This sits very nicely in the middle slot of the range, to make it a very useful camera for a wide range of projects. It's lightweight, but records outstanding 4K full frame quality at up to 120p. The FX6 has recently been approved for Netflix projects. Excellent low light capabilities with a 409,800 maximum ISO, and a wide dynamic range with it's 10.2 Megapixel Exmor R CMOS sensor. Much like it's bigger brother the FX9, the FX6 can shoot S-LOG3 and S-CINETONE picture profiles, as well as having features to make it a very 'run and gun' camera; real-time eye autofocus, real-time touch tracking and customisable autofocus tracking sensitivity. Like the others in the Sony Alpha range, this is a native E-Mount, so if you plan to use Canon mount or PL mount lenses, you will also need an EF or PL Adapter. Please note that if you wish to record in Super-35mm, the resolution would drop to 2K. If you wanted to 4K in Super-35mm, then check out our PXW-FX9 Hire. In stock and ready to hire, with our branches in Manchester, Glasgow, Birmingham, and shipping throughout the UK.
Sony PXW-FX9 Hire

Sony PXW-FX9 Hire

The latest camera from Sony, the PXW-FX9 (Sony FX9) builds on the success of the popular PXW-FS7, with all the familiar features and setup of the FS7, but with a fantastic 6K Full frame sensor, giving improved image quality, shallower depth of field, and incredible low-light capabilities within the same popular and familiar, ergonomically-designed body. This is a really solid addition to Sony's FX Range, and this camera is positioned beneath the Sony Venice, and above the ILME-FX6. 6K oversampled sensor allows stunning 4K, UHD and HD, in full frame or with a Super35mm sensor crop if you are using APSC lenses. Dual Base ISO of 800/4000, with 15 stops of Dynamic range. S-Cinetone Colour Science as default, which was developed by the same expertise who designed the stunning colour science present in this camera's bigger brother, the Sony Venice. Our kits come with a HawkWoods rear plate to allow power from V-Lock Batteries. This camera has a Sony E-Mount as native, so if you wish to use Canon EF or PL lenses you would need the relevant adapter - just let us know what you are planning and we can make sure you have everything you need.

Day rate:
£160

The FX6 is Sony's new 'in the middle' of their FX range, also comprising the ILME-FX3 (FX3) and PXW-FX9 (FX9). This sits very nicely in the middle slot of the range, to make it a very useful camera for a wide range of projects. It's lightweight, but records outstanding 4K full frame quality at up to 120p. The FX6 has recently been approved for Netflix projects.

Excellent low light capabilities with a 409,800 maximum ISO, and a wide dynamic range with it's 10.2 Megapixel Exmor R CMOS sensor.



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Metabones EF Lens to Sony E Mount Adapter

Metabones EF Lens to Sony E Mount Adapter

The Metabones Canon EF Lens to Sony E Mount T Smart Adapter (Mark IV) allows you to use the vast selection of Canon EF mount zoom and prime lenses on cameras such as the Sony PXW-FS7 or Sony A7s. Just attach the adapter to the front of the camera and you are ready to go. The digital contacts will allow you to also control your aperture.
Sony ILME-FX3

Sony ILME-FX3

The Sony FX3 Full-frame Cinema Line camera was designed for solo-shooting . With the internal cooling system the FX3 can extend the shooting time and will be able to cover a wider range of shooting situations. It records outstanding 4K full frame quality at up to 120p with minimal rolling shutter, excellent low light capabilities (up to 409,800 ISO) and a wide dynamic range thanks to its 10.2 MP Exmor R CMOS sensor and new Bionz XR processor. It allows for more shooting expressions with the inclusion of S-LOG3 and S-CINETONE picture profiles defining a new era of Cinema line cameras from Sony. The Sony FX3 also provides more freedom for shooting videos with a fast and accurate Autofocus technology including Real-time Eye Autofocus, Real-time touch tracking and customisable autofocus tracking sensitivity. It also includes a 5axis inbody stabilisation with Active Mode, which makes it ideal for handheld shots. On top of its small form factor, the Sony FX3 includes a detachable top-handle with XLR inputs for professional microphones or audio connections. The idea of a cage with the grip and screw options is already integrated in the body design, which is emphasizing the compact form factor. The Sony Cinema line FX3 is designed for the future of cinematic expressions. FX3 New Cinematic Freedom Sony's FX3 Cinema Line camera brings the visions of passionate content creators to life. Cinematic expression is matched with reliable performance and streamlined operation to serve the needs of today's creative community. Compact and lightweight, it's easy to carry and handle. Full-frame image capture even in dim light The FX3's full-frame image sensor is coupled with innovative light-gathering techniques to let you capture clear and usable images even in dim light. The standard ISO sensitivity of 80-102400 for movies is expandable all the way up to 409600. Wide dynamic range, wider creative expression The FX3 offers an exceptional 15+ stops1 of dynamic range to handle settings ranging from well-lit interiors and outdoors in mid-day to morning and evening shots. Capture every nuance, and allow for unprecedented cinematic freedom in colour grading. Stunning bokeh and full-frame creativity Capture the scene in cinematic 4K resolution, with the shallow depth of field, stunning bokeh and cinematic freedom made possible with a full-frame sensor. Cinematic colour science of S-Cinetone S-Cinetone colour, developed for Sony’s acclaimed FX9, is the default look on the FX3 for cinematic expression. It's precisely tuned to meet the requirements of today's content creators, with rich colour and natural skin tones that match other Cinema Line cameras without grading. 4K 120fps with every frame in focus Even at high frame rates, detailed 4K imagery is captured thanks to the FX3's high-precision AF and high-speed readout capabilities. Slow and Quick (S&Q) mode gives you full control over the shooting frame rate, for beautiful motion sequences at up to 5x slow motion (with 24p output). 10-bit S-Log3 and HDR recording for smooth gradations S-Log3 gamma curve and S-Gamut3.Cine enable shooting with high-quality colour reproduction over a wide dynamic range, and they make it easy to match up footage with shots from other Cinema Line cameras during post-production. In addition, an HLG (Hybrid Log-Gamma) HDR picture profile enables direct HDR (HLG) playback on compatible TVs with no post-production. 16-bit RAW HDMI output For demanding post-production workflows, 16-bit RAW output3 is available over HDMI connection to compatible external recorders while XAVC HS 4K, XAVC S 4K, or XAVC S-I 4K, and proxy, files are simultaneously captured in-camera. RAW video output is 4264 x 2408 [16:9] resolution, exceeding DCI-4K resolution4. Enjoy rich detail and realistic colour The FX3 is capable of 4K internal recording, 10-bit depth and 4:2:2 colour sampling with All Intra on top of Long-GOP compression. This makes it possible to push your colour grades further while still retaining natural gradation, for true editing freedom.
Sony PXW-FX9 Hire

Sony PXW-FX9 Hire

The latest camera from Sony, the PXW-FX9 (Sony FX9) builds on the success of the popular PXW-FS7, with all the familiar features and setup of the FS7, but with a fantastic 6K Full frame sensor, giving improved image quality, shallower depth of field, and incredible low-light capabilities within the same popular and familiar, ergonomically-designed body. This is a really solid addition to Sony's FX Range, and this camera is positioned beneath the Sony Venice, and above the ILME-FX6. 6K oversampled sensor allows stunning 4K, UHD and HD, in full frame or with a Super35mm sensor crop if you are using APSC lenses. Dual Base ISO of 800/4000, with 15 stops of Dynamic range. S-Cinetone Colour Science as default, which was developed by the same expertise who designed the stunning colour science present in this camera's bigger brother, the Sony Venice. Our kits come with a HawkWoods rear plate to allow power from V-Lock Batteries. This camera has a Sony E-Mount as native, so if you wish to use Canon EF or PL lenses you would need the relevant adapter - just let us know what you are planning and we can make sure you have everything you need.

Day rate:
£40

Maximum. Wow
Packing Max HyperSmooth, Max TimeWarp, Max SuperView—plus a single-lens HERO and dual-lens 360 camera—MAX maxes out the radness.

Three Cameras in One
Shoot single-lens HERO-style video with unbreakable stabilization or capture immersive 360 footage in 6K4. Vlog to the max with shotgun-mic performance and a front-facing screen.

Max HyperSmooth
Say hello to the new king of stabilization. Max HyperSmooth delivers the smoothest video ever from a GoPro—plus game-changing horizon leveling, when you want it.

Digital Lenses




Media Dog Hire Kit ImageMedia Dog Hire Kit Image
Day rate:
£200

Incredible 12K Super-35 Sensor
The Blackmagic URSA Mini Pro 12K (PL Mount) has a 12,288 x 6480 12K Super 35 sensor and 14 stops of dynamic range, in the familiar Ursa Mini Body that has been so popular for it's ergonomic design, build quality and features.

With all new colour science and a stunning 80 megapixels per frame, this is a pioneering camera for the world of 12K capture.

Don't need 12K? Undersampling from a 12K sensor to 8K or 4K gives incredible definition and detail to every pixel, and subtle skin tones that make this camera compete with the high-end Film cameras.




Media Dog Hire Kit ImageMedia Dog Hire Kit ImageMedia Dog Hire Kit Image
Day rate:
£450

The Titan utilises 8 Micro Four Thirds Sensors, currently the largest available in any VR camera, offering outstanding quality, dynamic range and low-light performance for high-end VR filming.

Titan is the first unibody VR camera to shoot at 11K mono and 10K 3D, and with 3.3-micron pixels - 7x higher than 4K.

With a 9-axis gyro and advanced FlowState Stabilisation, dynamic shots come out perfectly stable with no gimbal required.




Day rate:
£1300

Arri's latest release in the high-end Cinema range has blown our breath away, with a 4.5K resolution Full-Frame sensor, the Alexa Mini LF combines fantastic image quality and an incredibly precise colour science with the popular ergonomic and lightweight design of the original Alexa Mini, keeping it particularly suited to handheld, gimbal and Steadicam usage.

Our kit includes 4tb of Codex Cards (4x 1tb) as standard, but extra 1tb cards are available on request.

Huge range of codecs, right up to an ARRIRAW uncompressed ProRes at 150 frames per second.



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Arri Signature Primes Set

Arri Signature Primes Set

Arri have managed to create a lens that is sharp, but also manages to look soft and luscious at the same time. A very neat trick. The quality of these lenses is literally incredible. They cover full frame, but also produce stunning results on Super-35mm sensors (with an LPL-PL adapter). One of the features that, now we've seen it we can't believe isn't more widely done, is the ability to insert filters at the rear of the lens, this means that filters can be smaller and easier to produce at a high quality. We absolutely love these lenses, and are fast becoming the go-to lenses when you want your product to be of the highest quality and also have an incredible "look". Our available lenses are: 18mm T1.8 21mm T1.8 25mm T1.8 29mm T1.8 35mm T1.8 40mm T1.8 47mm T1.8 58mm T1.8 75mm T1.8 95mm T1.8 125mm T1.8 150mm T1.8

Panasonic AU-EVA1
Day rate:
£130

This small compact camera from Panasonic has a newly developed 5.7 K Super 35mm sensor that can capture 4K/10-bit 4:2:2 images.

With dual native ISO's of 800/2500 that offer very high sensitivity with little noise coupled with 14-stops of dynamic range, V-Log gamma and wide-colour-gamut V-Gamut colorimetry, inherited from the VariCam Series, ensure cinema-like pictures.

It is equipped with an EF lens mount and can achieve high-frame-rate recording of 4K 60 fps/2K 240 fps maximum.