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Join Kelly Mena, from B&H, as she discusses how to use sliders to add visual excitement to your shots. Mena looks at the Cinevate Atlas 10 35” Slider, a basic option that can be used horizontally, or vertically with an additional pulley system. She also shows you how to add motion to your time-lapse videos using the CineMoco motorized dolly system, and more.
Kopul has just announced the addition of four line-to-mic attenuator cables for DSLR audio applications to their line of professional cable solutions for audio and video. Designed to take the line output from your portable digital recorder and connect it to the unbalanced mic level input on your DSLR camera, these cables allow you record audio to your external digital recorder and DSLR simultaneously.
HDSLRs and large-sensor video cameras have become today’s most popular cameras for shooting video. But, straight out of the box, they’re still notoriously uncomfortable to hold when shooting video for longer than a few minutes. From the beginning, even early adopters of these cameras asked, “How can we shoot comfortably for longer periods of time, keep the camera stable, and not give up mobility?”
Since the release of their mirrorless G-Series in 2008, Panasonic has offered cameras that are true multimedia tools with a strong emphasis placed on video features. The Lumix DMC-GH2, in particular, developed a cult following in the video and HDSLR communities. The compact size, articulating screen, and unlimited clip length set the camera apart from many of its competitors.
In the following video, Mia McCormick, of Kelby Media, looks at the new Zacuto Marauder and Enforcer foldable DSLR rigs, and what makes them a good choice for run-and-gun style shooting. This video explores the compact design, functionality, and features of the rigs, including the spring-loaded arm, adjustable chest brace, and quick-release Gorilla Plate V2.
Watch and listen as Mia McCormick, of Kelby Media, discusses what makes cinema lenses different from other lenses and why they make a great choice for video work. Using the Samyang 24mm T1.5 and Rokinon 85mm T1.5 as examples, McCormick explores the optical and mechanical construction of cinema lenses, including manual control, increased focus throw, and follow focus gearing.
In this final episode of our six-part series on Canon's Cinema EOS line, cinematographer David Leitner walks us through the results of a recent 4K test shoot with the C500 camera and an AJA Ki Pro Quad recorder in New York's Central Park.
In this fifth part of our six-part series on Canon's Cinema EOS line, David Leitner presents the lens options available to digital cinematographers who use the C500, C300, C100 and 1D C cameras. There is, of course, the universe of EF-mount lenses, including Canon's high-end L series and stepper-motor drive (STM) lenses.
In this fourth part of our six-part series on Canon Cinema EOS, David Leitner focuses on 4K production and post-production workflow, listing a plethora of options that involve both RAW and compressed (ProRes, DNxHD) capture of 4K footage.
In the third segment of our six-part series on the Canon Cinema EOS line, cinematographer David Leitner elucidates the Canon EOS C500 and EOS-1D C cameras, two very different bodies: The C500 is a camcorder with a Super 35-size sensor that looks much like the C100 and C300, while the 1D C is a DSLR body with a much larger full-frame sensor.