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Patrick D

New York, NY Member since June 2015

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Director/Cameraman Owner Cinema Five Films www.cinemafivefilms.com

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Arri Alexa Classic EV

At the pinnacle of the range is the ALEXA Studio, featuring a quiet, adjustable mirror shutter and an optical viewfinder that provides a real-time, high contrast image with true colors. The Studio is a direct response to cinematographers’ requests for a camera that perfectly combines cutting edge digital image-making with traditional elements of the film cameras they have known and trusted for generations. Another key feature of the ALEXA Studio is its 4:3 sensor, which makes it the only digital camera (aside from the ARRIFLEX D-21) to boast true anamorphic capability. Anamorphic lenses create a unique, cinematic look that has been appreciated by directors and cinematographers for over half a century, and cannot be created in post.

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OWNER NOTES

At the pinnacle of the range is the ALEXA Studio, featuring a quiet, adjustable mirror shutter and an optical viewfinder that provides a real-time, high contrast image with true colors. The Studio is a direct response to cinematographers’ requests for a camera that perfectly combines cutting edge digital image-making with traditional elements of the film cameras they have known and trusted for generations.

Another key feature of the ALEXA Studio is its 4:3 sensor, which makes it the only digital camera (aside from the ARRIFLEX D-21) to boast true anamorphic capability. Anamorphic lenses create a unique, cinematic look that has been appreciated by directors and cinematographers for over half a century, and cannot be created in post.

$1,000
per day
$1,000
per day
Cooke Optics Cooke Mini S4 T2.8 Lens Set

The miniS4/i Cine Lens Set from Cooke comes with an illustrious heritage: most Hollywood films made in the first half of the 20th century were shot with Cooke lenses. Now, Cooke has revived the brand with a new set of lenses that further extend the company's reputation for quality into the digital era. Comprising 18mm, 25mm, 32mm, 50mm, 75mm, and 100mm lenses, this set of lightweight, cost-effective primes are companions to Cooke's already established S4/i lenses. They carry over the most desirable features of their more expensive brethren, sacrificing only a single T-stop in the process. And yet with their aperture range of T2.8 to T22, the miniS4/i remain extremely flexible and make up for light sensitivity with reduced size, weight, and cost. Their PL mounts make the lenses compatible with the most commonly used professional digital cinema cameras, including the RED ONE, Sony F35 and F3, Canon C300 PL, and Arri D21. Color-matched and interchangeable with all Cooke lenses, this set combines classic, hand-fitted construction with a linear iris, cam-style focus, and /i Technology – which provides EXIF-like data to camera operators, cinematographers, and post-production technicians requiring precise measurements of lens and camera settings. Cooke miniS4/i optics, meanwhile, are beyond superb, controlling flare, distortion, veiling glare, and spherical aberrations with the aperture wide open. This combination of unmatched image quality, state-of-the-art technology, and cost-effective durability makes this lens set the perfect tool for multi-camera shoots, second-unit photography, stunt work, or filmmaking on a budget.

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OWNER NOTES

The miniS4/i Cine Lens Set from Cooke comes with an illustrious heritage: most Hollywood films made in the first half of the 20th century were shot with Cooke lenses. Now, Cooke has revived the brand with a new set of lenses that further extend the company's reputation for quality into the digital era. Comprising 18mm, 25mm, 32mm, 50mm, 75mm, and 100mm lenses, this set of lightweight, cost-effective primes are companions to Cooke's already established S4/i lenses. They carry over the most desirable features of their more expensive brethren, sacrificing only a single T-stop in the process. And yet with their aperture range of T2.8 to T22, the miniS4/i remain extremely flexible and make up for light sensitivity with reduced size, weight, and cost.

Their PL mounts make the lenses compatible with the most commonly used professional digital cinema cameras, including the RED ONE, Sony F35 and F3, Canon C300 PL, and Arri D21. Color-matched and interchangeable with all Cooke lenses, this set combines classic, hand-fitted construction with a linear iris, cam-style focus, and /i Technology – which provides EXIF-like data to camera operators, cinematographers, and post-production technicians requiring precise measurements of lens and camera settings.

Cooke miniS4/i optics, meanwhile, are beyond superb, controlling flare, distortion, veiling glare, and spherical aberrations with the aperture wide open. This combination of unmatched image quality, state-of-the-art technology, and cost-effective durability makes this lens set the perfect tool for multi-camera shoots, second-unit photography, stunt work, or filmmaking on a budget.

$650
per day
$650
per day
Rent RED 300mm
RED 300mm

Specifications Focal Length Range: 300mm T Stop Range: T2.9-T34.6 Lens Front Diameter: 117.4mm Minimum Focusing Distance: 7.36' Filter size: Rear 43mm drop-in filter, pitch 0.75 Weight: 5.67 lbs Lens rental includes: Front cap, rear cap, lens support Description RED Pro Prime 300mm T2.9 Lens is a Super 35mm format telephoto lens with a maximum T2.9. Made exclusively for RED cameras, this lens is ideal for productions that require telephoto sho

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OWNER NOTES

Specifications
Focal Length Range: 300mm
T Stop Range: T2.9-T34.6
Lens Front Diameter: 117.4mm
Minimum Focusing Distance: 7.36'
Filter size: Rear 43mm drop-in filter, pitch 0.75
Weight: 5.67 lbs
Lens rental includes: Front cap, rear cap, lens support
Description

RED Pro Prime 300mm T2.9 Lens is a Super 35mm format telephoto lens with a maximum T2.9. Made exclusively for RED cameras, this lens is ideal for productions that require telephoto sho

$100
per day
$100
per day
Duclos 11-16mm T2.8

Duclos Lenses has developed a conversion process for the Tokina 11-16mm ultra-wide angle lens. Most obvious is the PL mount that interfaces with any PL mount camera including the RED Epic. More subtle yet most important is the activated manual aperture control. Lubricated, geared, and marked, the new aperture ring allows precise control for the user. The outer shell of the lens has been replaced with black anodized aluminum. Internal components are refined and reenforced. The final product is a small, lightweight lens perfectly capable of holding it’s own against the likes of other motion picture optics.

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OWNER NOTES

Duclos Lenses has developed a conversion process for the Tokina 11-16mm ultra-wide angle lens. Most obvious is the PL mount that interfaces with any PL mount camera including the RED Epic. More subtle yet most important is the activated manual aperture control. Lubricated, geared, and marked, the new aperture ring allows precise control for the user. The outer shell of the lens has been replaced with black anodized aluminum. Internal components are refined and reenforced. The final product is a small, lightweight lens perfectly capable of holding it’s own against the likes of other motion picture optics.

$100
per day
$100
per day
Angénieux 17-102mm HR T2.9

The Angénieux 17-102mm HR T2.9 is a zoom lens that offers a great range with very little breathing and no iris ramping, allowing the lens to be used for a wide variety of shots. Technical Specs Aperture: T2.9 Zoom ratio: 6x Weight (approx.): 19 lbs (8.6 kg) Length (approx.): 16 in (406 mm) Close Focus: 2' 6" Image coverage: 35mm (30mm diagonal) Front diameter: 144mm

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OWNER NOTES

The Angénieux 17-102mm HR T2.9 is a zoom lens that offers a great range with very little breathing and no iris ramping, allowing the lens to be used for a wide variety of shots.

Technical Specs
Aperture: T2.9
Zoom ratio: 6x
Weight (approx.): 19 lbs (8.6 kg)
Length (approx.): 16 in (406 mm)
Close Focus: 2' 6"
Image coverage: 35mm (30mm diagonal)
Front diameter: 144mm

$300
per day
$300
per day

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