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Home , Anamorphic widescreen, IMAX, Super 35, Venus Engine, VistaVision

FULL FRAME WORLD VS. FULL FRAME BYDIGITAL TOM HOLLAND AND CHART

ARRI ALEXA LF & MINI LF ALEXA 65 SONY VENICE 6K

RED MONSTRO 8K VV CANON C700 FF SXT & MINI (18,66 mm)

RED HELIUM 8K S35 0,735” SONY F55 & FS7 II BM URSA MINI PRO RED DRAGON 5K S35

BM POCKET CC 4K

BROADCAST 2/3"

KODAK SUPER 16MM 0,980” 35 & EVA1 SONY F65 SUPER 35 3-PERF CANON C300 MK II KODAK ACADEMY 35MM RED DRAGON 6K S35 (24,89 mm) RED GEMINI 5K S35 KODAK SUPER 35 4-PERF

CANON C500 MKII KODAK 65MM 5-PERF KODAK VISTAVISION 8-PERF Silent film projection aperture - 0.931” x 0.698” Academy 1.375 projection aperture - 0.825 x 0.600” ALEXA MINI LF ALEXA LF CANON C700 FF 1.85 projection aperture (Super 35 common top) Same sensor and recording formats as Large format aesthetic. ARRI Color 5.9 Full Frame CMOS Sensor Alexa LF. LPL Mount & PL, Super 35 and science for natural, pleasing skin tones. 15 - stops dynamic range 4:3 projection aperture (Super 35 common top) FF. Support all anamorphic ratios. ARRI High Dynamic range for most flexibilitiy in Broad range of lens options color science for natural skin tones. post. True 800 ASA with reduced noise Various sensor modes including full Frame Rates : 0.75 - 90 fps (Apple ProRes) Frame Rates: 0.75 - 150 fps (ARRIRAW 4.5K) frame, Super 35mm and Super 16mm Frame Rates: RAW 5,9K/60P SONY VENICE SONY PXW - FX9 PANASONIC SH1 SENSOR SIZE COMPARISON 36 X 24mm (6048 x 4032) Full Frame 6K full frame sensor. Dual Base ISO 24.2 MP Full Frame CMOS Sensor and sensor. 4K Super35 & Anamorphic 800/4000. AF with face detection and Venus Engine. 5-Axis Sensor Shift Image looks. 15 stops of latitude. PL Mount Eye-AF. 15-stop dynamic range and Stabilization. Optimizing your recording for & PL Super 35. Beautiful images with records 10-bit 4:2:2. Accurate color post-production color adjustment. stunning lens flare, bokeh and gamut and skin tones for a better Anamorphic Shooting mode and First Netflix Certified Mirrorless Camera. emotional impact. Frame Rates: 4K cinematic look. Frame Rates: UHD up to Full Frame APS - H Frame Rates: Full HD up to 180 fps recording at 2.39: 1: 120 fps 60 fps, HD up to 180 fps 44.00 x 33.00 mm 36.00 x 24.00 mm 27.90 x 13.50 mm 100Mbps CANON C500 MKII SIGMA FP 5.9K Full Frame CMOS Sensor. DCI-4K, 35mm full-frame (35.9mm x 23.10mm) RED RANGER APS - C Micro Four Thirds 4/3” 1” UHD and Back-illuminated Bayer CMOS sensor (24,6 MONSTRO/MONSTRO formats. EF to locking EF-C or PL mounts Megapixel). Electronic shutter and advanced 23.60 x 15.60 mm 17.30 x 13.00 mm 12.80 x 9.60 mm 35.4 Megapixel CMOS Sensor. Three SDI on their own. Dual Pixel CMOS AF with technologies. L-Mount. Supports full-fled- outputs (two mirrored and one support for Touch AF and Face Detection ged filmmaking. Still/Cine shooting modes independent). Shimmed PL mount. Large 1/1.7” 1/2.3” 1/3.2” AF. Frames Rates: 5.9K Cinema RAW diameter fan provides improved thermal 7.60 x 5.70 mm 6.17 x 4.55 mm 4.54.00 x 3.42 mm Light, 60 fps performance. Frame Rates: 60 fps at 8K CANON EOS 5D MKIV SONY ALPHA 7sll Full Format (8192 x 4320) 30.4 Megapixel Full Frame CMOS Sensor. Sensor Resolution 12.2 Megapixel 7 fps continuous shooting and silent Optical Sensor Type. Exmor CMOS shutter mode. 4k 30fps with 8.8MP, Optical Sensor Size. Full Frame (23.9 x 35.8 mm) Full 1080p HD. Frame Rates: 60 fps, HD Frame Rates: internal UHD 4K recording at 30 fps FILM 720p mode at 120 fps

WELAB FULL FRAME LINE UP 2.35:1 ARRI SIGNATURE ANGENIEUX EZ1-EZ2 GLASWERK ONE PRIMES Designed for both Super 35mm digital ANAMORPHIC 1.85:1 Warm smooth skin tones. motino picture cameras and FF/Vistavision Designed to cover the Arri Alexa LF in Open shadows with crisp blacks. cameras (45-135mm T3/22-60mm T3). open gate Anamorphic (30.65*25.54mm) Exceptionally soft bokeh for increased Extremely wide coverage with minimal Coverage of the Vista Vision image format 1.33:1 sense of separation. distortion. for compatibility with the lastest camera 16 matched primes from 12 to 280mm. Lightweight (2,070g 7 4.6 pounds). models from Arri, Sony, Canon and RED 18, 25, 35, 59, 75, 21, 29, 125, 200 y Traditional angenieux look, colorimetry No restriction of the light path, hence no 280mm. T1.8. matches those of Optimo & Optimo bokeh cut off; low distortion and minimal Styles series. spherical and chromatic aberrations Format 16 mm 50, 60, 75, 100 mm. T 2.4 Format: 16mm Film aspect ratio: 1.37 Aperture (mm) 10.26x7.49 COOKE S7/I FUJINON PREMISTA ZEISS COMPACT PRIME3 Format: Super 16mm Film aspect ratio: 1.69 Aperture (mm) 12.52x7.42 Colour matched to Anamorphic/i, S4/i, ZOOM Same full-frame sensor coverage and miniS4/i and Pancro/i Classic lenses Both covers Large-Format Sensor Size classic ZEISS look. Covers at least 46.31mm image circle (28-100mm /80-250mm). T 2.9. PL The CP.3 lenses feature improved lens T2.0 – T22 aperture mount with hex-adjustable flange focal coatings and anti-reflection masking. Format 35 mm Award-winning cam style mechanism distance. Color-matching to Fujifilm cine Lens barrel has been reshaped to be more Format: Full ap Film aspect ratio: 1.33 Aperture (mm) 24.89x18.67 for smooth focus adjustments lens lineup simplifies color grading. similar to the renowned ZEISS Ultra Prime Maximum performance at full aperture Compatible with both ZEISS eXtended. lense. Format: Academy Film aspect ratio: 1.33 Aperture (mm) 21.94x16 with superior control of flare Data and Cooke /i technology lens data. Identical focus and iris gear positioning Format: Super 35mm Film aspect ratio: 2.35 Aperture (mm) 24x10.01 25, 32, 40, 50, 75, 100 y 135mm T 2.0 High dynamic range; suppresses with the entire set of CP.3 lenses. unwanted flare and ghosting. 18 (T 2.9), 25, 35, 50 y 85mm T 2.1 Large Formats ZEISS SUPREME ANGENIEUX OPTIMO TOKINA VISTA PRIME ULTRA 12x FF/VV Recording images at . Format: 65mm Film aspect ratio: 2.28 Aperture (mm) 52.47x23.01 Consistent coverage, color rendering, Improved mechanical stability, and The use of a 9-blade iris produces a Format: IMAX Film aspect ratio: 1.33 Aperture (mm) 70.39x52.52 aperture, size, weight and ergonomics. serviceability. Weight reduction of moving smooth round appearance The ZEISS Supreme Prime lenses are components. Superb image quality from to out of focus specular highlights. designed for cinematic large-format open aperture, considered as “variable Designed to minimize variations in the sensor coverage. A very smooth primes”. 36-435mm 12x FF / VV (T 4.2). PL angle of view while focusing transition between in-focus and out of mount lens. Compatible with LPL mount. The lens features threading on the front of focus areas characterise the unique Additional lens mounts to come. Adapted to the lens to accommodate 112 mm screw look. 2, 25, 29, 35, 50, 65, 85, 100 y extreme shooting environments ZZ (passive on filters. 135mm. T 1.5 athermalisation from -20°C to +40°C) 18, 25, 35, 50, 85 y 135mm T 1.5

SIGMA HIGH SPEED: ZEISS COMPACT ZOOM FF PRIME PRIME / ZOOM Full-frame coverage (36 x 24 mm) for Cover full frame sensors & Designed for T2 brightness throughout the zoom focal lengths of 15 to 200 mm. Flare . 14 iris blades for an range. Ready to take on ultra-high suppression through T* anti-reflex outstanding Bokeh & Color-matched. resolution shoots in 6K-8K. The coating and internal light traps. Low Uniform dimensions and performance 9-bladed iris produces pleasing out of distortion. High resolution and contrast; throughout the set & minimized breathing focus bokeh effects.Sigma High Speed ready for 8K and beyond. Sweet spot Spread and calibrated focus scales for Prime: 14, 20, 24, 28, 35, 40, 50, 85, effect with Super 35 sensors and no easy and reliable sharpness adjustment 105 y 135mm (T1.5, T2). Sigma High visible breathing. 15-30, 28-80 y Canon EF, Nikon F- or PL-mount. Speed Zoom: 18-35mm, 50-100mm T 2 70-200mm T 2.9 18, 25, 35, 50, 75 y 100mm T 2.1

LPLx2 VV OPTICAL ANGENIEUX OPTIMO EXTENDER LEICA R TLS PRIME Replaceable Iris blade unit, user PL-PL extender Full Frame Coverage (Mini LF, Venice, configurable for bokeh (including Extends the focal length. Monstro). Classic Leica R still lenses, anamorphic effect). Filters to change optical Telecentric design for digital cameras re-housed by TLS & Cinescope PL Mount. properties, MTF, CCI, etc. High-end cinema high performance at all T-stops. 110mm Front Diameter. Image Circle: 44mm. Vintage Character. Gradual focus functionality: constant volume, non-linear and light fall off towards edges of frame iris (asfor Optimo Zoom range), non-linear focus (as for Optimo Zoom range), with “OPTMAG TL-OMFF” 19, 28, 35, 50, 80, 100 y 135mm, EXPANDER 320° focus rotation angle, possibility to go ‘beyond’ infinity andclose focus, identical Expands the standard 27.5mm image colorimetry across the range, matched to circle to 46.3mm, allowing Super-35 SMARTFINDER PRO OPTIMO Zooms, round bokeh across image lenses to cover sensors such as the Sony Electronical director's viewfinder for plane. Front diameter 95mm (except for Venice, Red Weapon, Canon C700 and lenses from S35 to full format and up to 18mm and 200mm). Available as PL or LPL Arri Alexa LF. 65mm format. The Smartfinder Pro uses our UMS Universal Mount System. DENZ OIC FF The OIC FF is a director’s viewfinder for all full frame lenses with an interchangeable mount system (available separately) VERSIÓN 1.0-6/2020 COPYRIGHT WELAB PROFFESIONAL EQUIPMENT SL