Alexa Studio Camera

The Alexa Studio is a direct response to cinematographers’ requests for a camera that perfectly combines cutting edge digital image-making technology with the traditional elements of film cameras they have known and trusted for years. For example, an Optical Universal Viewfinder (OFV-1) accepts Arri 435 and Arricam style eyepieces and viewfinder extensions. It also has a very quiet mirror shutter.

Another key feature of the Alexa Studio is its 4:3 sensor, which makes it the only contemporary digital camera to boast true anamorphic capability. Many important films have been made utilizing anamorphic cinematography and this unique effect cannot be created in post. The Studio can also shoot 16:9.

Exceptional image performance comes naturally to the Alexa Studio, as it offers a film-like organic look with extended, clean highlights, natural skin tones, excellent noise separation and a cinematic depth of field. It has a wide exposure latitude of 14 stops and an El 800 base sensitivity.

We invite you to our facility to check out the Alexa Studio; the best of both worlds.

Sony F65 CineAlta

This latest addition to Sony’s CineAlta camera line boasts a number of important new features that make the F65 an ideal combination of advanced high-resolution digital technology in a user-friendly package. The F65 is specifically designed for filmmakers, is ergonomically comfortable, and its unique 8K image sensor (with approximately 20 total megapixels) offers higher fidelity than any other digital cinema production camera. A 4960 x 2160 resolution is more than four times greater than full HD. With 16-bit Linear RAW File output the F65 provides a powerful solution to a 4K file-based mastering workflow. An open and inclusive platform enables integration into many systems, facilitating a wide range of production environments.

The F65 has an incredible 14-stop dynamic range with a wide color gamut that provides an exceptionally true color reproduction. This, coupled with its superb resolution provides cinematographers with superior imagery.

Wi-Fi capability facilitates remote control operation from tablet devices (including the Android-based Sony Tablet S and Apple iPad). The F65 has HD-SDI output with a viewing LUT for on-set monitoring with a focus assist zoom. Cinematographers are invited to get up close and personal with an F65 at our office.

RED Epic Camera

Clairmont offers the top-of-the-line RED EPIC for those who seek a compact and lightweight camera (body only 5 lbs.) with awesome resolution. It is, in fact, based on the concept of DSMC (Digital Still & Motion Camera), the EPIC has a 14MP Mysterium-X® sensor and can shoot from one frame to 300 frames per second (up to 96 fps at 5K, 120 fps at 4K, 200 fps at 3K and 300 fps at 2K).

The EPIC’s 5K resolution results from a 5120 (h) x 2700 (v) pixel array, and formats that range from 5K RAW (Full Frame, 2:1, 2.4:1 and Anamorphic 2:1) to 720p RGB (16:9). It has a dynamic range of 13.5 stops and a 66 dB S/N ratio. Add to that RED's newly developed HDRx™ extended dynamic range technology and EPIC boasts an amazing dynamic range of up to 18 stops.

An important feature of the EPIC is its use of REDCODE, an extraordinary wavelet based lossless compression algorithm that compresses raw data from the sensor and allows the voluminous data to be captured on a REDMAG SSD module (64, 128, 256GB media).

Visit our office and see how the EPIC’s interchangeable lens mounts provide you with unparalleled flexibility.

Alexa Upgrades

In addition to incorporating all the latest 5.0 software updates in its inventory of Alexa cameras, Clairmont Camera has added both High Speed and Anamorphic licenses from Arri that broaden their capabilities. The upgraded Alexas now have the capability of shooting at up to 120 fps and incorporate a de-squeeze function to allow for proper viewing of the image when shot with either 2x or 1.3x anamorphic lenses. Both the viewfinder and MON OUT output are included in the mod, which offers four modes (available with or without surround view) for the camera operator to choose from.

Hawk V-Light Anamorphics

This latest generation of lightweight, compact anamorphic lenses from Hawk are ideally suited to applications, like Steadicam and Jib use, where weight is an issue. They are approximately 20% lighter than the “standard” V-series. Clairmont has a comprehensive inventory of V-Lites, and they are available in 28mm, 35mm, 45mm, 55mm, 65mm, 80mm (all T2.2) plus 110mm (T3) and 140mm (T3.5). The Hawk V-Lite Anamorphic Prime Lenses are optically matched to all other Hawk Anamorphics so the same high image quality Hawk is known for carries throughout the production. Both 2x and 1.3x squeeze lenses are available.

Clairmont In-Camera Alexa Filters

Currently Available - Tiffen Brand - Optical Flat 1/8 Black Promist .3, .6, .9 IR ND .3, .6, .9 Combo IR ND with 1/8 Black Promist - Schneider Brand - Optical Flat 1/8 Black Frost .3, .6, .9, 1.2, 1.5, 1.8 Platinum IR ND

Clairmont Camera’s ability to make a good thing even better is showcased with an in-camera filter package developed for the Alexa. This allows cinematographers to take full advantage of the Alexa’s excellent light sensitivity (1600 ISO and beyond). A large selection of filters are available. They are held in place with a magnetic ring and easily installed using a common Arricam ground glass tool, which is supplied with the kit.

The back-focus is adjusted at Clairmont Camera and not to be changed in the field. When no filter is required, an Optical Flat with the same refractive index as the filters is employed.

Once again, Clairmont Camera comes up with a handy “tool” to enhance a DPs creativity.

Super Baltars with PL Mounts

We’ve taken these vintage lenses from the 1960s and engineered them to use a contemporary PL mount. This allows cinematographers to obtain a soft, classic look without using filters or nets. It gives an “artistic” look to digital cameras and is equally cool for film cameras. These special Super Baltars are available in six focal lengths, ranging from 20mm to 100mm. Come and check them out!

12mm Zeiss Master Prime T1.3

SPECIFICATIONS T-Stop: T1.3/22 Min. Focus: 16” Weight: 6.4 lbs. Length: 9.8” Front Dia.: 156mm

Creative cinematographers will find the new 12mm Zeiss Master Prime a highly effective tool for obtaining a fresh look for anything from a sweeping vista to shooting in a small room. This extremely wide angle lens shares its unmatched optical performance with other Master Primes, while boasting a T-stop range from 1.3 to 22. It offers exceptionally high resolution and contrast without any geometric distortion. Flare is dramatically reduced and there is virtually no breathing. Consider the possibilities!

Clairmont Camera has a huge inventory of all Zeiss Master Prime lenses with 17 focal lengths ranging from the new 12mm all the way to 150mm. These superior quality lenses have just been recognized by the Academy of Motion Picture Arts and Sciences, honoring Zeiss with a prestigious Technical Achievement Award for 2012.

FotoKem nextLAB Mobile

The innovative nextLAB brings post-production to you. This award-winning mobile platform is available as an on-set unit for making color decisions, doing local backup and sending files to post, as well as a near-location unit for transcoding, generating deliverables and archiving to LTO.

Key functions of the fully portable FotoKem nextLAB include media management and storage, quality control, audio synchronization, color management and creation of dailies.

Camera originals are imported into RAID storage, with complete access and tracking of metadata. Accurate reports can also be created. Color management capabilities are extensive. And streamlined dailies creation makes for an expedited workflow.

Denny Clairmont Honored by CSC

The Canadian Society of Cinematographers (CSC) has named Denny Clairmont as the recipient of its prestigious Bill Hilson Award for 2012. This special award for “Outstanding service contributing to the development of the motion picture industry in Canada” recognizes Clairmont Camera’s many years of support of Canadian filmmakers and aspiring cinematographers. Clairmont Camera opened its first Canadian office in 1987. Following the Vancouver office were facilities in Toronto and Montreal.