Member · Since May 2026
Arman khan
Trusted member Verified Picturental verifiedCinematograper based in london
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Renting from Arman
Arman khan rents out cameras and lenses in London — 72 items listed, from £52 a day.
- Collection in person in London.
- Day rates from £52 to £985.
- Damage cover up to £9,000. No deposit held.
The kit
Listings (72)
Sony BURANO 8K Camera Kit
Full-frame 8.6K with in-body image stabilisation and autofocus — the combination that makes this genuinely different from the rest of this list. IBIS plus Sony's AF makes BURANO the sensible pick for documentary, run-and-gun, and single-operator shoots where you'd otherwise need a gimbal and a focus puller. KIT INCLUDES · BURANO body, PL mount (E-mount underneath for AF glass) · Internal 8-stop variable ND · 4× CFexpress Type B 512GB + reader · LCD monitor, top handle · Baseplate, 15mm rods, shoulder support · 6× battery + dual charger · Matte box, follow focus · Transit case If you're shooting solo or in a small crew, this is usually the one I'd point you at. — Photo: TurnOnTheNight — CC BY-SA 4.0 via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Sony_CineAlta_BURANO_with_Sony_FE_24-70mm_F2.8_GM_II_20250726120012.jpg). Stock image of this camera model — photos of the actual kit to follow.
Canon EF L Series Lens Set
Canon L-series primes and zooms in EF mount. Dependable, widely understood, and the fallback set for anything shooting on an EF-mount body. SPEC Full frame · EF mount
Sony FE G Master 5-Way Lens Set
Sony's G Master primes, native E-mount, with autofocus intact. The set to book when you're shooting on FX3/FX6/FX9 or BURANO and want AF rather than a focus puller. SPEC Full frame · E-mount · autofocus · 5 lenses
IBE Optics PLx2 Extender
2x extender for PL glass — doubles focal length at the cost of two stops. The way to get a long lens out of a set you already have on the truck. SPEC PL mount · 2x · -2 stops
Lensbaby 3GPL
Selective-focus tilt optic. Crude compared to a proper tilt lens, and that's usually why it gets booked — the sweet spot and the smear around it are the effect. SPEC Super 35 · PL mount · selective focus
Kilfitt Macro Zoomar 1:1 90mm f/2.8 Lens
A genuinely rare piece — the original 1:1 macro zoom, and still distinctive. Vintage rendering with continuous focus from infinity to life-size. SPEC Super 35 · PL mount · 1:1 macro · vintage
Laowa 12mm T2.9 Zero D Cine Lens PL
12mm with close-to-zero distortion — the "Zero D" is the whole point. Straight lines stay straight, which matters for architecture and VFX plates. SPEC Full frame · PL mount · T2.9 · near-zero distortion
Laowa 100mm T2.9 2X APO Cine Macro PL
2:1 macro at a usable T2.9, apochromatic so colour fringing stays controlled at high magnification. SPEC Full frame · PL mount · T2.9 · 2:1 macro
Laowa 24mm T14 2x Macro Probe Lens PL
The probe lens. A long, thin, waterproof-tipped barrel with 2x macro at the end and LED lighting built in. Goes places no other lens goes — inside a drink, through a model set, along a table top. Slow at T14, so light it properly. SPEC Super 35 · PL mount · T14 · 2x macro · built-in LED
LOMO Foton 37-140mm f/3.5 Zoom Lens
Soviet LOMO Foton zoom — slow at f/3.5 and full of character. Booked for the look, not the specification. SPEC Super 35 · PL mount · vintage zoom
SIGMA High Speed Zoom 50-100mm T2 PL
The telephoto half of Sigma's High Speed pair. Constant T2, Super 35. SPEC Super 35 · PL mount · constant T2 The telephoto half of Sigma's High Speed pair, constant T2 across the range. Fast enough to work as a prime substitute rather than only a convenience zoom. With the 18-35mm it comes to £244 a day for the pair, covering 18mm to 100mm at a single stop.
SIGMA High Speed Zoom 18-35mm T2 PL
Constant T2 across the range — genuinely fast for a zoom. Super 35 coverage. SPEC Super 35 · PL mount · constant T2 A constant T2 across the whole range, which is genuinely fast for a zoom and means no exposure shift as you reframe. The wide half of Sigma's High Speed pair. The 50-100mm covers the other half, and the two together are £244 a day — a two-lens package that covers 18mm to 100mm without a stop change anywhere in it.
Fujinon Cabrio 19-90mm T2.9 Zoom Lens
The Cabrio — detachable servo grip, so it works as both an ENG-style zoom and a cine lens on a proper build. The standard documentary and live zoom for good reason. SPEC Super 35 · PL mount · T2.9 · detachable servo
Fujinon Premista 80-250mm T2.9-3.5 Zoom Lens
The long Premista. Covers full frame, holds T2.9 through most of the range. Books with the 28-100 for complete large-format zoom coverage. SPEC Full frame · PL mount · T2.9-3.5
Fujinon Premista 28-100mm T2.9 Zoom Lens
Large-format Premista zoom covering full frame at T2.9. Built specifically for VENICE, ALEXA LF and BURANO-class sensors. The practical alternative to a full-frame prime set when you're moving fast. SPEC Full frame (46.3mm) · PL mount · T2.9
Angenieux Type EZ-2 22-60mm T3 Zoom Lens
The wide EZ zoom, same switchable coverage as the EZ-1. Books as a pair with it for full range on two lenses. SPEC FF / S35 switchable · PL+E mount · T3
Angenieux Type EZ-1 45-135mm T3 Zoom Lens
EZ-1 with interchangeable rear optics — switch between full-frame and Super 35 coverage on the same lens. T3 throughout. SPEC FF / S35 switchable · PL+E mount · T3
Angenieux Optimo 28-76mm T2.6 Zoom Lens
The mid-range Optimo. Pairs with the 15-40 to cover most of a shoot on two zooms. SPEC Super 35 · PL mount · T2.6 The mid-range Optimo, and the zoom most likely to live on the camera all day on a Super 35 drama. Holds T2.6 throughout. The 15-40mm covers the wide end and is listed at the same rate, so the pair is £650 a day and between them they cover most of what a shoot needs on two lenses and no lens changes.
Angenieux Optimo 15-40mm T2.6 Zoom Lens
Wide Optimo zoom, T2.6 throughout. Light enough for Steadicam and handheld, which is why it's a documentary and second-unit staple. SPEC Super 35 · PL mount · T2.6 · lightweight zoom
Angenieux Optimo 24-290mm T2.8 Zoom Lens
The Optimo 24-290 — a 12:1 zoom that holds T2.8 across most of its range with prime-level optical quality. The long zoom for drama and features. Heavy: needs proper support, and budget a grip to rig it. SPEC Super 35 · PL mount · T2.8 · 12:1 · requires rod support
Century S2000 Tilt-Focus Lens Set
Tilt-focus optics for in-camera plane-of-focus control. Does something a gimbal and a grade can't: puts the sharp band exactly where you want it, at an angle. SPEC Super 35 · PL mount · tilt/swing movement
Leica R-Series Cine 6-Way Lens Set EF
Rehoused Leica R stills glass in cine housings. Leica rendering — crisp with a particular warmth — at a fraction of what modern Leica cine costs. SPEC Full frame · EF mount · rehoused Leica R
Ancient Optics Minolta Rokkor 8-Way Lens Set
Rehoused Minolta Rokkor glass — an eight-lens set with the kind of character that's impossible to fake in post. Warm, low-contrast, and beautifully imperfect wide open. The most distinctive set on this list, and priced accordingly. SPEC Super 35 · PL mount · rehoused vintage · 8 lenses
Richard Gale Optics Clavius 4-Way Lens Set
Clavius — rehoused vintage glass with genuinely unusual rendering. Low contrast, painterly falloff, and flare that behaves differently on every lens in the set. Four lenses. Specialist look; worth a test before you commit a shoot to them. SPEC Super 35 · PL mount · rehoused vintage
Zeiss CP.2 100mm T2.1 Lens
Long CP.2, useful as a close-coverage option in the set. SPEC Full frame · PL/EF · T2.1 The long CP.2, for close coverage that still matches the rest of the range. The CP.2 set is colour-consistent across focal lengths, which is the main argument for staying inside it. SET OR SINGLE This lens is £72 a day and the five-lens set is £150. At this rate 2 lenses come to £144 and 3 lenses come to £216, so from 3 lenses the set is the cheaper booking.
Zeiss CP.2 28mm T2.1 Lens
CP.2 28mm at T2.1. SPEC Full frame · PL/EF · T2.1 The workhorse length of the CP.2 range and the cheapest reliable way onto cine glass on this catalogue. Interchangeable mount, so it moves between PL and EF bodies. SET OR SINGLE This lens is £72 a day and the five-lens set is £150. At this rate 2 lenses come to £144 and 3 lenses come to £216, so from 3 lenses the set is the cheaper booking.
Zeiss CP.2 21mm T2.9 Lens
Wide CP.2, full-frame coverage. SPEC Full frame · PL/EF · T2.9 The wide CP.2, with full-frame coverage and an interchangeable mount, so it will go on a PL body or an EF one. T2.9 here rather than T2.1 — plan a stop more light than the rest of the range. SET OR SINGLE This lens is £72 a day and the five-lens set is £150. At this rate 2 lenses come to £144 and 3 lenses come to £216, so from 3 lenses the set is the cheaper booking.
Zeiss CP.2 5-Way Lens Set
CP.2 Compact Primes — interchangeable mount, full-frame coverage, and light enough for gimbal work. The dependable budget prime set. SPEC Full frame · interchangeable mount (PL/EF) · T2.1
Schneider Cine Xenon 7-Way Lens Set
Schneider Cine Xenons — clean, high-contrast Super 35 primes with excellent flare control. Seven lenses at T2.1. SPEC Super 35 · PL mount · T2.1
SIGMA FF Cine 135mm T2 Lens
Long Sigma FF Cine prime, T2. SPEC Full frame · PL mount · T2 The long end of Sigma's full-frame cine range at T2. Considerably cheaper per day than the equivalent length in the Supreme or Cooke ranges, with the trade-off in rendering rather than sharpness. SET OR SINGLE This lens is £86 a day and the five-lens set is £275. At this rate 3 lenses come to £258 and 4 lenses come to £344, so from 4 lenses the set is the cheaper booking.
SIGMA FF Cine 14mm T2 Lens
Ultra-wide full-frame Sigma cine prime. Rectilinear at 14mm, which is not a given. SPEC Full frame · PL mount · T2 Rectilinear at 14mm on full frame, which is not a given at this focal length — straight lines stay straight near the edges. Architectural interiors and anything where a curved horizon would show. SET OR SINGLE This lens is £86 a day and the five-lens set is £275. At this rate 3 lenses come to £258 and 4 lenses come to £344, so from 4 lenses the set is the cheaper booking.
SIGMA FF Cine 5-Way Lens Set
Sigma's full-frame cine primes at T1.5. Sharp, consistent, and the most affordable route to a full-frame prime set that still holds up on a large-format body. SPEC Full frame · PL mount · T1.5
Tokina Vista Prime 6-Way Lens Set
Vista Primes — full-frame, T1.5, and built to a very high optical standard for the rate. Neutral rendering that grades easily. Six lenses. Increasingly the value pick against Supreme Primes. SPEC Full frame (46.7mm) · PL mount · T1.5
Canon Sumire Prime 7-Way Lens Set
Canon's Sumire range — deliberately softened wide open, with warmer rendering than their standard CN-E line. Full-frame coverage. Seven lenses. A gentler alternative to Ultra Primes at a similar rate. SPEC Full frame · PL mount · T1.3-T3.1 · warm rendering
Zeiss Super Speed MKIII 5-Way Lens Set
The MKIII Super Speeds — T1.3 glass with a distinctive vintage falloff and flare that modern coatings engineer out. Booked constantly for period work and anything shot heavily wide open. Five lenses. SPEC Super 35 · PL mount · T1.3 · vintage character
ARRI/Zeiss Master Macro 100mm T2 Lens
True 1:1 macro at T2 with cine housing and full focus scale. Genuinely rare — most macro work is done on adapted stills glass, and this is the proper tool. For product, insert and beauty work where the close focus has to hold up. SPEC Super 35 · PL mount · T2 · 1:1 macro
ARRI/Zeiss Ultra Prime 135mm T1.9 Lens
The long Ultra Prime, T1.9. SPEC Super 35 · PL mount · T1.9 The long Ultra Prime at T1.9, which is fast for this length. Matches the rest of the range exactly, so a cut from a wide to this one will not shift in colour. SET OR SINGLE This lens is £150 a day and the five-lens set is £300. At this rate 2 lenses come to £300 and 3 lenses come to £450, so from 3 lenses the set is the cheaper booking.
ARRI/Zeiss Ultra Prime 100mm T1.9 Lens
Ultra Prime 100mm — the portrait length in the range. SPEC Super 35 · PL mount · T1.9 The portrait length in a range that has been the default on Super 35 drama for two decades. Clean, neutral rendering — the glass you book when you do not want the lens commenting on the shot. SET OR SINGLE This lens is £136 a day and the five-lens set is £300. At this rate 2 lenses come to £272 and 3 lenses come to £408, so from 3 lenses the set is the cheaper booking.
ARRI/Zeiss Ultra Prime 5-Way Lens Set
Ultra Primes — the industry workhorse for two decades. Neutral, sharp, predictable, and light enough to fly all day. When the brief doesn't call for character, this is the set that just works. SPEC Super 35 · PL mount · T1.9 · lightweight
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Cooke SP3 5-Way Lens Set [E-Mount]
Cooke rendering in a compact, lightweight package built for full-frame mirrorless bodies. Native E-mount, so they go straight onto FX3, FX6, FX9 and BURANO without an adapter. The practical way to get Cooke character onto a small camera or a gimbal. SPEC Full frame · E-mount · T2.4 · compact/lightweight
Cooke Panchro/i Classic 8-Way Lens Set
Panchro/i Classic — Cooke's recreation of their own 1920s Speed Panchro rendering. Softer, lower contrast, and noticeably kinder than the S4 range. Eight lenses. Most of the range is T2.2; the 100mm is T2.6 and the 152mm T3.0. The set to book when "digital looks too clean" is the note. SPEC Super 35 · PL mount · T2.2 · /i technology
Cooke S4/i 135mm T2 Lens
Long S4/i for close coverage and compressed backgrounds. SPEC Super 35 · PL mount · T2 · /i The long end of the S4/i range, for a close-up that puts the background a long way behind the eyes. Needs the distance to use it properly, so check your location before you book it. SET OR SINGLE This lens is £205 a day and the six-lens set is £375. At this rate one lens is £205 and 2 lenses come to £410, so from 2 lenses the set is the cheaper booking.
Cooke S4/i 65mm T2 Lens
S4/i 65mm. Short tele with the full Cooke rendering. SPEC Super 35 · PL mount · T2 · /i The coverage lens for a two-hander: tight enough to isolate a face, short enough to stay in the room with the actor rather than retreating across it. Cuts cleanly against the 40mm. SET OR SINGLE This lens is £185 a day and the six-lens set is £375. At this rate 2 lenses come to £370 and 3 lenses come to £555, so from 3 lenses the set is the cheaper booking.
Cooke S4/i 40mm T2 Lens
Single S4/i at 40mm — the most-reached-for length in the set. SPEC Super 35 · PL mount · T2 · /i Forty is where most scenes start on Super 35 — wide enough to hold two people in a room, long enough that faces are not distorted. If you take one S4/i out, it is usually this. SET OR SINGLE This lens is £185 a day and the six-lens set is £375. At this rate 2 lenses come to £370 and 3 lenses come to £555, so from 3 lenses the set is the cheaper booking.
Cooke S4/i 6-Way Lens Set
The Cooke S4/i set — the reference for warm, flattering skin tones and the reason "Cooke Look" is a phrase at all. Gentle roll-off, no clinical edge. 6-lens set, T2 throughout, /i metadata. SPEC Super 35 · PL mount · T2 · /i technology
Zeiss Supreme Prime 135mm T1.5 Lens
Long Supreme Prime at T1.5 — separation without going to the 150mm. SPEC Full frame · PL mount · T1.5 Separation without going to the 150mm, and a stop faster than most long glass at this coverage. Useful for lifting a subject off a background you cannot control. SET OR SINGLE This lens is £185 a day and the five-lens set is £680. At this rate 3 lenses come to £555 and 4 lenses come to £740, so from 4 lenses the set is the cheaper booking.
Zeiss Supreme Prime 100mm T1.5 Lens
Classic portrait length in the Supreme range, wide open at T1.5. SPEC Full frame · PL mount · T1.5 The portrait length, wide open at T1.5 on full frame, which is a very shallow plane — worth budgeting a focus puller rather than pulling it yourself. SET OR SINGLE This lens is £185 a day and the five-lens set is £680. At this rate 3 lenses come to £555 and 4 lenses come to £740, so from 4 lenses the set is the cheaper booking.
Zeiss Supreme Prime 65mm T1.5 Lens
Short telephoto Supreme Prime. Flattering on faces without the compression of the 100mm. SPEC Full frame · PL mount · T1.5 Short telephoto, flattering on faces without the compression you get at 100mm. Pairs naturally with the 40mm for a two-lens dialogue day. SET OR SINGLE This lens is £185 a day and the five-lens set is £680. At this rate 3 lenses come to £555 and 4 lenses come to £740, so from 4 lenses the set is the cheaper booking.
Zeiss Supreme Prime 40mm T1.5 Lens
The 40mm — arguably the most useful single focal length in the Supreme range on full frame. SPEC Full frame · PL mount · T1.5 On full frame the 40mm sits where the 28mm does on Super 35 — the length that looks like how people remember a room. The one to book first if you are taking a single Supreme. SET OR SINGLE This lens is £185 a day and the five-lens set is £680. At this rate 3 lenses come to £555 and 4 lenses come to £740, so from 4 lenses the set is the cheaper booking.
Zeiss Supreme Prime 21mm T1.5 Lens
Wide-normal Supreme Prime, T1.5, full-frame coverage. SPEC Full frame · PL mount · T1.5 Wide-normal on full frame. Takes in a room without the edge stretch of a true wide, which makes it the safe choice for handheld interiors where someone walks through frame. SET OR SINGLE This lens is £185 a day and the five-lens set is £680. At this rate 3 lenses come to £555 and 4 lenses come to £740, so from 4 lenses the set is the cheaper booking.
Zeiss Supreme Prime 18mm T1.5 Lens
Wide Supreme Prime at the full T1.5 aperture. Full-frame coverage. SPEC Full frame · PL mount · T1.5 A full-frame 18mm that is still T1.5, which is unusual and is the reason to book it: wide establishing work in low light without reaching for a faster stock or more lamps. SET OR SINGLE This lens is £205 a day and the five-lens set is £680. At this rate 3 lenses come to £615 and 4 lenses come to £820, so from 4 lenses the set is the cheaper booking.
Zeiss Supreme Prime 150mm T1.8 Lens
Long Supreme Prime for portraiture and compressed coverage. Pairs with the 5-way set when you need reach without changing lens family. SPEC Full frame · PL mount · T1.8
Zeiss Supreme Prime 15mm T1.8 Lens
The widest Supreme Prime. Full-frame coverage at 15mm with distortion held remarkably flat for the focal length. SPEC Full frame · PL mount · T1.8
Zeiss Supreme Prime 5-Way Lens Set
Zeiss Supreme Primes — full-frame, fast, and consistent across the whole set. Modern rendering that's sharp without being clinical, with smooth roll-off into the out-of-focus areas. 5-lens set at T1.5. Covers up to 46.3mm image circle, so they're happy on ALEXA Mini LF, VENICE and BURANO. SPEC Full frame (46.3mm) · PL mount · T1.5 · /i + eXtended Data
DZOFilm Arcana 1.5x Full Frame Anamorphic Lens Set
1.5x squeeze anamorphic covering full frame — a gentler stretch than 2x, which keeps faces natural while still giving you oval bokeh and horizontal flare. Sensible choice when you want the format on a large-format body without going full vintage. Three lenses: 32mm, 45mm, 75mm, all T2.1. SPEC Full frame · PL mount · T2.1 · 1.5x squeeze
LOMO Roundfront Anamorphic Lens Set
Soviet-era LOMO roundfronts. Genuinely characterful glass — flares that bloom unpredictably, focus fall-off that no modern lens replicates, and a look that's been quietly behind a lot of music promos. Not clinical. That's the point. SPEC Super 35 · PL mount · 2x squeeze · vintage, expect character
Atlas Orion Anamorphic 25mm T2 Lens
The widest Orion. Anamorphic at 25mm without the extreme distortion that usually comes with it — useful for interiors and anything where you need the format but can't back up. SPEC Super 35 · PL mount · T2 · 2x squeeze
Atlas Orion Anamorphic Lens Set 'B'
The complementary half of the Orion range — books with Set A for full coverage, or on its own as a three-lens set from wide to portrait. Set B: 32mm, 50mm, 80mm, all T2, with 2x squeeze character matched to Set A. SPEC Super 35 · PL mount · T2 · 2x squeeze
Atlas Orion Anamorphic Lens Set 'A'
Atlas Orion 2x anamorphic — genuine anamorphic character at a rate that fits real budgets. Strong horizontal flare, oval bokeh, and a gentler close-focus than most vintage anamorphic. Set A: 40mm, 65mm, 100mm, all T2. SPEC Super 35 · PL mount · T2 · 2x squeeze
Cooke Anamorphic/i 135mm T2.3 Lens
The long end of the Cooke Anamorphic/i range. Books alongside the 5-way set when you need a tighter option for close coverage or compressed backgrounds. SPEC Super 35 · PL mount · T2.3 · /i metadata
Cooke Anamorphic/i 5-Way Lens Set
Cooke's 2x squeeze anamorphic primes — the "Cooke Look" with oval bokeh and controlled blue flare that doesn't overwhelm the frame. 5-lens set: 32mm, 40mm, 50mm, 75mm, 100mm, all T2.3. /i metadata throughout. SPEC Super 35 coverage · PL mount · matched 110mm front · /i technology
Blackmagic PYXIS 12K Camera Kit
Full-frame 12K RGBW sensor recording Blackmagic RAW — an enormous amount of resolution and latitude for the day rate. Box-shaped body with mounting points on every face, which makes rigging straightforward for car work, crash cams and unusual mounts. KIT INCLUDES · PYXIS 12K body (specify PL, EF or L-mount on booking) · 2× CFexpress Type B 1TB + reader · 5" monitor · Top handle, baseplate, 15mm rods · 6× battery + charger · Transit case DaVinci Resolve Studio licence included with the camera. Worth considering if your budget won't stretch to an ARRI but you still need real post latitude. — Photo: TaurusEmerald — CC BY-SA 4.0 via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Blackmagic_PYXIS_12K_Camera.jpg). Stock image of this camera model — photos of the actual kit to follow.
Sony FX3 Camera Kit
Full-frame cinema in a body barely bigger than a stills camera. The default choice for gimbal work, tight interiors, car mounts and anywhere a full rig won't physically fit. S-Cinetone straight out of camera if you're turning things around fast, or S-Log3 if you're grading. KIT INCLUDES · FX3 body, E-mount · XLR top handle unit · 4× CFexpress Type A 160GB + reader · SmallRig cage, 15mm rods · 6× NP-FZ100 battery + dual charger · Ronin-compatible baseplate · Transit case Also the one to book as a crash cam when you'd rather not risk a bigger body. — Photo: Henry Söderlund from Helsinki, Finland — CC BY 2.0 via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Sony_FX3_with_Sony_FE_24mm_F1.4_GM_-_by_Henry_S%C3%B6derlund_(51061907312,_cropped).jpg). Stock image of this camera model — photos of the actual kit to follow.
Sony FX6 Camera Kit
Compact full-frame with the same sensor lineage as the FX9 in a body you can hold all day or fly on a small gimbal. Electronic variable ND, dual-base ISO, and autofocus that genuinely works — a very capable single-operator camera. KIT INCLUDES · FX6 body, E-mount · XLR top handle · 4× CFexpress Type A 160GB + reader · Cage, 15mm rods, baseplate · 6× NP-F battery + charger · Small HD monitor · Transit case Frequently booked alongside a larger body as a second angle. — Photo: Hidalgo944 — CC BY-SA 4.0 via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Sony_Cinema_line_FX6.jpg). Stock image of this camera model — photos of the actual kit to follow.
Sony FX9 Camera Kit
Full-frame 6K sensor with fast hybrid autofocus and built-in electronic variable ND. A documentary and corporate mainstay for good reason. Dual-base ISO handles low light without much fuss, and the variable ND means no filter swaps when the sun moves. KIT INCLUDES · FX9 body, E-mount (PL adapter on request) · XDCA-FX9 extension unit available — ask if you need RAW out or longer runtimes · 4× XQD/CFexpress card + reader · LCD viewfinder, top handle with XLR inputs · Shoulder pad, 15mm rod support · 6× battery + dual charger · Transit case Good B-cam to the VENICE bodies if you want matching Sony colour. — Photo: Angry-Monky Photography — CC BY 2.0 via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:SONY_FX9_camera_and_Sigma_135mm_T2_lens.jpg). Stock image of this camera model — photos of the actual kit to follow.
ARRI AMIRA Camera Kit
Documentary-configured ALEXA sensor. Same image as an ALEXA Mini, in a body built to sit on a shoulder all day with a proper viewfinder and built-in ND. Premium licence included — 4K UHD up to 200fps. In-built motorised ND filters and audio inputs make this the straightforward choice for factual, interviews and live events. KIT INCLUDES · AMIRA body with PL mount · MVF viewfinder (integrated, adjustable) · 4× CFast 2.0 256GB + reader · Shoulder pad, 15mm rods, baseplate · Top handle with accessory mounts · 6× V-lock battery + charger · Matte box, follow focus · Wireless audio inputs, XLR · Transit case Genuinely fast to work with — if you're covering something unrepeatable, this gets out of your way. — Photo: Unknown — CC0 via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:ARRI_AMIRA_Camera.jpg). Stock image of this camera model — photos of the actual kit to follow.
Sony VENICE 2 Camera Kit
Full-frame 8.6K VENICE 2 with dual-base ISO and Sony's eight-step internal ND — the ND alone saves real time on exteriors. X-OCN recording internally, no external recorder needed. Colour science that intercuts cleanly with ALEXA when you're running mixed bodies. KIT INCLUDES · VENICE 2 body with PL mount (E-mount native underneath) · DVF-EL200 OLED viewfinder + mounting arm · 4× AXS memory card 1TB + card reader · Rialto extension available on request — ask if you need the sensor block off the body · Baseplate, 19mm rods, shoulder pad · 6× V-lock battery + charger · Matte box, follow focus · Transit case Internal ND is the reason most people book this over a comparable body. Ask me if you're deciding. — Photo: TurnOnTheNight — CC BY-SA 4.0 via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Sony_CineAlta_VENICE_2_with_FUJINON_Premista_28-100mm_T2.9_20250726125542.jpg). Stock image of this camera model — photos of the actual kit to follow.
RED DSMC2 HELIUM 8K S35 Camera Kit
The HELIUM 8K S35 sensor — RED's Super 35 workhorse, and still one of the sharpest sensors available for detail-critical work. 8K REDCODE RAW gives you serious reframing and VFX latitude in post. A regular pick for commercials, music promos and anything finishing at 4K where you want room to punch in. KIT INCLUDES · DSMC2 HELIUM 8K S35 brain · PL mount (EF mount also available) · RED Touch 7" LCD monitor · DSMC2 Base Expander · 3× RED MINI-MAG 480GB + reader · Top handle, 15mm baseplate and rods · 6× battery + dual charger · Wooden Camera accessories, shoulder rig · Matte box, follow focus · Transit case Note this is the DSMC2 body — if you specifically need V-RAPTOR or KOMODO instead, ask and I'll tell you what's free. — Photo: Johan Perjus — CC BY-SA 4.0 via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Red_Weapon_Helium_8K_Full_Frame_Image.jpg). Stock image of this camera model — photos of the actual kit to follow.
RED KOMODO-X 6K Camera Kit
RED's compact 6K global shutter body. The global shutter is the reason to book this one — no rolling-shutter skew on whip pans, car work, or anything with strobing practicals. Records REDCODE RAW internally up to 6K 80fps. Small and light enough to rig almost anywhere, including as a crash or B-cam alongside a larger body. KIT INCLUDES · KOMODO-X body, RF mount (PL adapter included) · 4× CFexpress Type B 512GB + reader · 5" on-camera monitor · Top handle, baseplate, 15mm rod support · 6× battery + charger · Matte box and follow focus available on request · Transit case Pairs well as a B-cam to the ALEXA bodies — message me if you want both and I'll sort a package rate.
ARRI ALEXA Mini Camera Kit
The workhorse. Super 35 ALEXA image in a body small enough for gimbal, Steadicam, car rigs and handheld — still the most-requested camera on most crews' lists. Up to 200fps, internal 4:3 and ARRIRAW recording, with anamorphic and ARRIRAW licences unlocked. KIT INCLUDES · ALEXA Mini body, Titanium PL LDS mount · MVF-1 viewfinder + 2× cables · 5× SanDisk Extreme Pro CFast 256GB + 2× readers · Transvideo StarliteHD 5" OLED monitor + swing arm · ARRI top handle CCH-2, shoulder pad · 19mm bridge plate BP-8, sliding dovetail · 15mm carbon fibre and 19mm steel rods, multiple lengths · Rosette hand grips with extensions, one with run/stop · Hawk-Woods side battery plate + hot-swap plate · 6× V-lock battery + dual charger · EF adapter available if you want to run stills glass · Pelican transit case Free prep day available on request. Message me if you need it configured a particular way before pickup. — Photo: Rémi sim — CC BY-SA 4.0 via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Alexa_Mini.jpg). Stock image of this camera model — photos of the actual kit to follow.
ARRI ALEXA Mini LF Camera Kit
Large-format ALEXA in the Mini body. Full-frame 4.5K sensor, LPL mount, and the ARRI colour everyone already knows how to grade. The obvious choice when you want large-format depth and character but still need to fly the camera on a gimbal or wear it on a Steadicam all day. KIT INCLUDES · ALEXA Mini LF body with LPL mount + PL adapter · MVF-2 viewfinder + 2× viewfinder cables · 4× Codex Compact Drive 1TB + reader · ARRI top handle, shoulder pad CSP-1 · 19mm bridge plate, sliding dovetail · 15mm carbon and 19mm steel rods, multiple lengths · Rosette hand grips, one with run/stop · 6× V-lock battery + dual charger, D-tap cables · Matte box, follow focus, filter trays · Transit case ARRIRAW and ProRes licences included. Ask me about lens pairing — happy to advise on what suits the look you're after. — Photo: Rémi sim — CC BY 4.0 via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Alexa_Mini_LF.jpg). Stock image of this camera model — photos of the actual kit to follow.
ARRI ALEXA 35 Camera Kit
ARRI's 4.6K Super 35 sensor with 17 stops of dynamic range and REVEAL Color Science — the current benchmark for high-end drama and commercials. Shoots ARRIRAW and ProRes internally up to 120fps. Enhanced Sensitivity Mode gives you clean images well past ISO 3200 when the light goes. KIT INCLUDES · ALEXA 35 body with PL mount (LPL adapter available on request) · MVF-2 viewfinder + viewfinder cable · 4× Codex Compact Drive 2TB + dual drive reader · ARRI top handle, shoulder pad, 19mm bridge plate · 15mm and 19mm rod set, various lengths · Hand grips with run/stop · 6× battery (V-lock or Gold, specify on booking) + dual charger · Follow focus, matte box with 4×5.65 trays · Pelican transit case Prep space available if you want to build and test before the shoot — just message me. Happy to talk through configuration for gimbal, Steadicam or studio work. — Photo: Rémi sim — CC BY-SA 4.0 via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Alexa_35_(1).jpg). Stock image of this camera model — photos of the actual kit to follow.
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