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Now Taking Orders for the Canon EOS C200 Digital Cinema Camera

Coming Soon to Rentals and Now Taking orders for Sales! The Canon EOS C200 Digital Cinema Camera is the latest “ready-to-go” production camera from Canon that delivers outstanding image quality, performance and versatility, making it ideal for film, documentary and television production, corporate and event photography, and newsgathering.

Features include:

• 8.85 Megapixel Super 35mm 16:9 CMOS sensor that supports 4K (DCI) recording with a maximum resolution of 4096 x 2160 pixels

• Fully compatible with new and existing Canon EF-Mount lenses

• Built-in Viewfinder with LCD Touch Panel, Camera Grip and Handle Unit

• Dual DiG!C DV 6 Image Processors

• Dual Pixel CMOS AF Technology

• Internal 4K RAW Recording with New Cinema RAW Light

• Internal 4K UHD and Full HD Recording in MP4

• Full HD 120P / 100P Slow Motion Recording

• Professional Workflow

• HDR Viewing

• ACES 1.0 Support

• Wide Range of Connectivity Options

Sales is taking orders. Contact sales@rule.com or 800-rule-com for details. We’ll be adding the C200 to our Rental inventory as soon as it’s available. Stay tuned for more details.

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The Sony PXW-Z150

  Sony_PXW-Z150 There’s a lot to be said for a good camcorder-styled camera — a format that, in recent years, hasn’t been given the love and attention I feel it deserves. While not the most exciting camera, more often than not (and especially for event and corporate shooters) — it is by far the most practical. The market was given a glimpse of the future late last year, with Panasonic’s release of the DVX 200. The camera provided a Micro Four Thirds imager, with a camcorder-styled body and attached zoom lens. The idea being that run-and-gun shooters needn’t compromise on depth of field any longer. By using the larger sensor, shooters could finally get images that rivaled those of their DSLR counterparts in the sub-$5,000 market. It’s a need that won’t be going away any time soon, either — producers and content creators have come to enjoy the shallow depth of field “look” that one gets from large imagers (the Canon 5D Mark II is probably to blame). But, rigging these small cameras with external recorders, audio interfaces, shoulder mounts, top handles, and shotgun mics was never the end-all, be-all answer shooters needed (although the DVX 200 delivered on these issues). Enter the Sony PXW-Z150, Sony’s newest offering in the PXW line, sitting happily alongside the popular FS5. At a little over three grand, this camera packs a punch. Its imager is slightly smaller than that of the DVX 200, but compared to the ⅓” and even ⅔” sensors of the prior generation of camcorders, the Z150’s 1” sensor adds just enough depth-of-field options to feel very versatile.   z150-medium In addition to its sensor, the Z150 has a few more tricks up its sleeve to bring it in line with its fancier, smaller counterparts. Sony has built the foundation of the camera’s acquisition on the now tried-and-true XAVC-L codec. While it’s not as dense as the FS7’s XAVC-I, it’s a huge improvement from the price-comparative a7SII (XAVC-S). The Z150 records a UHD 4K image internally, using the same SDXC cards as the FS5. It also has the ability to overcrank to 120fps in HD formats. Slowmo seems to be the new battleground for this market, and it’s great to see that Sony has matched the challenge. Perhaps the most interesting feature, for a humble colorist to appreciate, is its ability to record 10 bit HD. Traditionally, any camera under $10,000 recorded 8 bit images internally. To see a camera like this recording a nice and dense 10 bit image is a huge improvement. This camera has far more in common with an FS7 than an EX1. After that, the features meet all the new standards easily — built-in ND filter, a powerful autofocus and full auto mode, and XLR inputs. Run-and-gun shooters will feel right at home with the familiar Sony layout, and even though they’ve simplified the menus — I don’t find myself wanting anything extra. A common criticism of Sony’s latest camera lines is how complicated their menu structures are, so to see things paired down a bit in this camera is a welcome addition. It’s slightly disappointing that the Z150 doesn’t include any LOG gammas, but the normal picture profiles fill any creative gaps you may have. I don’t foresee many people shooting LOG on a camcorder, but with 10 bit, my question is ‘why not’? I would love to use the Z150 as a B camera to an FS7. Those are small potatoes, though, and I find myself very satisfied shooting with the Z150. For folks who are comfortable with the EX1 or NX cameras, this is, most likely, the 4K upgrade you’ve been waiting for. We are currently selling and renting the PXW-Z150, please contact us at answers@rule.com or 800-rule-com (800-785-3266) for more information! Alex Enman, Engineer, enman@rule.com

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The Arrival of the Alexa

The Alexa, the much-anticipated new digital cinema camera from ARRI, arrived last Monday in its factory-fresh box.  The Rule Boston Camera staff was obviously ecstatic to get their hands on the camera after various ARRI factory delays postponed its arrival.  Within its first few hours at our shop (Arri Unboxing), the Alexa was booked on its first rental — a week-long commercial job.  Our Alexa made its first public debut at the PBS Quality Workshop at WGBH on November 4th, where the camera was eagerly inspected by the many who attended. From a rental house perspective, the ARRI Alexa is a welcome tool in the transition from the ease and image quality of film-based acquisition to the current needs of digital cinema.  The camera will be an excellent choice for those looking for an alternative to both the RED and the numerous HDSLR systems currently being used in productions. We’ll be hosting an upcoming Learning Lab dedicated to the features of the new camera, but in the meantime call or drop by with questions or to catch a glimpse of the Alexa. Brian Malcolm, General Manager

Arri's Guenter Noesner provides an overview of the Alexa