Full-Frame Cinema Line Camera with Open Gate and Internal RAW RecordingThe Sony FX5 is a new full-frame Cinema Line camera featuring a newly developed fully stacked Exmor RS™ CMOS image sensor and the latest BIONZ XR2™ high-speed image processing engine with a dedicated AI processing unit. The newly developed sensor increases sensitivity performance¹ and delivers more than 15 stops of dynamic range in S-Log3. The camera features three base ISO settings of ISO 800, ISO 4000, and ISO 12800², while the Dual Gain Shooting function³ provides smoother gradation, wider latitude, reduced noise, and preserved shadow detail. For the first time in the Cinema Line FX series, the FX5 supports Open Gate shooting with 3:2 full-pixel readout across the entire sensor and internal recording in X-OCN, Sony’s proprietary 16-bit scene-linear RAW format⁵. Alongside X-OCN LT, the new X-OCN C1 and X-OCN C2 codecs reduce data size to support faster transfer and streamlined post-production workflows. The camera supports 17:9, 16:9, and Super 35mm scan modes. The Sony FX5 combines the Cinema Line look⁴ with production-ready operability in a compact and lightweight body. It records 5K video at up to 60 fps, 4K video at up to 120 fps, and Full HD video at up to 240 fps. The camera features high-precision autofocus powered by AI-based human pose estimation, which recognizes a subject’s eyes, head, and body. Real-time Tracking automatically follows subjects, while Auto Tracing White Balance combines visible-light and infrared sensor data with deep-learning light-source estimation for more stable and natural white balance⁵. The FX5 includes noise suppression settings that can be switched on or off depending on shooting requirements and post-production workflows. The camera also supports anamorphic lenses with a de-squeeze function for 1.3x, 1.5x, 1.6x, 1.8x, and 2.0x squeeze ratios. For handheld operation, the FX5 features 5-axis optical in-body image stabilization. The latest stabilization unit roughly doubles the roll correction range compared to the previous system⁶. Active Mode and Dynamic Active Mode⁷ provide additional stabilization options for handheld shooting. The camera is equipped with a 3.5-type, approximately 2.76-million-dot 16:9 touch-panel LCD monitor mounted on a 4-axis multi-angle arm. The monitor features a high-brightness adjustable panel and can tilt approximately 98 degrees upward, 40 degrees downward, and open approximately 180 degrees to the side. The "BIG6" home screen, carried over from CineAlta cameras, provides quick access to important settings including frame rate, exposure, and LUTs. The FX5 is designed for professional production environments with a high-efficiency cooling fan and optimized heat dissipation for stable long recording sessions. The lightweight rigid body includes multiple screw holes for direct accessory mounting without requiring a cage. Integration with the Monitor & Control application enables video monitoring and remote operation using smartphones, tablets, and Mac. The camera uses the high-capacity NP-SA100 battery with 2670 mAh, providing approximately 1.3 times the capacity of the Z-series NP-FZ100 battery. Two USB Type-C™ ports support timecode input through an optional adapter cable and external power via USB Power Delivery (PD)⁹. A wired LAN terminal provides remote operation and stable network connectivity for professional production workflows. Features Sony FX5 • Full-frame Exmor RS™ stacked CMOS sensor • BIONZ XR2™ processor with AI processing unit • 15+ stops dynamic range in S-Log3 • Three base ISO settings: 800 / 4000 / 12800 • Dual Gain Shooting function • Open Gate recording with full sensor readout • Internal X-OCN 16-bit RAW recording • X-OCN C1 and C2 codec support • 5K recording up to 60 fps • 4K recording up to 120 fps • Full HD recording up to 240 fps • AI-based human pose estimation AF • Real-time Tracking autofocus • Auto Tracing White Balance • Anamorphic de-squeeze function • 5-axis optical image stabilization • Active Mode and Dynamic Active Mode • Multi-angle 3.5-inch touch LCD monitor • CineAlta-inspired BIG6 interface  Technical Specifications • Sensor: Full-frame Exmor RS™ CMOS • Sensor type: Fully stacked architecture • Processor: BIONZ XR2™ image processor • AI processing: Dedicated AI processing unit • Dynamic range: More than 15 stops in S-Log3 • Base ISO: ISO 800 / ISO 4000 / ISO 12800 • Recording format: X-OCN, X-OCN LT, X-OCN C1/C2 • RAW format: 16-bit scene-linear X-OCN • Video resolution: 5K / 4K / Full HD • Maximum frame rate: 240 fps (Full HD) • Stabilization: 5-axis optical IBIS • Autofocus: AI-based tracking AF • Monitor: 3.5-inch 2.76-million-dot LCD • Battery: NP-SA100 (2670 mAh) • Connectivity: USB Type-C™, wired LAN • Timecode input via optional adapter cable • External power via USB Power Delivery • Cooling system: High-efficiency fan system Dimensions and Weight Dimensions: Approx. 129 × 95.5 × 95.5 mm Weight: Approx. 670 g (camera body only) Weight: Approx. 890 g (with battery and media) Footnotes and Explanations ¹ Compared to FX3. ² Manual Base ISO selection is supported only in Cine EI and Flexible ISO modes. In Cine EI Quick mode, the optimal Base ISO is selected automatically according to the Exposure Index setting. ³ Gain is limited to the equivalent of 18 dB. This function may not be available depending on shooting settings. ⁴ Refers to visual expression, including the color and tone of images. ⁵ Available only when recording in X-OCN. ⁶ Compared to FX3. Based on Sony internal measurements. ⁷ In Dynamic Active Mode, the angle of view is reduced more than in Active Mode, and Clear Image Zoom is not available. Dynamic Active Mode is available up to 60 fps, while Active Mode is available up to 120 fps. The maximum gain in Dynamic Active Mode is 26 dB. Depending on the codec and frame-rate settings, Dynamic Active Mode may not be available. ⁸ The detachable OLED viewfinder cannot be used together with accessories attached via the Multi Interface (MI) Shoe, such as the XLR handle unit. ⁹ USB Power Delivery (PD) compatible external power supply and USB cable are not included. ¹⁰ Features and specifications are subject to change without prior notice. ¹¹ Supported languages vary by sales region/country. Some menu items are not supported by the screen reader function. ¹² Based on Sony research. Applies to recycled plastic used in the product body. ¹³ Production sites may change depending on the production period. ¹⁴ Plant-derived nonwoven fabric may not be available depending on the production period. ¹⁵ With a 50 mm lens at infinity, -1 m⁻¹. ¹⁶ For further details and to download Monitor & Control, Sony provides additional information through its official application resources. Network services, content, operating systems, and software are subject to terms and conditions and may be changed, interrupted, or discontinued at any time.

Mirrorless-Designed Leitz HEKTOR Cine Primes to ARRI Alexa  Cinematic look meets mechanical precision. Until now, the new Leitz HEKTOR Cine lenses were developed exclusively for modern mirrorless camera systems. A major reason for this is the short flange focal distance of the mirrorless platforms they were designed for. Because the HEKTOR lenses were engineered around these short flange depths, using them on the ARRI Alexa was previously impossible. A conventional adapter would position the lens too far from the sensor, making infinity focus unattainable.P+S Technik now overcomes this limitation with HEXAMO—a specially developed mount system that enables the use of Leitz HEKTOR Cine lenses on the ARRI Alexa platform. How does the system work?The original ARRI lens mount can be removed by loosening four screws. The conversion is carried out on both the camera and the lens.HEXAMO Camera MountThe original Alexa mount block is replaced with a specially developed low-profile mount from P+S Technik, creating the required flange depth for the HEKTOR lenses.Lens Interface ConversionEach HEKTOR lens receives a precision-machined three-part rear interface assembly. This replaces the original rear mount and forms the dedicated mechanical counterpart to the HEXAMO camera mount. After installation, every lens is precisely calibrated to ensure accurate flange depth and reliable optical performance.Precision EngineeringThe combination of the HEXAMO camera mount and the dedicated rear lens interface enables HEKTOR lenses to operate on the ARRI Alexa with full infinity focus while maintaining complete compatibility with the camera's internal filter system.Secure Locking MechanismThe red locking ring provides a rigid, play-free connection between lens and camera, easily withstanding the forces generated by modern wireless follow focus (FIZ) systems on set. The ResultThe unmistakable look of the Leitz HEKTOR series—characterized by smooth focus roll-off, organic rendering, and distinctive flares—can now be combined with the proven ARRI Alexa platform.For cinematographers, rental houses, and productions, HEXAMO opens the door to a unique combination of the HEKTOR image signature and the reliability of the ARRI Alexa—something that was previously not possible.What's included1× P+S HEXAMO Camera Mount with red locking ring 1× Three-part Rear Lens Interface (per lens) 1× Mount Cap Note: The ARRI Alexa mount dummy shown in the product images is for display purposes only and is not included in the scope of delivery. P+S HEXAMO – Press Coverage Cined The Cine Lens 4KShooters Videoaktiv Film TV Video Panorama Indie Filmmakers Broadcast Pro British Cinematographer Pro Video Cinematography World NAVER Japan The HEXAMO Mount System is available exclusively from P+S Technik and CBM.

Available from July 23, 2026 The FUJINON GF19-35mmT3.5 PZ OIS WR is an ultra-wide power zoom lens developed specifically for the FUJIFILM GFX ETERNA 55 and GFX100 II camera systems. Designed for large-format filmmaking, it combines cinema-grade optical performance with advanced electronic control and a lightweight, production-ready design. Featuring the same handling, dimensions and visual characteristics as the GF32-90mmT3.5 PZ OIS WR, the new lens allows filmmakers to seamlessly cover focal lengths from ultra-wide to standard without changing accessories such as matte boxes or follow-focus systems. Both lenses maintain a constant T3.5 aperture throughout the zoom range while delivering perfectly matched colour reproduction, bokeh and focus falloff for consistent image quality across productions. The lens inherits the renowned design philosophy of the FUJINON Premista series and is equipped with internal motors for focus, zoom and iris control. Its large image circle fully covers the 55 mm diagonal 4:3 sensor of the GFX ETERNA 55, making it an ideal choice for high-end cinema applications. Key Features Ultra-wide 19-35 mm focal length range for large-format cinema production Constant T3.5 aperture throughout the entire zoom range Optimised for the FUJIFILM GFX ETERNA 55 and GFX100 II Covers the full 55 mm diagonal 4:3 sensor of the GFX ETERNA 55 Premium optical design with 23 elements in 15 groups, including 4 ED and 3 aspherical elements for outstanding sharpness and minimal aberrations Nano GI coating reduces flare and ghosting while maximising contrast and light transmission Internal focusing system with advanced optical design for compact dimensions and a weight of only 2.1 kg Identical barrel dimensions as the GF32-90mmT3.5 PZ OIS WR for fast lens changes without repositioning accessories Independent focus, zoom and iris rings with standard 0.8M cine gears Long 200° focus rotation for precise manual focus control Electronic control of focus, zoom and iris directly from the camera body or the dedicated GFX ETERNA 55 top handle Significantly reduced focus breathing for stable framing during focus pulls 13-blade iris produces smooth, natural-looking bokeh Integrated Optical Image Stabilisation (OIS) with improved motion detection for stable handheld shooting Fast, highly responsive internal motors for accurate autofocus and smooth electronic operation The FUJINON GF19-35mmT3.5 PZ OIS WR is the ideal ultra-wide companion to the GF32-90mmT3.5 PZ OIS WR, providing filmmakers with a matched power zoom system that combines exceptional optical quality, efficient workflows and the creative flexibility required for professional large-format cinema production.

For Cooke SP3 & AP3 Prime Lenses only: M-Mount to ARRI Interchangeable Lens Port The P+S SPM Camera Mount is a precision-engineered, mechanical lens port replacement. It is explicitly designed to interface Cooke SP3 ans AP3 prime lenses (Leica M-mount configuration) with ARRI cinema camera bodies. This mount compensates for the mirrorless flange focal distance and represents the dedicated solution to attach the SP3 or AP3 M-mount series to deep-body ARRI camera housings. P+S SPM Mount for Cooke SP3 Primes with M-Mount P+S SPM Mount for Cooke AP3 Primes with M-Mount .cms-image-stack { display: flex; flex-direction: column; gap: 24px; } .cms-image-item img { width: 100%; height: auto; display: block; } .cms-image-item figcaption { margin-top: 8px; font-size: 14px; line-height: 1.4; color: #666; text-align: center; font-style: italic; } Installation & DesignMounting Mechanism: Direct replacement of the camera's original lens port. Installation requires unscrewing the factory lens port and replacing it directly with the SPM unit.Material Composition:  Aluminium construction for robust on-set durability and structural stability.Camera CompatibilityARRI Alexa Mini *ARRI Alexa Mini LFARRI Alexa 35ARRI Amira ** Required/Recommended Modification: For implementation on ARRI ALEXA Mini and ARRI AMIRA cameras, the installation of the original ARRI "stray light shield" (ARRI Part Number: K5.0016435) is highly recommended to suppress internal stray light and optical reflections.Technical Specifications & ConstraintsData Transmission: This mount operates 100% mechanically. It features no electronic contact blocks or interface pins; lens metadata (aperture, focus distance) is not transmitted to the camera body.Mechanical Clearance Warning: Explicitly engineered for the Cooke SP3 series. Do not attach generic photographic M-mount lenses without verifying rear-element clearance. Protruding rear optical assemblies pose a severe risk of mechanical impact with the camera's internal filters or sensor.Packaging & Physical DimensionsMaterials: AluminiumWeight: 91 gDimensions (L x W x H): 8.9 x 8.9 x 1.3 cm

* Full details coming soon. The Angénieux Optimo Ultra 12x 65 is a cinema zoom lens engineered specifically as the new reference for large-format and 65mm digital cinematography. It features a new optical design developed to deliver uncompromising performance for next-generation 65 Format cameras. The lens provides full 60 mm image circle coverage, ensuring consistent contrast and resolution across the entire frame.This lens brings the signature Angénieux look to large-format applications, characterized by elegant skin rendering, smooth falloff, and cinematic consistency. With a 12x zoom range covering focal lengths from 46 mm to 556 mm and a constant T5.6 aperture, it is designed for high-end professional cinema environments where large sensor coverage is required. The optical design is specially optimized for Large-Format applications to provide consistent image quality throughout the entire zoom range.Features Angénieux Optimo Ultra 12x 65• New optical design developed specifically for Large-Format cinema applications • Optimized for next-generation 65 Format digital camera systems • Full 60 mm image circle coverage for consistent resolution across the entire frame • Signature Angénieux look with elegant skin rendering and smooth falloff • Versatile 12x zoom range covering 46 mm to 556 mm • Constant T5.6 aperture for cinematic consistency during zooming • Designed to deliver uncompromising performance in professional cinematographyTechnical Specifications• Product Reference: 66066539BA • Focal Length: 46–556 mm • Aperture: T5.6 • Image Circle: 60 mm • Minimum Object Distance (MOD): 1.29 m / 4'3"Dimensions and Weights• Length: 560 mm / 22.05 in • Weight: 12.8 kg / 28.2 lbs

The Angénieux Type EZ-3 Tele 65 extends the EZ65 Series into the telephoto range, bringing the established EZ workflow and optical character into large-format 65 mm production. Designed for high-end cinema systems such as the Blackmagic URSA Cine 17K and Fujifilm GFX Eterna, it enables filmmakers to fully leverage large-format sensors while maintaining the ergonomics, resolution performance, and distinctive visual signature of the EZ lens family. This telephoto cinema zoom is engineered for professional production environments where reach, image quality, and consistency are critical. Key Features Telephoto zoom for large-format 65 mm cinema systems Consistent EZ Series optical character across focal range Optimized for high-resolution sensor performance Robust professional build with established EZ ergonomics Specifications Focal Length: 82–300 mm Aperture: T4.2–T5.4 Minimum Object Distance (MOD): 1.2 m / 4 ft Image Circle: 60 mm Weight: < 3 kg / 6.6 lbs Focus Scale: Dual scale (feet / meters) Lens Mount: LPL mount only (non-interchangeable) Important Notes Sold as single-format lens only (no lens packs available) Fixed LPL mount; mounts are not interchangeable... more infos coming soon 

The Angénieux Type EZ-2 Wide Angle 65 brings the iconic EZ Series experience to the large-format 65 mm ecosystem, unlocking the full imaging potential of next-generation cinema cameras such as the Blackmagic URSA Cine 17K and Fujifilm GFX Eterna systems. Designed to preserve the core strengths of the EZ Series, it combines outstanding ergonomics, high optical performance, and the characteristic Angénieux cinematic look. Key Features Wide-angle cine zoom optimized for large-format 65 mm sensors Maintains the established EZ Series optical character and operational workflow High-resolution performance with a smooth, cinematic rendering Optimized for professional cinema and high-end production environments Specifications Focal Length: 27–72 mm Aperture: T3.6 Minimum Object Distance (MOD): 0.6 m / 2 ft Image Circle: 60 mm* (covers 58 mm image circle from 27–30 mm) Weight: < 2.5 kg / 5.5 lbs Focus Scale: Dual scale (feet / meters) Lens Mount: LPL mount only (non-interchangeable) Important Notes Available as a single-format configuration only (no lens packs) Fixed LPL mount; mounts are not interchangeable... more infos coming soon

The FUJIFILM GFX ETERNA 55 Cinema Camera is more than just a digital cinema camera – it is a purpose-built creative instrument designed to redefine cinematic storytelling. As Fujifilm’s first camera developed primarily for professional filmmaking, it combines the company’s unrivaled legacy in film color science with groundbreaking digital technology, resulting in images that are both technically pristine and emotionally powerful. Images: Fujifilm At the heart of the GFX ETERNA 55 lies one of the tallest sensors available on the open market: a 44 x 33 mm large-format CMOS II HS sensor with an effective resolution of 102 megapixels. Its 4:3 open-gate design provides nearly 1.7 times the image height of traditional Super 35mm, creating an expansive canvas for filmmakers. This enables unique aesthetic possibilities when shooting with both spherical and anamorphic lenses, delivering visuals of unprecedented scale and character. Whether it’s capturing sweeping landscapes, intimate close-ups, or anamorphic widescreen epics, the GFX ETERNA 55 gives filmmakers the freedom to shape every frame with cinematic intent. Fujifilm’s celebrated film heritage is fully embedded in this system. With 20 built-in Film Simulations, including iconic looks like ETERNA, PROVIA, Velvia, and ACROS, cinematographers can access creative color palettes inspired by decades of analog film tradition. These simulations provide beautiful, production-ready images straight out of the camera—ideal for fast turnaround projects such as commercials, corporate films, or documentaries. For productions requiring more intensive post-production workflows, the GFX ETERNA 55 supports F-Log2 and F-Log2 C gamma profiles, delivering over 14 stops of dynamic range for maximum flexibility in grading. Filmmakers can also store up to 16 custom 3D LUTs in-camera, allowing them to preview their intended final look on set and streamline collaboration between production and post. In modern filmmaking, workflow efficiency is just as critical as image quality. The GFX ETERNA 55 is engineered with this in mind, supporting Apple ProRes 422 HQ, 422, and 422 LT for high-quality internal recording, along with H.265/HEVC for lighter file management. The ability to record proxy files in ProRes Proxy dramatically reduces editing workloads and accelerates turnaround times. For productions requiring the highest level of image fidelity, the camera outputs up to 8K/30p 12-bit RAW via HDMI, ensuring that every nuance of the large-format sensor can be preserved for demanding post-production pipelines. Its integration with Frame.io Camera to Cloud further enhances collaboration by enabling direct upload of footage to the cloud for instant review, approval, or editorial assembly, no matter where the crew is located. Despite its technical power, the GFX ETERNA 55 maintains a compact and ergonomic design. Weighing approximately 2.0 kg, it is lightweight enough for solo shooters yet robust enough for professional sets. Dual side monitors allow both operators and assistants to access controls easily, while a 2000-nit 5" LCD provides clear visibility even in challenging outdoor conditions. The inclusion of a multi-function dial for lens control and a built-in electronic variable ND filter ensures precise handling of exposure and creative depth-of-field control on the fly. Reliability is another hallmark of the GFX ETERNA 55. With support for both CFexpress Type B and SD cards, as well as SSD recording, filmmakers can choose the media that best fits their workflow. The hot-swappable NP-W235 battery system allows continuous shooting without interruptions, a vital feature for professional productions where downtime is not an option. Advanced connectivity options—including HDMI, SDI, LAN, USB-C, and audio I/O—ensure seamless integration with studio and on-location setups alike. From independent features and high-budget films to music videos, commercials, and live events, the FUJIFILM GFX ETERNA 55 Camera is designed to meet the demands of diverse filmmaking environments. It combines Fujifilm’s iconic approach to color with cutting-edge digital cinema technology, delivering imagery that resonates with authenticity and impact. For creators who demand the highest level of visual storytelling, the GFX ETERNA 55 is not just a camera—it is the ultimate creative partner. Features – FUJIFILM GFX ETERNA 55 Camera 102MP large-format CMOS II HS sensor (44 x 33 mm) 4:3 open-gate recording for cinematic framing Sensor nearly 1.7x larger than Super 35mm Over 14 stops of dynamic range with F-Log2 / F-Log2 C 20 built-in Fujifilm Film Simulations for instant cinematic looks Supports up to 16 in-camera 3D LUTs for live preview and shooting Native dual ISO: 800 and 3200 for extreme lighting conditions Supports Apple ProRes 422 HQ/422/LT and H.265/HEVC codecs Proxy recording options for faster post-production workflows Frame.io Camera to Cloud integration for instant collaboration RAW output: up to 8K/30p 12-bit via HDMI High-brightness 2000-nit 5" LCD with touchscreen and tilt adjustment Dual side monitors for operator and assistant access Multi-function control dial for focus, iris, zoom, and ND filter Built-in electronic variable ND filter (ND4–ND128) Lightweight body (approx. 2.0 kg) for portability Dual CFexpress Type B and SD card slots for flexible recording media Intelligent Hybrid Autofocus with subject recognition (face, animal, vehicles, etc.) Wireless connectivity with Wi-Fi, Bluetooth, and LAN terminal Hot-swap battery system with NP-W235 for uninterrupted filming Technical Specifications Model: FUJIFILM GFX ETERNA 55 Lens Mount: FUJIFILM G Mount Sensor: 44 x 33 mm GFX 102MP CMOS II HS Effective Pixels: 102 million Image Processor: X-Processor 5 ND Filter: Electronic Variable (ND4–ND128) Dynamic Range: 14+ stops (F-Log2/F-Log2 C) ISO Range: 100–12800 (expandable to 25600) Shutter Speed: 1/8 sec to 1/8000 sec, 5.6°–360° shutter angle Autofocus: Intelligent Hybrid AF with phase & contrast detection Recording Formats: MOV, Apple ProRes 422 HQ/422/LT, H.265/HEVC Max Resolution: 8K (8192 x 4320) up to 30p Recording Bitrates: up to 720 Mbps RAW Output: 8K/30p 12-bit via HDMI Media: CFexpress Type B, SD (UHS-I/II), SSD (up to 2TB) Monitor: 5" 2000-nit LCD touchscreen + dual 3" side monitors Connectivity: HDMI Type A, USB-C, LAN, 12G-SDI, TC IN/OUT, GenLock Wireless: Wi-Fi (802.11 a/b/g/n/ac), Bluetooth 4.2 Audio: 3.5mm mic in, 3.5mm headphone out, stereo recording support Power: NP-W235 Li-ion, V-mount compatible, AC adapter included Hot-swap battery support Dimensions & Weight Width: 110.8 mm Height: 138.2 mm Depth: 176.8 mm Weight (body only, excl. battery & media): approx. 2.0 kg Operating Temperature: -10°C to +40°C Operating Humidity: 10–80% (non-condensing)

Fluid Head for Precise Control and High Payload Performance The Cartoni Master 30 is a professional fluid head designed for demanding broadcast and cinema applications requiring precise camera control and high payload capacity. It is engineered to support a wide range of camera configurations while maintaining smooth and consistent pan and tilt movement across its entire operating range. The fluid damping system provides continuous drag control, allowing operators to fine-tune resistance for both pan and tilt movements. This ensures smooth starts and stops, enabling accurate framing and reliable camera operation in studio and field production environments. The counterbalance system is continuously adjustable, allowing precise balancing of the camera payload for optimal performance. The Master 30 features a flat base design, making it compatible with a wide range of tripods, sliders, and support systems. Its robust construction is designed to withstand intensive professional use while maintaining consistent performance over time. The head supports a maximum payload of up to 30 kg, making it suitable for broadcast cameras, digital cinema cameras, and fully rigged setups. Additional operational features include a sliding quick release camera plate for fast setup and adjustment, illuminated spirit level for accurate leveling in low-light conditions, and ergonomic controls for efficient operation. The Master 30 is built to meet the requirements of professional camera operators working in broadcast studios, live production, and high-end video production environments. Features Cartoni Master 30 • Professional fluid head for broadcast and cinema applications • Maximum payload capacity up to 30 kg • Continuous fluid drag system on pan and tilt • Smooth and consistent camera movement • Continuously adjustable counterbalance system • Flat base design for versatile mounting • Compatible with tripods, sliders, and support systems • Sliding quick release camera plate • Fast and secure camera mounting • Illuminated spirit level for precise leveling • Ergonomic control knobs • Robust and durable construction • Designed for intensive professional use • Accurate pan and tilt control • Wide compatibility with camera configurations • Reliable performance in studio and field environments • Maintenance-free fluid system • Compact and balanced design Technical Specifications • Maximum payload: 30 kg / 66 lbs • Counterbalance: Continuous adjustment • Pan drag: Continuous fluid damping • Tilt drag: Continuous fluid damping • Tilt range: +90° / -60° • Base type: Flat base • Bowl compatibility: Requires flat base adapter • Camera plate: Sliding quick release plate • Plate travel: approx. 120 mm • Pan bar: Included • Spirit level: Illuminated • Operating temperature: -40°C to +60°C • Material: Aluminum and composite materials • Weight: approx. 7.5 kg • Height: approx. 190 mm • Mounting interface: Flat base with fixing screw Dimensions and Weight Height: approx. 190 mm Weight: approx. 7.5 kg Camera plate travel: approx. 120 mm

The TRIBE7 BLACKWING7 Cine Primes are designed for cinematographers who want to move beyond purely technical image reproduction and instead actively shape the visual identity of their work in-camera. Rather than pursuing clinical sharpness or neutral rendering, this lens system is built around controlled optical character—where imperfection is not a flaw, but a creative parameter. At the core of BLACKWING7 lies a fundamentally different design philosophy: the lens is not just a capture tool, but an expressive instrument. Contrast behavior, flare response, halation, and focus falloff are not fixed characteristics, but elements that can be intentionally influenced. This approach allows filmmakers to establish a consistent yet highly individual visual language directly on set, reducing dependency on post-production manipulation. What sets the system apart in practical production use is its ability to integrate this level of optical control without sacrificing workflow efficiency. Despite its expressive nature, BLACKWING7 maintains consistent mechanics across the full focal length range, ensuring predictable handling for focus pullers, camera assistants, and operators. This balance between creative unpredictability in the image and operational consistency on set is a key reason why the system is increasingly adopted in high-end narrative and commercial productions. The system is built for large format cinematography and covers a comprehensive focal length range suitable for narrative, commercial, and high-end branded content production. All lenses share a consistent mechanical design, ensuring operational reliability and intuitive handling across the entire set, even in demanding production environments. A defining feature of the BLACKWING7 system is its tunable optical architecture. Each lens can be configured through distinct tuning profiles that alter its rendering behavior, enabling precise control over image mood and texture. In addition, interchangeable front elements further extend creative flexibility by modifying flare characteristics and tonal response. This combination of optical tuning and modular design results in a lens system that functions less like a traditional prime set and more like a creative imaging platform. The outcome is a highly cinematic, expressive image that retains technical precision while offering significant artistic latitude at the point of capture. Focal Lengths Focal Length Image Circle (mm) Close Focus (cm) Weight (kg) 17mm5622.01.75 20.7mm5623.01.5 23.7mm5626.01.5 27mm5634.01.7 37mm6745.71.6 47mm6044.51.5 57mm6748.31.6 77mm6766.01.4 107mm6768.51.4 137mm6781.31.5 Tuning Options Tuning Image Character Contrast Flare & Halation Use Case S Tuned Controlled, closest to neutral Balanced Subtle and controlled Commercial, mixed workflows, consistency T Tuned Organic, vintage leaning Softer roll off Noticeable glow and halation Narrative, cinematic storytelling X Tuned Highly expressive and stylized Lower, more variable Strong flares and pronounced halation Music videos, fashion, experimental visuals Features TRIBE7 BLACKWING7 Cine Primes • Tunable optical design for creative image control • Available in S Tuned, T Tuned, and X Tuned variants • Large format coverage for modern cinema cameras • Designed in collaboration with Bradford Young • Controlled spherical aberration for organic rendering • Customizable flare characteristics • Smooth contrast roll off for cinematic highlights • Interchangeable front elements for look variation • Consistent mechanical design across all focal lengths • High speed aperture for low light performance • Pleasing and structured bokeh rendering • Enhanced highlight halation depending on tuning • Reduced clinical sharpness for natural image feel • Engineered for narrative and commercial filmmaking • Robust housing for professional production environments • Precise focus mechanics with long focus throw • Optimized for modern digital sensors • Unique visual identity directly from the lens Technical Specifications • Lens series: BLACKWING7 Cine Primes • Available focal lengths: 17mm – 137mm • Maximum aperture: approx. T1.9 (varies by focal length) • Lens mount: PL mount • Sensor coverage: Large format (up to 67 mm image circle) • Tuning options: S Tuned, T Tuned, X Tuned • Interchangeable front elements supported • Iris design: 14 blade aperture • Focus rotation: approx. 270 degrees • Front diameter: standardized across set • Color rendering: tuned per optical profile • Flare behavior: controlled and adjustable • Contrast characteristics: profile dependent • Close focus distance: 22.0 cm – 81.3 cm • Housing material: high precision metal construction • Scale markings: dual side, engraved • Compatibility: industry standard cine accessories • Designed for high end digital cinema workflows Dimensions and Weight Dimensions vary depending on focal length. Front diameter is standardized across the set for seamless matte box compatibility. Each lens is optimized for balanced handling across handheld and studio configurations. Weight ranges from 1.4 kg to 1.75 kg depending on focal length.

Compact Hot-Swap Power Hub for Modern Cinema Cameras The new bebob MLmicro combines compact size, professional hot-swap functionality and extensive connectivity in a highly versatile 43Wh / 14.4V power solution for modern cinema workflows. Designed specifically for demanding productions, the MLmicro allows users to power V-Mount cameras and multiple accessories simultaneously while ensuring uninterrupted operation during battery changes. The MLmicro is especially valuable for modern camera systems that offer limited integrated power outputs. Cameras such as the Blackmagic PYXIS, Sony BURANO or Fujifilm ETERNA benefit from the MLmicro’s ability to distribute power efficiently across several external devices without additional power management hardware. Unlike the previous generation, which focused on a heavy-duty metal construction, the new MLmicro utilizes a durable composite housing that significantly reduces overall weight while maintaining the reliability and robustness expected from bebob products. This results in improved handling for handheld, gimbal and lightweight rig applications while also offering a more attractive price point. A key advantage of the MLmicro is its advanced hot-swap capability. The integrated 43Wh buffer battery keeps connected equipment powered during battery exchanges, minimizing downtime and protecting sensitive camera systems from unexpected shutdowns. The internal buffer can be recharged not only via attached batteries, but also through chargers, D-Tap or USB-C power delivery. With multiple power outputs including Twist D-Tap, LEMO and USB connections, the MLmicro easily supports monitors, wireless video systems, focus motors, transmitters, smartphones, tablets and additional accessories within professional production environments. Compact dimensions, intelligent power management and versatile connectivity make the bebob MLmicro an ideal power hub for mobile filmmaking, broadcast production, documentary shooting and professional rental applications. Features – bebob MLmicro • Compact hot-swap micro V-Mount battery with integrated buffer system • 43Wh internal rechargeable buffer battery • Continuous power supply during battery exchange • Compatible with Vmicro and standard V-Mount batteries • Ideal for Sony BURANO, Fujifilm ETERNA and compact cinema cameras • Lightweight yet durable composite construction • 2x Twist D-Tap outputs with 14.4V unregulated power • 3x 2-pin LEMO outputs for professional accessories • USB-C input/output with up to 45W power delivery • Simultaneous camera and accessory power distribution Mounts • V-Mount • micro V-Mount Technical Specifications • Battery type: Li-Ion hot-swap buffer battery • Capacity: 43Wh / 3Ah • Voltage: 14.4V unregulated • Maximum load: 16A • 2x Twist D-Tap outputs up to 5A • 3x 2-pin LEMO outputs up to 2A • 1x USB-A output 5V / 1.5A • 1x USB-C PD input up to 40W • 1x USB-C PD output up to 45W • LED status indicator for buffer monitoring Dimensions & Weight • Dimensions: 77 (85) × 110 × 57 mm • Weight: 580 g • Material: Aluminum / composite housing

T1.3 Large Format Cinema Primes with Consistent Organic RenderingThe Sigma Aizu Prime Line is a next-generation large-format cinema prime system designed for high-end motion picture production where optical consistency, speed and controlled image character are critical. Built and engineered in Aizu, Japan, the series combines modern high-resolution performance with a deliberately organic rendering approach, delivering a cinematic image that balances sharpness, texture and natural fall-off. At the core of the system is a constant T1.3 aperture across all focal lengths in the initial release. This enables a highly flexible exposure workflow in low-light environments while maintaining shallow depth of field control and smooth subject isolation. The optical design prioritizes cinematic expression over clinical rendering, producing images with refined contrast behavior, natural bokeh and carefully controlled highlight roll-off. The Aizu Prime Line is optimized specifically for cinema applications, with focus breathing and geometric distortion tightly controlled to ensure stable framing during rack focus operations and dynamic camera movement. Color reproduction and contrast are carefully matched across the entire range, allowing for seamless intercutting between focal lengths without perceptual shifts in image character. Despite their extreme speed, the lenses maintain a compact and production-friendly form factor. This supports a wide range of modern capture workflows, including handheld operation, Steadicam, gimbal systems and traditional studio setups. The mechanical design follows a unified standard across the set, enabling efficient lens changes and predictable handling for camera assistants in fast-paced production environments. The system is designed as a coherent focal length family covering the most commonly used ranges in narrative, commercial and episodic production. The initial release focuses on the core production set from 25mm through 75mm, providing a practical and highly usable optical package for contemporary cinematography workflows. Features – Sigma Aizu Prime Line • Constant T1.3 aperture across all available focal lengths • Large-format cinema prime lens system • Designed specifically for motion picture production workflows • Organic image rendering with modern optical precision • Controlled sharpness with natural roll-off characteristics • Smooth and cinematic bokeh rendition • Minimized focus breathing for stable reframing • Low distortion optical design • Matched color and contrast across all focal lengths • Consistent flare behavior throughout the series • Ø 46.3 mm image circle coverage • Full compatibility with large-format sensors • Compact and production-optimized housing design • Unified mechanical standard across the lens set • Optimized for handheld, gimbal, Steadicam and studio use Available Focal Lengths (Initial Release 25–75mm) • Sigma Aizu Prime 25mm T1.3 LF • Sigma Aizu Prime 27mm T1.3 LF • Sigma Aizu Prime 32mm T1.3 LF • Sigma Aizu Prime 35mm T1.3 LF • Sigma Aizu Prime 40mm T1.3 LF • Sigma Aizu Prime 50mm T1.3 LF • Sigma Aizu Prime 65mm T1.3 LF • Sigma Aizu Prime 75mm T1.3 LFcoming soon: • Sigma Aizu Prime 18mm T1.3 LF • Sigma Aizu Prime 21mm T1.3 LF • Sigma Aizu Prime 100mm T1.3 LF • Sigma Aizu Prime 125mm T1.3 LF 

Compact 1.5x Anamorphic Primes for Mirrorless Cinema Capture The Cooke AP3 Series represents a ground-up anamorphic design philosophy tailored specifically for modern mirrorless cinema systems. Built to extend Cooke’s anamorphic lineage into a compact, lightweight form factor, AP3 delivers true 1.5x anamorphic rendering with the optical discipline and consistency expected from high-end production optics. The series is engineered for full-frame coverage while maintaining compatibility with S35 workflows, making it a flexible toolset for narrative, commercial, and documentary cinematography. At its core, AP3 is defined by controlled anamorphic character rather than exaggerated optical artifacts. The rendering is deliberately balanced: organic but not unpredictable, expressive but technically reliable. Focus transitions are smooth and continuous, producing a natural sense of depth that supports visual storytelling without drawing attention to the lens itself. The 1.5x squeeze factor provides a classic anamorphic aspect ratio while optimizing sensor utilization on modern full-frame mirrorless cameras. Flare behavior is distinctly Cooke—subtle, cinematic, and spectrally coherent across the range. Rather than introducing stylized or artificial flare signatures, AP3 produces natural optical responses that integrate into scene lighting. Combined with smooth bokeh rendition and carefully controlled field curvature, the lenses produce a cohesive image structure that supports both controlled lighting environments and available-light shooting scenarios. The series maintains consistent color balance across all focal lengths, ensuring seamless intercutting within multi-camera or multi-lens productions. Despite its anamorphic pedigree, AP3 is optimized for operational efficiency on set. The compact housing, standardized 0.8 MOD focus and iris gears, and consistent 87 mm front diameter allow rapid rigging and compatibility with lightweight support systems, matte boxes, and gimbal setups. Interchangeable mount options further extend system flexibility across major mirrorless platforms. This positions AP3 as a practical solution for owner-operators and production environments where mobility and optical performance must coexist. The Cooke AP3 Series is therefore not positioned as a stylistic exaggeration of anamorphic imaging, but as a precise, production-ready toolset that integrates classical anamorphic aesthetics into contemporary mirrorless workflows. It bridges the gap between traditional cinema optics and next-generation camera systems while preserving the signature Cooke imaging philosophy: controlled highlight roll-off, dimensional rendering, and natural tonal reproduction. Features – Cooke AP3 Series • Ground-up anamorphic optical design for mirrorless cinema systems • True 1.5x anamorphic squeeze factor for full-frame sensor coverage • Full-frame coverage with S35 compatibility • Compact and lightweight construction optimized for modern production workflows • Consistent Cooke color science across all focal lengths • Controlled anamorphic flare characteristics with natural optical behavior • Smooth, organic defocus rendering with stable bokeh structure • Cinematic focus transitions with natural depth continuity • 9-blade iris assembly for smooth highlight rendition • T-stop range from T2.4 to T16 across the series • Standardized 0.8 MOD focus and iris gears for professional rig compatibility • Unified 87 mm front diameter across all lenses • 82 mm front filter thread for consistent accessory use • Interchangeable mount system (E / RF / L / M options) • Optimized for handheld, gimbal, and lightweight cinema setups Series Focal Lengths – Cooke AP3 • Cooke AP3 35mm T2.4 1.5x Anamorphic Lens • Cooke AP3 50mm T2.4 1.5x Anamorphic Lens • Cooke AP3 85mm T2.4 1.5x Anamorphic Lens

Tele cinematic compression and isolation The Cooke AP3 FF 85mm T2.4 1.5x Anamorphic Lens is designed for controlled telephoto anamorphic cinematography, offering strong subject isolation, elegant background compression, and refined cinematic depth. It is ideal for portraits, close-ups, and emotionally driven narrative sequences. The 1.5x anamorphic squeeze creates characteristic oval bokeh and subtle horizontal flare behavior, while maintaining sharp optical performance and controlled rendering across the full frame image area. Despite its telephoto nature, the lens remains compact and highly portable, reflecting the AP3 design philosophy of lightweight anamorphic performance without compromise. The anodised housing ensures durability in demanding production environments, while maintaining ergonomic handling. The dual focus scale system and precise mechanical alignment across the AP3 series enable fast lens changes with consistent focus and iris motor positioning, improving efficiency on set. Class-leading close focus capability enhances creative flexibility, enabling intimate framing even at longer focal lengths. The AP3 system is optimized for modern mirrorless cinema workflows and maintains consistent optical and mechanical behavior across the full series. The AP3 series is supplied with a Sony E-Mount as standard configuration. RF, L, and M mounts are available as interchangeable rear mount options. Features – Cooke AP3 FF 85mm T2.4 • 85mm telephoto anamorphic focal length • 1.5x squeeze factor • T2.4 constant aperture • Strong subject compression • Cinematic oval bokeh rendering • Compact telephoto cine design • Dual focus scale system • Excellent close focus performance • Matched AP3 mechanical alignment • Interchangeable rear mount system Mounts • Sony E-Mount (standard, pre-installed) • Canon RF Mount (interchangeable rear mount) • Leica L-Mount (interchangeable rear mount) • Leica M-Mount (interchangeable rear mount) The AP3 is delivered with Sony E-Mount pre-installed. RF, L, and M mounts are interchangeable rear mount modules available as accessories. Technical Specifications • Focal length: 85mm • Format: Full Frame (S35 compatible) • Squeeze factor: 1.5x • Aperture: T2.4 • Dual focus scale system • Manual cine focus mechanics • Anamorphic optical design • Interchangeable rear mount system • Mirrorless cinema optimized • Matched AP3 system standard

Natural anamorphic storytelling perspective The Cooke AP3 FF 50mm T2.4 1.5x Anamorphic Lens represents the classic anamorphic “normal” focal length, delivering a natural perspective with subtle compression and strong cinematic character. It is designed for narrative storytelling, dialogue scenes, and controlled cinematic compositions where emotional depth and spatial realism must coexist. The 1.5x squeeze factor produces elegant anamorphic oval bokeh and refined horizontal flares, while maintaining high resolution and controlled optical breathing characteristics. The result is a balanced anamorphic aesthetic that remains highly usable in modern digital production environments. The lens is built with portability and consistency in mind. Its compact anodised body, dual focus scale system, and precise mechanical matching across the AP3 series ensure efficient lens swaps and stable focus/iris motor alignment during production workflows. Close focus performance enables creative framing flexibility, allowing cinematographers to work in tight environments without compromising image quality or optical character. The AP3 system is designed for mirrorless-based cinema rigs, offering maximum adaptability while maintaining professional mechanical durability. The AP3 series is supplied with a Sony E-Mount as standard configuration. RF, L, and M mounts are available as interchangeable rear mount options. Features – Cooke AP3 FF 50mm T2.4 • 50mm full-frame anamorphic focal length • 1.5x anamorphic squeeze • T2.4 constant aperture • Natural anamorphic perspective • Compact lightweight cine design • Dual focus scale system • Strong close focus capability • Matched mechanical alignment • Durable anodised housing • Interchangeable rear mount system Mounts • Sony E-Mount (standard, pre-installed) • Canon RF Mount (interchangeable rear mount) • Leica L-Mount (interchangeable rear mount) • Leica M-Mount (interchangeable rear mount) The AP3 is delivered with Sony E-Mount pre-installed. RF, L, and M mounts are interchangeable rear mount modules available as accessories. Technical Specifications • Focal length: 50mm • Format: Full Frame (S35 compatible) • Squeeze factor: 1.5x • Aperture: T2.4 • Dual focus scale system • Manual cine mechanics • Anamorphic optical system • Interchangeable rear mount system • Mirrorless optimized architecture • Matched AP3 mechanical standard

Wide cinematic anamorphic immersion The Cooke AP3 FF 35mm T2.4 1.5x Anamorphic Lens delivers a wide cinematic anamorphic field of view designed for immersive storytelling, dynamic camera movement, and modern full-frame production workflows. It combines classic anamorphic character with the compact ergonomics of a lightweight, mirrorless-optimized cinema lens system. With a 1.5x squeeze factor, the lens produces natural anamorphic oval bokeh and controlled horizontal flare characteristics while maintaining high image clarity and consistent sharpness across the frame. The optical design is tuned for modern digital sensors, ensuring a balanced combination of resolution, character, and cinematic softness. The AP3 series is engineered for portability without compromise. Its compact anodised housing, dual focus scale system, and precise mechanical alignment across the entire set enable fast lens changes while maintaining consistent focus and iris motor positions in professional production environments. Close focus performance is class-leading, allowing for creative framing flexibility even in tight shooting spaces. This makes the 35mm AP3 particularly effective for narrative filmmaking, handheld work, and high-mobility production setups. The AP3 series is supplied with a Sony E-Mount as standard configuration. RF, L, and M mounts are available as interchangeable rear mount options, supplied as accessories and in some cases provided at no additional cost depending on purchase conditions or registration. The system is designed around short flange focal distance mirrorless platforms. Features – Cooke AP3 FF 35mm T2.4 • 35mm full-frame anamorphic focal length • 1.5x anamorphic squeeze factor • Constant T2.4 aperture • Classic Cooke anamorphic rendering • Lightweight compact cine design • Dual focus scale system • Class-leading close focus capability • Consistent mechanical alignment across set • Anodised durable housing • Interchangeable rear mount system Mounts • Sony E-Mount (standard, pre-installed) • Canon RF Mount (interchangeable rear mount) • Leica L-Mount (interchangeable rear mount) • Leica M-Mount (interchangeable rear mount) The AP3 is delivered with Sony E-Mount pre-installed. RF, L, and M mounts are interchangeable rear mount modules available as accessories, depending on purchase conditions or registration. Technical Specifications • Focal length: 35mm • Format: Full Frame (S35 compatible) • Squeeze factor: 1.5x • Aperture: T2.4 • Dual focus scale layout • Manual cine focus system • Anamorphic optical design • Interchangeable rear mount system • Optimized for mirrorless cinema systems • Matched mechanical set alignment

Extended telephoto cinematic reach The Cooke SP3 100mm T2.4 Full Frame Prime Lens is the longest focal length in the SP3 series, designed for maximum subject isolation and controlled compression. It excels in close-ups and distant subject framing while maintaining Cooke’s signature organic rendering and smooth tonal response. Despite its telephoto reach, it remains compact and optimized for modern lightweight cinema workflows. The SP3 series is supplied with a Sony E-Mount as standard configuration. RF, L, and M mounts are available as interchangeable rear mount options. Features – SP3 100mm T2.4 • 100mm telephoto focal length • Constant T2.4 aperture • Full-frame coverage • Strong compression effect • Cooke cinematic rendering • Compact telephoto design • Smooth manual focus • Minimal breathing • SP3 color matching • Interchangeable mount system Mounts • Sony E-Mount (standard, pre-installed) • Canon RF Mount (interchangeable rear mount) • Leica L-Mount (interchangeable rear mount) • Leica M-Mount (interchangeable rear mount) The SP3 is delivered with Sony E-Mount pre-installed. RF, L, and M mounts are interchangeable rear mount modules available as accessories. Technical Specifications • Focal length: 100mm • Aperture: T2.4 • Full-frame coverage • Manual cine focus system • Geared rings • SP3 optical matching • Mirrorless optimized • Interchangeable mount system • Cine housing • Color consistency

Controlled compression cine tele lens The Cooke SP3 75mm T2.4 Full Frame Prime Lens is designed for subject isolation and controlled compression. It is ideal for portraits, close-ups, and emotionally driven cinematic framing. It delivers strong subject separation while maintaining natural skin tone reproduction and smooth tonal transitions. The lens integrates seamlessly into lightweight cinema rigs and maintains consistent rendering across the SP3 lineup. The SP3 series is supplied with a Sony E-Mount as standard configuration. RF, L, and M mounts are available as interchangeable rear mount options. Features – SP3 75mm T2.4 • 75mm telephoto focal length • Constant T2.4 aperture • Full-frame coverage • Strong subject separation • Cooke cinematic rendering • Mirrorless optimized • Compact telephoto design • Smooth focus control • Minimal breathing • Interchangeable mount system Mounts • Sony E-Mount (standard, pre-installed) • Canon RF Mount (interchangeable rear mount) • Leica L-Mount (interchangeable rear mount) • Leica M-Mount (interchangeable rear mount) The SP3 is delivered with Sony E-Mount pre-installed. RF, L, and M mounts are interchangeable rear mount modules available as accessories. Technical Specifications • Focal length: 75mm • Aperture: T2.4 • Full-frame coverage • Manual cine focus system • Geared rings • SP3 optical matching • Mirrorless optimized • Interchangeable mount system • Cine construction • Color consistency

Classic cinematic normal perspective The Cooke SP3 50mm T2.4 Full Frame Prime Lens represents the standard cinematic focal length, closely matching natural human vision. It is a core lens for dialogue scenes, portraits, and narrative storytelling. It delivers smooth tonal transitions, natural contrast behavior, and Cooke’s signature organic rendering with refined highlight roll-off. The lens is optimized for modern lightweight cinema systems while maintaining full optical consistency across the SP3 series. The SP3 series is supplied with a Sony E-Mount as standard configuration. RF, L, and M mounts are available as interchangeable rear mount options. Features – SP3 50mm T2.4 • Standard 50mm cinematic focal length • Constant T2.4 aperture • Full-frame coverage • Natural perspective rendering • Cooke cinematic look • Mirrorless optimized design • Lightweight cine construction • Smooth manual focus • Minimal breathing • Interchangeable mount system Mounts • Sony E-Mount (standard, pre-installed) • Canon RF Mount (interchangeable rear mount) • Leica L-Mount (interchangeable rear mount) • Leica M-Mount (interchangeable rear mount) The SP3 is delivered with Sony E-Mount pre-installed. RF, L, and M mounts are interchangeable rear mount modules available as accessories. Technical Specifications • Focal length: 50mm • Aperture: T2.4 • Full-frame coverage • Manual cine focus • Geared rings • SP3 optical matching • Mirrorless optimized • Interchangeable mount system • Cine housing • Color consistency

Versatile mid-wide workhorse The Cooke SP3 32mm T2.4 Full Frame Prime Lens sits in the critical mid-wide range, making it one of the most versatile lenses in the series. It is ideal for interviews, narrative scenes, and handheld filmmaking. It delivers balanced perspective, natural depth rendering, and the signature Cooke filmic response with smooth highlight roll-off and organic skin reproduction. Engineered as a workhorse lens, it maintains consistent behavior across varying shooting conditions while integrating seamlessly into lightweight cinema setups. The SP3 series is supplied with a Sony E-Mount as standard configuration. RF, L, and M mounts are available as interchangeable rear mount options. Features – SP3 32mm T2.4 • Mid-wide versatile focal length • Constant T2.4 aperture • Full-frame coverage • Cinematic Cooke rendering • Mirrorless optimized system • Lightweight cine design • Smooth manual focus • Minimal breathing • SP3 color matching • Interchangeable mount system Mounts • Sony E-Mount (standard, pre-installed) • Canon RF Mount (interchangeable rear mount) • Leica L-Mount (interchangeable rear mount) • Leica M-Mount (interchangeable rear mount) The SP3 is delivered with Sony E-Mount pre-installed. RF, L, and M mounts are interchangeable rear mount modules available as accessories. Technical Specifications• Focal length: 32mm • Aperture: T2.4 • Full-frame coverage • Manual cine focus system • Geared rings • SP3 optical system • Mirrorless optimized • Interchangeable mount system • Cine housing • Color matched series

Natural wide cinematic perspective The Cooke SP3 25mm T2.4 Full Frame Prime Lens delivers a natural wide-angle perspective that closely reflects human visual perception. It is a highly versatile focal length suitable for narrative filmmaking, documentaries, and commercial productions requiring spatial realism and controlled perspective. The lens renders images with smooth tonal transitions, natural contrast behavior, and the signature Cooke “film look”. Skin tones are reproduced with a soft, organic roll-off, avoiding harsh digital characteristics even in high-contrast lighting situations. Designed for modern lightweight cinema setups, the SP3 25mm integrates seamlessly into handheld and gimbal-based workflows. It is part of a fully matched optical system ensuring consistent rendering across all SP3 focal lengths. The SP3 series is supplied with a Sony E-Mount as standard configuration. RF, L, and M mounts are available as interchangeable rear mount options, supplied as accessories and in some cases provided at no additional cost depending on purchase conditions or registration. The system is designed around short flange focal distance mirrorless camera platforms. Features – Cooke SP3 25mm T2.4 • Natural wide-angle focal length • Constant T2.4 aperture • Full-frame coverage • Cooke cinematic color science • Mirrorless optimized design • Lightweight cine construction • Smooth manual focus control • Minimal distortion characteristics • SP3 color consistency • Interchangeable rear mount system Mounts • Sony E-Mount (standard, pre-installed) • Canon RF Mount (interchangeable rear mount) • Leica L-Mount (interchangeable rear mount) • Leica M-Mount (interchangeable rear mount) The SP3 is delivered with Sony E-Mount pre-installed. RF, L, and M mounts are interchangeable rear mount modules available as accessories. Designed for short flange focal distance mirrorless systems. Technical Specifications • Focal length: 25mm • Aperture: T2.4 • Full-frame coverage • Manual focus cine design • Geared rings • SP3 optical matching • Mirrorless optimized • Interchangeable mount system • Lightweight cine housing • Consistent series design

Ultra-wide cinematic control The Cooke SP3 18mm T2.4 Full Frame Prime Lens delivers an ultra-wide field of view designed for immersive storytelling, architectural work, and dynamic handheld cinematography. It is engineered as part of Cooke’s modern mirrorless-focused SP3 series, translating the renowned Cooke Look into a compact, lightweight optical system optimized for full-frame sensors. Despite its wide-angle perspective, the lens maintains exceptional edge-to-edge sharpness while preserving the organic rendering Cooke is known for. Skin tones remain natural, contrast transitions are smooth, and highlights roll off with cinematic precision rather than harsh digital clipping. This makes the 18mm SP3 particularly effective for narrative filmmaking, documentaries, and high-end commercial production. The mechanical design is optimized for modern gimbal and run-and-gun workflows. Its compact form factor supports lightweight camera builds without compromising precision in focus control or optical consistency across the SP3 series. Features – Cooke SP3 18mm T2.4 Full Frame Prime Lens • Ultra-wide 18mm focal length for immersive perspectives • Constant T2.4 aperture for consistent exposure control • Full-frame image coverage • Signature Cooke cinematic rendering (“Cooke Look”) • Optimized for mirrorless cine workflows • Compact and lightweight design for gimbals and handheld rigs • Smooth and precise manual focus control • Minimal focus breathing for cinematic pulls • Color-matched across SP3 lens series • Interchangeable rear mount system Mounts • Sony E-Mount (standard, factory-installed) • Canon RF Mount (interchangeable rear mount accessory) • Leica L-Mount (interchangeable rear mount accessory) • Leica M-Mount (interchangeable rear mount accessory) The SP3 is delivered with Sony E-Mount pre-installed. RF, L, and M mounts are interchangeable rear mount modules available as accessories. Depending on purchase conditions or registration, selected mounts may be provided at no additional cost. The system is engineered specifically for short flange focal distance mirrorless camera platforms. Technical Specifications• Focal length: 18mm • Aperture: T2.4 • Full-frame coverage • Manual focus design • Cine-style geared focus and iris rings • Interchangeable rear mount system • Color matched across SP3 lineup • Optimized for digital cinema sensors • Consistent SP3 optical tuning • Designed for modern mirrorless cine systems

Amicro to BP-U Adapter for Extended Production Runtime The bebob Coco-A2BP-U expands the flexibility of BP-U camera systems by enabling seamless operation with professional Amicro battery setups. Designed for demanding production environments, the adapter allows cameras such as the Blackmagic PYXIS and Sony professional camcorders to benefit from extended runtimes and centralized power distribution. The Coco-A2BP-U is especially suitable for productions that require consistent battery standards across multiple camera platforms. Rental houses and broadcast teams can simplify battery logistics while maximizing efficiency during long shooting schedules and fast-paced production days. Its adjustable height mechanism improves compatibility with a wide range of camera bodies and rigging solutions, allowing the adapter to integrate naturally into existing production workflows. The compact design ensures reliable handling for handheld, studio and shoulder-mounted operation. In addition to powering the camera itself, the Coco-A2BP-U provides extensive connectivity for professional accessories. Integrated USB-C and Twist D-Tap outputs allow simultaneous operation of monitors, wireless systems, mobile devices and additional production equipment directly from the connected Amicro battery. Built from a durable aluminum and composite construction, the adapter combines professional reliability with low weight and compact dimensions. Modern USB-C Power Delivery and Quick Charge functionality further increase flexibility within demanding filmmaking and broadcast applications. The bebob Coco-A2BP-U is an efficient and production-oriented solution for integrating BP-U cameras into professional Amicro-based power infrastructures while maintaining maximum versatility and runtime. Features – bebob Coco-A2BP-U • Amicro to BP-U adapter for professional camera systems • Compatible with Sony camcorders and Blackmagic PYXIS • Ideal for extended runtime production workflows • Adjustable design for flexible camera integration • Professional Amicro battery compatibility • 2x Twist D-Tap outputs for accessory power • USB-C PD3.0 connectivity for flexible charging • USB-C Quick Charge 4+ output up to 60W • Lightweight and robust production-ready construction • Centralized power distribution for camera accessories Mounts • Amicro • BP-U Technical Specifications • Adapter type: Amicro to BP-U • Operating voltage: 14.4V unregulated • 1x USB-C QC4+ input/output up to 65W • 1x USB-C PD3.0 output up to 36W • 1x USB-A output up to 15W • 2x Twist D-Tap outputs 14.4V unregulated • Maximum D-Tap load: 8.5A • Material: Aluminum / composite construction • Suitable for professional cinema and broadcast applications • Simultaneous camera and accessory power support Dimensions & Weight • Dimensions: 66 × 91 × 122 mm • Weight: 362 g

Vmicro to BP-U Adapter for Professional Camera Workflows The bebob Coco-V2BP-U is a highly flexible power adapter designed to integrate BP-U compatible cameras seamlessly into professional Vmicro battery workflows. Developed for modern production environments, the adapter enables cameras such as the Blackmagic PYXIS, Sony camcorders and the latest Sony Z300 to operate efficiently using professional micro V-Mount battery systems. The Coco-V2BP-U is particularly valuable for productions using mixed camera setups where unified power management is essential. Rental companies, broadcast environments and production crews benefit from standardized battery infrastructure, simplified logistics and significantly extended operating times during long shooting days. Its height-adjustable design ensures broad compatibility across different camera bodies and rigging configurations. This allows for easy integration into existing production setups without compromising ergonomics or accessibility. Beyond powering the camera itself, the adapter serves as a central power distribution hub for additional accessories. Multiple USB and Twist D-Tap outputs enable simultaneous operation of monitors, wireless transmitters, smartphones, tablets, follow focus systems and additional production equipment directly from the attached Vmicro battery. The robust aluminum and composite construction ensures durability while maintaining a compact and lightweight form factor suitable for handheld, shoulder-mounted and mobile production workflows. With modern USB-C PD and Quick Charge support, professional connectivity options and reliable unregulated 14.4V power delivery, the bebob Coco-V2BP-U offers a highly practical solution for integrating BP-U cameras into advanced Vmicro-based production environments. Features – bebob Coco-V2BP-U • Vmicro to BP-U adapter for Sony and Blackmagic cameras • Compatible with Blackmagic PYXIS and Sony camcorders • Ideal for rental houses and mixed camera productions • Height-adjustable design for improved compatibility • Supports professional Vmicro battery workflows • 2x Twist D-Tap outputs for accessory power • USB-C PD3.0 input/output connectivity • USB-C Quick Charge 4+ output up to 60W • Compact and lightweight production-ready construction • Simultaneous camera and accessory power distribution Mounts • micro V-Mount • BP-U Technical Specifications • Adapter type: Vmicro to BP-U • Operating voltage: 14.4V unregulated • 1x USB-C QC4+ input/output up to 65W • 1x USB-C PD3.0 output up to 36W • 1x USB-A output up to 15W • 2x Twist D-Tap outputs 14.4V unregulated • Maximum D-Tap load: 8.5A • Material: Aluminum / composite construction • Designed for Sony and Blackmagic camera systems • Professional accessory power distribution support Dimensions & Weight • Dimensions: 66 × 91 × 122 mm • Weight: 362 g