The SmallHD 502 monitor, installed in the Nauticam NA-502 waterproof housing, offers an extremely sharp Full HD image thanks to its 5″ high-density pixel screen. The Nauticam housing, designed to withstand depths of up to 100 m, faithfully replicates the monitor's controls for a perfect seal. This robust and versatile package is an ideal solution for professional underwater video. It features SDI and HDMI input and output.

The Deep Ocean 2.0 hybrid wing has a doughnut shape with internal elastic bands and a single inflator located at the top left, connected by a corrugated hose to a fixed connector. Its robust construction combines a TPU-laminated 1000 denier nylon outer bladder, an ultrasonically welded polyurethane inner bladder, and reinforced eyelets to prevent wear points. Thanks to its adjustable internal bungee cords, it offers adjustable buoyancy from 45 lb (20 kg) to 60 lb (27 kg).

The HydroHead from HydroFlex is a waterproof motorized head that allows precise control of a camera's pan and tilt movements in underwater or wet environments. Compact and hydrodynamic, it ensures smooth movement while withstanding the harsh conditions encountered underwater. Its robust design and reliable electronics make it the tool of choice for professional underwater photography.

This is a system of PVC tubes designed to submerge and protect Astera Titan Tube lamps in wet or aquatic environments. Each tube is made from high-quality transparent or translucent PVC, ensuring a perfect seal while allowing light to pass through evenly and without distortion.

The Nitescuba NSV80 is a powerful COB LED underwater light designed for underwater photography and videography. With 8000 lumens and a high CRI of 95, it provides intense, uniform lighting, revealing every detail and natural color in the depths. Its wide beam angle allows you to capture large scenes without shadows, while COB technology minimizes glare and ensures soft, even light.

The AQUA 25 is a waterproof underwater speaker designed to play music or messages directly underwater, whether in a pool, spa, or any other body of water. With a power output of 30W under 8Ω and a sound pressure level of up to 118dB, it delivers clear, audible sound up to a distance of approximately 12m. Made from chlorine-resistant ABS, it can be submerged or mounted on the wall of a swimming pool, ensuring stable, high-quality sound reproduction.

Our waterproof SDI cable is specially designed to reliably carry an SDI signal, even in wet or water-exposed environments. We offer a version compatible with the Splashbag SCU-30, as well as a reinforced model designed for the Subspace MK-3000 Housing, allowing the camera to be connected to a monitor or external control system while maintaining complete waterproofing.

The LCS waterproof cable is a connection cable designed to transmit camera signals while ensuring complete waterproofing in wet or water-exposed environments. It is available in the Splashbag SCU-30 version, designed for surface filming in the rain or wet conditions, and in the Subspace MK-3000 Housing version, intended for more robust configurations requiring enhanced protection.

Our waterproof SDI reel is specially designed to reliably transmit an SDI signal, even in wet or water-exposed environments. It is exclusively compatible with the Ikelite A7SIII housing, allowing you to connect the camera to a monitor or external control system while ensuring a perfect seal. This cable ensures stable, high-quality video transmission, whether for use on the surface or underwater.

The Sachtler FlowTech 75 with ACE XL head is a professional carbon fiber tripod that combines lightness, robustness, and quick deployment. Its FlowTech legs allow for ultra-fast opening and closing, while the ACE XL fluid head offers precise balancing and smooth pan/tilt movements. Suitable for light to medium cinema cameras, it supports loads of up to 18 lbs and offers an extended tilt range for high or low shots.

The DJI Ronin-2 is an ultra-powerful professional 3-axis stabilizer designed for heavy cinema cameras and demanding productions, whether on a vehicle, crane, aerial platform, or steadicam. Thanks to high-torque motors and advanced stabilization algorithms, it ensures exceptionally stable images, even in conditions of intense movement. It supports a very high maximum payload: up to 13.6 kg (30 lb).

The DJI Ronin RS2 is an ultra-lightweight 3-axis stabilizer designed for professional and mirrorless cameras. Made of carbon fiber, it combines robustness with low weight (approximately 1.07 kg according to some sources). It offers a maximum payload of approximately 4.5 kg.

The Tilta Advanced Ring Grip is a ring grip designed for the DJI Ronin RS2 stabilizer (compatible with RS3 Pro and RS4 Pro). It improves stability by providing multiple contact points around the gimbal, allowing for smoother and more comfortable handling, especially for low-angle or high-angle shots.

The Easyrig Vario 5 G2 is a body support system designed to relieve the weight of a heavy camera during handheld shooting by distributing the load across the chest and hips. It is particularly suitable for operators using gimbals or stabilizers, supporting camera rigs weighing between 5 and 17 kg for long periods of time.

The Proaim Airwave Arm is an isolator arm designed to reduce vibrations when shooting from moving platforms (vehicles, drones, mobile platforms). Made from professional-grade aluminum, it combines lightness and robustness and can support loads from 5 to 15 kg.

The Adicam MAX+ dolly is a professional rolling dolly designed for demanding photo and video productions. Its reinforced aluminum structure combines lightness and rigidity while offering high durability, and it can support loads of up to 250 kg, allowing heavy cameras, fluid heads, monitors, computers, and other accessories to be transported safely.

The Proaim Polaris is a portable dolly designed to provide smooth cinematic movements while remaining compact and transportable. Its high-quality machined aluminum platform is mounted on 16 high-density polyurethane wheels with stainless steel ball bearings, ensuring quiet, squeak-free rolling, even on curved tracks.

The OTS Guardian + Buddy Phone D2 system combines the OTS Guardian full-face mask with a Buddy Phone D2 underwater transceiver, enabling clear voice communication between divers or between divers and the surface. The Buddy Phone D2 uses ultrasonic transmission (USB) with a DSP-processed digital signal, ensuring high speech clarity even in noisy environments.

Le système “OTS Guardian + Buddy Phone D2” combine le masque facial complet OTS Guardian avec un émetteur‑récepteur sous‑marin Buddy Phone D2, permettant des communications vocales claires entre plongeurs ou entre plongeur et surface. Le Buddy Phone D2 utilise une transmission ultrasonique (USB) avec un signal numérique traité par DSP, ce qui assure une grande clarté de la parole même dans des environnements bruyants.

The Plastimo SX-400+ is a portable marine VHF radio designed for navigation. It is waterproof and buoyant (IPX7) and offers 5 W transmission power for reliable communications even at a distance.

The UltraLITE HD headset from Eartec is a full-duplex wireless intercom system that allows up to five users to communicate simultaneously without a push-to-talk button, thanks to DECT 6.0 technology at 1.9 GHz, which ensures stable, interference-free transmission.

The Motorola walkie-talkie is a rugged and reliable portable radio designed to provide clear and stable communications on film sets, at events, and in demanding professional environments.

The SmallHD Cine 24 is a 24.1" professional production monitor with a 4K UHD (3840 × 2160) IPS panel and 1350 nits, offering very fine image quality and good color rendering. It is designed for demanding shoots, particularly in “director's villages” or DIT, thanks to its large size and high fidelity.

The SmallHD Cine 13 is a 13.3-inch professional production monitor with a bright 4K (3840 × 2160) IPS panel—over 1500 nits—offering excellent daylight readability and accurate image reproduction ideal for on-set monitoring.

The TVLogic F-5A is a compact and rugged professional field monitor featuring a 5.5-inch Full HD IPS display (1920 × 1080) with 500 nits brightness for accurate, sharp images that are perfectly suited for shooting in a variety of conditions.

The SmallHD Focus OLED is a 5.5-inch touchscreen monitor with a Full HD (1920 × 1080) OLED panel offering 350 nits of brightness and a contrast ratio of approximately 60,000:1, delivering deep blacks, rich colors, and excellent image accuracy for close-up monitoring.

The SmallHD 703 UltraBright is a professional 7" field monitor equipped with an extremely bright LTPS/IPS HDR screen (2,200 to 2,500 nits), offering excellent readability even in direct sunlight. With Full HD resolution (1920 × 1080), 10-bit display, and a density of approximately 323 ppi, it delivers a highly accurate image, ideal for critical monitoring on film sets.

The SmallHD Indie 7 is a compact 7" (IPS, 1920 × 1200) touchscreen monitor with high brightness (1000 cd/m²), designed for use directly on the camera. Thanks to its optional Teradek Bolt 4K RX module, which attaches to the back of the monitor, it can receive a wireless video signal up to 4K 30 fps from any Bolt 4K transmitter, with a range of approximately 750 ft (228 m) line of sight, providing a robust and seamlessly integrated monitoring solution.

The Teradek Bolt 6 LT 750 TX/RX is a high-end wireless video transmission system designed for film and TV productions, utilizing the 6 GHz band—less congested than 5 GHz—to ensure a stable, clean image free from RF interference. It offers zero-latency HD transmission up to 750 ft (approx. 228 m) line of sight, ensuring reliable monitoring for film crews even in the most congested wireless environments.

The Teradek Bolt 500 is a highly professional wireless video system designed to transmit HD signals with very low latency. It consists of a transmitter (TX) and a receiver (RX), allowing video from the camera to be sent to monitors or control devices (focus, director, etc.) with near-zero delay. Its line-of-sight range is up to 500 feet (~150 m).

The Sound Devices / Video Devices PIX 240i is a portable video monitor/recorder that is highly regarded in filmmaking and field recording. It is a video recorder in ProRes (Apple) or DNxHD (Avid) format, capable of recording in 4:4:4 12-bit via 3G-SDI, for very high color fidelity.

The ARRI Hi-5 is the latest control unit for ARRI lens motors, enabling precise control of focus, iris, and zoom, either wired or wireless. Compact and ergonomic, it features an intuitive display and controls for reliable use on set, compatible with ARRI LBUS systems and radio modules.

The ARRI WCU-4 is a comprehensive wireless control unit designed to control up to three axes (focus, iris, and zoom) on lens motors. It features a 3" screen that is readable even in bright sunlight, a large backlit focus knob with adjustable friction, and vibrating markers that provide haptic feedback when a mark is reached.

ARRI CForce motors are designed to precisely control the focus, iris, or zoom of cinema lenses. The CForce Mini RF incorporates an ARRI radio module, enabling control without an external receiver (up to 14 radio channels) and transmitting lens metadata to control units such as the Hi‑5 and WCU‑4.

The Tilta Nucleus-M is a wireless lens control system (3 channels: focus, iris, zoom), combining a FIZ unit, handles, and motors. It operates on 2.4 GHz with a range of up to approximately 300 m.

The ARRI UDM-1 (Ultrasonic Distance Measure) is an ultrasonic distance measurement device. It measures the distance between the sensor plane and a subject and displays this measurement on a transflective display unit.

The ARRI FF-4 is a compact and robust studio-cinema follow-focus designed by ARRI for professional filmmaking. It has a 1:2 drive ratio, making it an excellent choice for cinema lenses, and is compatible with 15 mm or 19 mm support bars, depending on the adapter used.

The Metabones EF → PL is a precision adapter that allows Canon EF lenses to be mounted on cameras equipped with PL mounts. Designed for film productions, it ensures a secure and stable lock while minimizing internal reflections thanks to an internal flocked coating.

KipperTie Revolva RF/PL est un adaptateur haut de gamme RF → PL combiné à un système ND rotatif intégré, conçu pour les caméras RED (comme la Komodo ou la V‑Raptor) à monture RF. Il accepte des cartouches Revolva à changement rapide avec quatre positions de filtre (ND ou diffusion), offrant ainsi une solution optique de très haute qualité directement sur la monture.

The Canon Drop-In Filter Mount Adapter EF → RF with Variable ND offers an integrated solution for videographers and photographers: it allows Canon EF or EF-S lenses to be mounted on an RF mount camera body, while providing a variable ND filter to control exposure without changing front filters.

The Metabones EF → RF Speed Booster ULTRA 0.71× is a high-end optical adapter designed to mount Canon EF lenses on RF mount cameras while reducing the zoom factor. Thanks to this “focal reducer,” lenses become 0.71× “wider” and the maximum aperture gains one stop.

The SmallRig shoulder stock is designed to stabilize cameras during handheld shooting, offering optimal comfort thanks to an ergonomic pad and modular attachment points for bars and accessories.

The Bebob 4-channel charger (VS4) can charge up to four V-Mount batteries simultaneously, with a charging current of 2.5 A per channel (16.8 V), and features a Powerbase function on its 4-pin XLR output (16.5 V / 10 A) to power accessories while charging. Bebob V150Wh V-Mount batteries offer a capacity of approximately 143Wh (9.9Ah), weigh approximately 820g, have a maximum current of 16A, and feature status LEDs, Twist D-Tap, and USB, while the V98Wh V-Mount offers 98Wh, a good compromise between battery life and weight.

The Blackmagic Micro Converter HDMI to 3G-SDI is an ultra-compact converter designed to connect HDMI sources (cameras, computers) to professional SDI equipment. It features one HDMI Type A input and two 3G-SDI outputs, level A or B, with built-in reclocking to ensure a stable signal over long distances.

The Angénieux EZ‑2 is a modular and compact cinema zoom lens designed to easily switch between Super 35 (15‑40 mm, T2) and Full Frame / VistaVision (22‑60 mm, T3) formats thanks to its interchangeable rear optical system. Its mechanism remains smooth and ergonomic in both configurations, while its rendering remains neutral and cinematic, with balanced colors and minimal distortion.

The Angenieux EZ‑1 30‑90 mm / 45‑135 mm is a lightweight, compact modular cinema zoom lens. It delivers neutral, cinematic rendering with consistent colors and minimal distortion. It features a fast aperture (T2 in S35, T3 in Full Frame), an internal mechanism (focus and zoom remain constant), and a design that is both robust and easy to handle.

The Zoom DZO Catta Ace series offers affordable, compact, and lightweight cinema zooms with smooth mechanics. Their neutral and natural rendering makes them reliable and accessible lenses for all productions.

The ARRI Alura 18-80 is a cinema zoom lens with a practical size and robust construction. Its smooth mechanics and clear, precise rendering make it a reliable and versatile lens for all productions.

The Angénieux Optimo DP 16-42 mm and 30-80 mm are compact, high-performance cinema zooms designed for Super 35 digital production. Both feature a constant T2.8 aperture, precise internal focusing, and a uniform front diameter, ensuring high ergonomic consistency.

The Fujinon 18-55 mm and 50-135 mm lenses offer a compact size and smooth mechanics, with sharp and precise rendering. These reliable cinema zooms combine versatility and ergonomics, ideal for lightweight productions or modular configurations.

ARRI Ultra Primes are characterized by their solid construction and compact size, offering reliable and smooth mechanics. Their clear and precise rendering makes them versatile lenses that are easy to integrate into production. The series covers a wide range of focal lengths: 16 mm, 20 mm, 24 mm, 32 mm, 40 mm, 50 mm, 65 mm, 85 mm, 100 mm, and 135 mm, allowing for great versatility on all types of shoots.

Orion anamorphic lenses are distinguished by their generous size and robust construction, offering ample internal mechanical space and a comfortable grip. Their all-metal design and large front diameter facilitate integration into professional setups, while ensuring a distinctive anamorphic aesthetic with characteristic flares and oval bokeh. Our series covers focal lengths of 40 mm, 65 mm, and 100 mm and uses a PL mount.

Les Canon V35 se distinguent par leur construction compacte et robuste et leur mécanique fluide. Leur rendu neutre et classique, associé à un gabarit pratique, en fait des optiques fiables et polyvalentes pour le cinéma. La série couvre une gamme de focales de 14 mm, 20 mm, 24 mm, 28 mm, 35 mm, 50 mm, 75 mm et 100 mm et utilise une monture PL, assurant compatibilité et stabilité sur les rigs professionnels.

The Cooke SP3 lenses offer robust construction and careful ergonomics, with the warm, cinematic look typical of Cooke. Their consistent size and precise mechanics make them reliable and easy to use on all types of shoots. The series covers a range of focal lengths from 18mm, 25mm, 32mm, 50mm, 75mm, to 100mm and uses an E-mount or RF mount, ensuring compatibility and stability on professional rigs.

The Canon FD cinema lenses offer a compact design and modernized mechanics, while retaining the classic, warm look of vintage FD lenses. Their redesigned body ensures stable ergonomics and is suitable for cinema use. The series covers a range of focal lengths including 14mm, 20mm, 24mm, 28mm, 35mm, 55mm, 85mm, 100mm, and 135mm, and uses a PL mount, ensuring compatibility and stability on professional rigs.

The redesigned Leica R cinema lenses offer a compact size and modernized mechanics, while retaining the organic and textured rendering typical of vintage Leica lenses. Their redesigned body ensures stable ergonomics suited to cinema use. The series covers a range of focal lengths from 19 mm, 24 mm, 28 mm, 35 mm, 50 mm, 85 mm, and 100 mm and uses a PL mount, ensuring compatibility and stability on professional rigs.

Sigma FF High Speed lenses are an economical and high-performance solution, offering solid construction, a large aperture, and modern rendering. Their consistent size and excellent value for money make them reliable and accessible lenses for many productions. The series covers focal lengths of 14 mm, 20 mm, 24 mm, 35 mm, 40 mm, 50 mm, 65 mm, 85 mm, 105 mm, and 135 mm and uses a PL mount.

The Zeiss CP.2 lenses offer a compact and versatile design, renowned for its robustness and smooth mechanics. With their modular design and clean, neutral rendering, they are lightweight and reliable lenses. The series covers focal lengths of 15 mm, 18 mm, 21 mm, 25 mm, 28 mm, 35 mm, 50 mm, 85 mm, and 100 mm and uses a PL mount.

The Laowa 24 mm Probe lenses are very special: an ultra-wide-angle macro lens with a tubular design, capable of switching from extreme close-ups (2:1 macro) to infinity, with a neutral but ultra-immersive “bug-eye” rendering. Available with a Canon EF mount.

The LAOWA 9mm Zero-D is an ultra-wide-angle lens with minimal distortion, designed to deliver neutral and accurate rendering. It stands out for its compact and lightweight construction, ideal for a variety of configurations. This lens is available with an RF mount.

The MK3000 is a high-precision multi-camera housing designed for the most demanding
underwater shoots. Compatible with ARRI, RED, and SONY cameras, it offers reliability, maneuverability, and image quality.
aussi bien en studio qu’en milieu naturel.

The RED V-RAPTOR X 8K VV is a full-frame 8K camera that combines power, speed, and versatility. Featuring RED's Vista Vision CMOS sensor, it offers extended dynamic range, high frame rates, and a flexible RAW workflow, ensuring outstanding image quality for the most ambitious film, commercial, or documentary productions.

The ARRI ALEXA 35 is a new-generation Super 35 camera offering extended dynamic range and unmatched color reproduction. With its 4.6K HDR sensor, new ARRI REVEAL profiles, and high sensitivity in low light, it combines technical precision, flexibility, and cinematic rendering, making it perfectly suited to the most demanding productions.

The ARRI Mini LF is a compact large-format camera offering exceptional cinematic image quality. With its ALEV III sensor, motorized ND filters, and ARRIRAW and ProRes recording options, it combines maneuverability, versatility, and precision, making it ideal for demanding shoots in the studio or on location.

The Freefly Ember S5K is an ultra-compact and lightweight (≈800 g) Super 35 camera designed for high-speed capture. It offers up to 5K at 600 fps and 4K at 800 fps with a Gpixel S35 sensor with global shutter. Recording directly to a high-endurance internal SSD (pSLC), it guarantees flexibility, robustness, and fast workflow—ideal for drones, gimbals, or highly dynamic projects.

underwater Sony VENICE  is a 6K full-frame cinema camera with a 36 × 24 mm full-frame sensor. Thanks to its wide dynamic range of 15+ stops. With its dual ISO base (500/2500) and internal motorized ND filters, it delivers a very generous and refined image, perfectly suited to high-end cinema productions.

The RED KOMODO 6K is a compact, lightweight camera designed to deliver cinema-quality images in an ultra-portable format. Its Super 35 6K sensor, global shutter, and REDCODE RAW workflow ensure accurate, dynamic, and stable images, ideal for mobile shoots, agile productions, and lightweight setups.

The Sony BURANO is an 8.6K full-frame camera that combines compactness with cinema-quality performance. Its Exmor RS sensor, dual ISO base, and electronic variable ND filter enable precise and flexible rendering, ideal for solo shoots, agile productions, or demanding multi-camera setups.

The ARRI ALEXA Mini is a compact and versatile camera renowned for its iconic cinematic look. Equipped with the ALEV III sensor and compatible with ProRes and ARRIRAW, it delivers a highly refined image while remaining lightweight and easy to handle, ideal for shooting with gimbals, drones, or demanding mobile setups.

The Sony FX3 is a compact full-frame camera designed for agile creators and productions. With its Exmor R sensor, wide dynamic range, and cinema features such as 4K 120 fps recording and precise autofocus, it combines portability, performance, and professional image quality.

The Sony FX6 is a compact full-frame cinema camera, ideal for mobile shoots and demanding productions. Its Exmor R sensor, wide 15-stop dynamic range, and fast autofocus deliver precise, cinematic image rendering, while ensuring maneuverability and flexibility on set.

The Sony FX9 is a full-frame 6K cinema camera offering great flexibility and professional image rendering. Its Exmor R sensor, wide dynamic range of 15 stops, and advanced autofocus enable precise and smooth shooting, whether for documentaries, commercials, or demanding narrative productions.

Scubacam's SCU-30 is their largest model, originally designed to accommodate the ARRI ALEXA. It is highly
prized for its generous internal space, which allows for the integration of more modern and bulky cameras, mounted
in imposing configurations such as the ARRI ALEXA 35, the ALEXA Mini or Mini LF, the RED V-Raptor XL,
or the Sony Venice 2.

The Sony A7S III is a more affordable full-frame camera offering similar quality to the FX3. Its Exmor R sensor, wide dynamic range, and 4K 120 fps recording make it a compact and versatile solution for solo shoots, agile productions, or creators on a budget.

Equipped with an 8-inch dome and a remote SmallHD screen for sending video signals to the surface.
The housing can accommodate a wide range of E-mount lenses. It is the perfect configuration for obtaining a professional image
while remaining lightweight.

The Blackmagic Pocket Cinema Camera 6K G2 is a compact Super 35 camera offering 6K resolution (6144 × 3456), 13 stops of dynamic range, and dual native ISO (400/3200). It features a tiltable touchscreen, Canon EF mount, mini-XLR inputs, and direct recording to USB-C drives for a professional workflow, while remaining highly accessible for mobile shoots or independent productions.

Equipped with a 6-inch glass dome, it is an affordable and perfectly maneuverable housing. Specially designed
for the Sony A7SIII, it can accommodate short or long focal length lenses thanks to various extensions.
Ideal for photography or filming requiring lightweight production equipment.

We can supply HydroFlex tungsten floodlights, designed to meet a variety of industrial and technical needs. To find out the technical specifications of the available models and choose the solution best suited to your application, please contact us. We will be able to provide you with all the information you need to make an informed choice.

We can supply HydroFlex HMI floodlights, designed to meet a variety of industrial and technical needs. To find out the technical specifications of the available models and choose the solution best suited to your application, please contact us. We will be able to provide you with all the information you need to make an informed choice.

Abracam offers an ultra-lightweight “Clip-On” matte box, designed for shooting with gimbals, steadycams, or lightweight rigs. Depending on the version, it can hold up to three 4 × 5.65″ (or 4 × 4″) filters as well as a 114 mm circular filter (e.g., a polarizing filter), controlled via a rubber wheel.

The ARRI LMB 4×5 is an ultra-modular, lightweight matte box designed for film productions. It accepts filters in 4 × 5.65″ or 4 × 4″ formats. The donut used between the matte box and the lens is universal: it can be adapted to lens diameters ranging from 62 to 143 mm.

The SmallRig Mini Matte Box Lite is an ultra-lightweight matte box (108 g). It controls stray light and reflections thanks to its compact design made of carbon fiber, aluminum, and plastic. It can accommodate 4 × 5.65″ (or 4 × 4″) plug-in filters with a thickness of 4 mm, as well as circular filters (CPL, ND, etc.) up to a diameter of 92.5 mm.

L’ARRI Rota Pola Frame (4×5,65″) est un cadre de filtre avec polariseur circulaire intégré, conçu pour les matte‑boxes ARRI (LMB‑5, LMB‑15, LMB‑25, etc.). Le verre polarisant, de type “water‑white”, limite les reflets et l’éblouissement (sur des surfaces non métalliques), tout en augmentant la saturation des ciels et du feuillage.

The Schneider Circular True-Pol 4×5.65″ (or more generally Schneider Kreuznach True-Pol filters) are high-end polarizers designed for cinema. They use high-clarity “water-white” optical glass with an advanced polarizing film.

The Tiffen 4 × 5.65″ Neutral Density (ND) filter is a neutral density filter designed to darken the entire image without altering colors. Thanks to ColorCore technology, the filter is manufactured by laminating high-precision optical glass, ensuring rigorous flatness.

Diopters at Schneider-Kreuznach are optical elements that reduce the minimum focusing distance of a lens.

The Tiffen Glimmerglass 82 mm is a diffusion filter specifically designed to soften highlights and reflections while maintaining an overall sharpness. It creates a soft halo around light sources, producing a very subtle “glow” effect, while slightly reducing contrast, particularly in shadow areas.

The Tiffen Soft FX 4×5.6 filter is a diffusion filter that uses a pattern of tiny micro-lenses spread across its surface to soften the image in a very controlled way. It attenuates small details such as wrinkles or skin imperfections without completely blurring important areas—contours remain sharp, but texture becomes softer.

The Schneider Hollywood Black Magic 4×5,6 est un filtre de diffusion qui combine des micro‑lentilles (Micro‑Lenslets™) et des particules de carbone pour générer un halo doux et régulier sur les hautes lumières, tout en préservant des noirs profonds et des couleurs riches.

The Tiffen Black Pro-Mist 4×5.6 filter is a diffusion filter designed to soften highlights while preserving image contrast. It reduces excessive sharpness, particularly in shadow areas, by slightly brightening them without “burning” them, and creates a slight halo around light sources, giving a soft, almost pearlescent effect.

Sony FE 16-35mm F2.8 GM II: This wide-angle zoom lens is extremely compact and lightweight for its range, with very high resolution and superb bokeh. It uses the Sony E-mount and covers the 16-35mm focal range with a constant F2.8 aperture.

The Sigma 14-24mm F2.8 DG DN Art is a high-performance ultra-wide-angle lens with sharp, detailed rendering and a dust- and splash-resistant construction. The focal length ranges from 14 to 24mm, and this lens is available with an EF mount.

The Sigma 24-70mm F2.8 DG DN Art with Sony E-mount is a versatile, bright (constant F2.8) zoom lens that is well balanced for professional video or photography. The focal range is 24-70mm, allowing for moderate wide angle to short telephoto, and the mount is Sony E (full frame/FE).

The Sigma 24-105mm F4 DG OS HSM Art is a versatile and stylish zoom lens from the Art line. It covers the 24-105mm range on Canon EF mounts.

Nikon Ai-S lenses offer a very distinctive and organic rendering, with the “filmy” textures typical of older lenses. The series covers focal lengths of 20 mm, 24 mm, 28 mm, 35 mm, 50 mm, 85 mm, 105 mm, and 180 mm and uses a PL mount.

Zeiss ZE lenses are distinguished by their robust and compact construction and their clean, neutral rendering, faithful to Zeiss quality. The series covers focal lengths of 35 mm, 50 mm, and 85 mm and uses an EF mount.

We can supply you with HydroFlo kino tubes, designed to meet a variety of industrial and technical needs. To find out the technical specifications of the available models and select the solution best suited to your application, please contact us. We will be happy to provide you with all the information you need to make an informed choice.

This is a system of PVC tubes designed to submerge and protect Astera Titan Tube lamps in wet or aquatic environments. Each tube is made from high-quality transparent or translucent PVC, ensuring a perfect seal while allowing light to pass through evenly and without distortion.