CSI Rentals in Williamsburg Bushwick area in Brooklyn New York opening June 2013
You Asked we listened, The popular fast growing art and photo neighborhood in north and east Williamsburg Brooklyn NY has become the home of many young professional photographers, movie makers and artists which brought a uplifted new look to the neighborhood with new restaurants, bars and clubs opening daily and every corner, many commercial sites are now occupied by state of the art photo studios and sound stages here comes CSI Rentals to fill in the one thing that was still missing in the area equipment rentals.
CSI Rentals has earned a sterling reputation at its NYC Location by serving the photo and video industry for the past 5 years with the latest gear is now adding an additional location in Williamsburg/Bushwick Brooklyn NY with a full stock of rental equipment for photo video and cinema shoots CSI Rentals Brooklyn will also feature a full stock of expendables needs for photo and video shoots including a full line of seamless paper, foam boards, gaffers tapes, gels etc.
CSI Rentals Brooklyn is located in the heart of Brooklyn’s art and photo industry just 1 block from the L train at its ground level store with convenient loading options, lots of parking space, truck drive in for easy load and unload and also offer Delivery and Pick up in Brooklyn and Manhattan.
CSI Rentals now offers One Way Rentals where you can pick up at one location and return to another at the same rate!
We look forward to serve you, stay tuned for our great grand opening event
The JEM Ball and JEM Tube series of products are hand-assembled and contain aircraft-grade aluminum precision machined from solid stock.
This product replaces the conventional paper lantern. The JEM Ball radiates a soft surround (360 degrees) lighting effect with fewer shadows than conventional lights. The JEM Ball’s sturdy construction makes it both durable and reliable.
The Jem ball is available in 22″ and 30″ sizes and is tungsten balanced with option to switch it to daylight by adding a Joker bug HMI Daylight tube
Rent the Jem ball light today and from here on this will be your way of lighting
Now At CSI Rentals NYC Like never B4
- Extremely fast recycling: 0.03-0.99s
- Unmatched flash duration 1/2,000s-1/25,000s.
- Huge (11 f-stops) power range (1-1,000Ws).
- Tough and Robust
- Exchangeable, high capacity LiFe (Li-Ion) battery.
- 220 full power flashes from a single battery.
- 45 minutes battery recharge with standard quick charger.
- 2 individual lamp head sockets with precise control in 0.1 f-stops.
- Integrated Profoto Air remote control and sync.
- Several compatible flash heads available.
- Up to 500W model light.
The Pro-B4 is by far the fastest battery flash on the market. But there is more to it. A closer look at Pro-B4 reveals the following:
1. Extremely short flash durations
With flash durations down to 1/25,000s, the Pro-B4 offers the shortest flash durations of any generator on the market. It is now possible to freeze motion in a way that yesterday’s photographers could only dream of.
2. Exceptionally fast recycling
The Pro-B4 is the fastest recycling battery generator on the market. At lower power settings it is able to fire up to 30 flashes per second, while the longest wait on full power is less than a second. In other words: you will never have to wait for the Pro-B4. Now how fast you can shoot depends only on your camera.
3. Outstanding reliability
The solid-cast aluminium chassis and the sturdy rubber frame ensure that the Pro-B4 can take a beating. All connection are covered with protective lids, helping to prevent moisture and dust from entering the generator.
4. Powerful inside and outside the studio
On-location, its performance rivals that of any mains-powered studio generator. In the studio it gets even better. The battery can fully recharge in less than 45 minutes and can be recharged while in use! This means that if the modelling light is used moderately, the pack can be used continuously.
5. Extraordinary power range and superb precision
The Pro-B4 offers a huge 11 f-stop power range with unrivaled stability in power output and color temperature. It has two independent outlets with individual and intuitive controls and displays.
6. Integrated Air radio sync and remote
The unique Air system is the fastest radio sync system in the world. Control the Pro-B4 from your camera, your computer or from the palm of your hand.
The New Sony PMW F5 CineAlta 4K for rental in New York city
The latest addition to the CSI Rentals rental inventory is the New Sony PMW F5 CineAlta 4K camera
For incredibly vivid HD, start with the 4K imager of the Sony F5. You’ll get superior, super-sampled pictures with noticeably higher contrast, rich color reproduction and greater clarity. This is the next generation of the incredibly popular F3 and offers robust built-in recording modes, all with vibrant 4:2:2 color. Irresistible options include the amazing precision of 16-bit linear RAW 2K/4K recording and high speed shooting at up to 120 fps without cropping
Super-sampling: Spectacular HD, 2K or 4K
Does a 4K camera make sense in an HD world? Perfect sense. With 8.9 megapixels (effective), Sony’s 4K image sensor enables a single camera to provide gorgeous, super-sampled HD and 2K while preparing you for the 4K future.
- Shoot, Record, Master and Distribute in stunning 4K. You’re ready for the more than 13,000 movie theaters with Sony Digital Cinema 4K projectors.
- Shoot, Record and Master in 4K. Distribute in 2K/HD. Derive your delivery format while preserving the original as a future-proof archive. Your master is ready for future 4K release.
- Shoot in 4K. Record, Master and Distribute in 2K/HD. Sony’s 4K sensor gives you a gorgeous, super-sampled HD picture with visibly superior texture, color reproduction, detail and high-frequency contrast that ordinary HD cameras cannot touch
- 4K or derived 2K RAW. Capture RAW at your choice of resolutions: the camera’s native 4K or beautiful, derived 2K. RAW recording preserves the greatest latitude for color correction and other post processes.
- Incredible 16-bit precision. By design, Sony’s 16-bit recording captures more tonal values than the human eye can differentiate. Sony RAW retains 16 times as many Red, Green and Blue gradations as 12-bit RAW and 64 times as many tones per channel as 10-bit recording. Sony 16-bit linear RAW is also the ideal point of entry into the 16-bit linear Academy Color Encoding System (ACES) workflow.
- Comprehensive production platform. More than an individual product, the AXS-R5 is the starting point for an efficient workflow. The AXS-R5 records onto sleek, optional AXSM™ memory cards, which are compatible with an affordable optional USB 3.0 reader, the AXS-CR1. Once on a PC, the RAW files can be screened using Sony’s free RAW Viewer software.
- Simultaneous RAW + Onboard SxS recording. Instead of requiring you to patch together a science project, Sony provides a coordinated “off-line, on-line” workflow with simultaneous recording to internal SxS cards and the optional AXS-R5 RAW recorder. For seamless conforming in post, you get matching time code, start frame, stop frame, file names and other metadata. The camera supports the following RAW + Onboard combinations:
- 4K/2K RAW + XAVC 2K*/HD
- 4K/2K RAW + MPEG-2 HD422
- The Sony F5 is uniquely designed to make economic sense today, with the features you’ll need to continue generating value for years to come. Instead of locking you into a single recording system, the camera opens the door to unprecedented versatility. Consider the choice of internal recording codecs. The camera’s 16-bit Linear RAW 4K output enables Sony’s optional AXS-R5 recorder to register every nuance of color, contrast and detail from the 4K image sensor—and even record a derived 2K RAW signal. Finally, Sony’s planned firmware upgrades are scheduled to bring you even more frame rates, more operating features and more recording options in the months and years to come.
- Cinematographers paint their images with light and shadow. So the ability to render tones from deepest shadows to brightest highlights is a crucial test of any digital camera. The F5 excels, with an impressive 14 stops of exposure latitude, extraordinary low-light sensitivity and extremely low noise in the blacks. The result? Graceful rendering of scene contrast, even in searing sunlight.
- Amazing OLED: optional DVF-EL100. Don’t let the small size fool you. This 0.7-inch* viewfinder has the incredible clarity of 1280 x 720 High Definition. And resolution is just the beginning. Thanks to OLED technology, you get superb brightness, contrast and response.
- The F5 is exceptionally small, light and modular, letting you build up the right configuration for each job—or each shot. For example, you can add the optional AXS-R5 RAW recorder whenever you need it. Or go with internal HD recording whenever size and weight are the highest priority. The time code/genlock connections and XLR audio inputs are built into two modules you can add or remove as needed. Small size is particularly welcome in stereoscopic 3D shooting. The chassis is only slightly wider than a typical PL mount prime lens, perfect for both mirror rigs and side-by-side configurations.
- When it comes to production, one recording mode emphatically does not fit all. That’s why the F5 gives you three useful recording formats. All are recorded internally, onto Sony’s established, affordable SxS media.
- The F5 is a next-generation camera, which will feature high-data-rate on-board XAVC 2K/HD recording at 120 fps with a free planned upgrade. This requires next-generation SxS recording media—Sony’s 64 and 128 GB* SxS PRO+ memory cards—and a next-generation USB card reader, the SBAC-US20.
- The camera offers vital connections, including four HD-SDI jacks, HDMI®, USB, DC IN connection, a removable XLR audio module and a removable time code/genlock module. The XLR inputs accept balanced analog signals, provide 48-Volt phantom power and will accept four channels of AES/EBU digital audio with an expected firmware upgrade.
Our Meet + Eat Canon Cinema Event was a great Success! Thanks to Canon Rep Patric Breheny & Andy Shipsides Cinema Specialist and the great crowd
The turn out was a great success, the food was delicious and Patric + Andy shared lots of their knowledge with the attendees
Displayed Demos included the latest Canon Cinema C100, C300, C500, 1DC as well as Canon Cinema prime and Cinema Zoom lenes lenses
Check out great accessories we offer for the Black Magic Cinema Camera at CSI Rentals
This cinema package is ready to shoot, Following is what it is included in this rig package and can also be customized additional accessories
Blackmagic Cinema Camera Wooden Shoulder Rig Premium Movcam MF-1 Mini Follow Focus Small HD 4.3″ DP4 Monitor + EVF Viewfinder Kit Chroszeil MatteBox Rod system Switronix Powerbase battery pack for Black Magic Cinema Zonitor Handheld Kit And 1 Free Cinema Prime Lens of your choice
Blackmagic Cinema Camera features an amazing 2.5K image sensor with a wide 13 stops of dynamic range for a true digital film camera. You get a built-in SSD recorder, popular open standard uncompressed RAW and compressed file formats, compatibility with quality EF or Passive Micro Four Thirds lenses, LCD touchscreen monitoring plus metadata entry, all packed into an exciting hand held design
Blackmagic Cinema Camera features a high resolution sensor with wide dynamic range so it’s perfect for independent film, television commercials and episodic television production. DaVinci Resolve software for Mac™ and Windows™ is included so you can work at the highest quality and get the best results.Blackmagic Cinema Camera is both affordable and a complete solution because it includes a built-in recorder and monitoring, so it’s perfect for displacing video-only cameras for work such as sporting events, weddings, music videos and more
Regular video cameras clip video so you are locked into images that look cheap. Blackmagic Cinema Camera eliminates this problem as it captures a super wide dynamic range of 13 stops into 12-bit DNG files, so your images look truly cinematic. This preserves detail in both shadows and highlights, and even handles indoor shots while keeping the details of any images captured through windows. This means you keep all sensor data so you can make creative decisions during DaVinci Resolve color grading
Building one of the finest cameras in the world requires attention to every detail. Blackmagic Cinema Camera’s premium quality design features a machined aluminum chassis, interchangeable optics, high resolution 2.5K sensor, 13 stops of dynamic range and 12-bit RAW uncompressed and compressed file formats! Every aspect of the image path has been totally optimized for quality, so this means you always get the quality you need for the most demanding work.
Blackmagic Cinema Camera is the first camera to feature built-in metadata entry so your files include information compatible with popular editing software. This dramatically speeds up the whole post production process! Entering metadata is easy. Simply tap the capacitive LCD touchscreen to display the slate where you can enter information such as shot number, search tags, scene number, timecode and more! You can even set shot number and other data to increment automatically
Blackmagic Cinema Camera features a built-in SSD recorder that allows 2.5K uncompressed CinemaDNG RAW 12-bit capture as well as Apple ProRes and Avid DNxHD compressed video formats. All file formats are open standard and used by NLE software so you get the only camera designed from the ground up to be part of a whole post production workflow! When you’ve finished shooting, simply connect the SSD to your computer and edit or color your shots straight from the disk
Rent the Black Magic Cinema camera today in New York at CSI Rentals with a large selection of accessories Camera Rigs, Field Monitors, On camera Mics and Led Lights
The Canon 1DC is now available for rental here at CSI!
This cinema camera from Canon brings a lot to the table in terms of DSLR video capability. With unprecedented 4K recording ability, Canon has once again established itself on top of the DSLR video world.
This camera in addition to its powerful video specification has all of the stills features from the top of the line 1DX including its extremely fast burst rate of 14fps (the only external physical differences between the two is the camera badge and the 1DC’s headphone jack replacing the PC-sync port on the 1DX).
For video the 1DC can immediately offer superior production value to other DSLRs on the market. With its 4K capability and Canon Log picture profile as well as 60 FPS video capture in full HD, the 1DC is a powerful tool. The 1DC is also perfect as a B-Cam for other 4K capable cameras such as the Red Scarlet. Combine those with the Canon cinema lenses and you have a kit ready for any production be it narrative, documentary, or otherwise.
Having powerful specifications, the 1DC is the perfect camera for combining video and stills work without compromise for the professional photographer/videographer.
The Canon C100 was announced as the little brother to the very successful C300 cinema camera. Expectations are high for this camera with its high quality QHD (Quad HD) image sensor, compact form factor and price tag a bit higher than its competitors in its class.
After removing the camera from the box I was surprised at how compact it was, it weighed maybe a little more than a large DSLR camera. After attaching all the included accessories the camera took on a much larger form factor, but not large enough to be discouraging. Included with the camera are a power supply/battery charger, a strap, a top handle with XLR inputs and audio controls, a thumb rest for when the side handle is not being used, a large rechargeable battery, and all the necessary power cables, manuals and software.
At first glance I could tell that Canon used up any real estate that they could in order to put as many useful controls and operational hardware on the main body of the camera as possible while keeping a compact form factor.
Unlike the C300 which has a LCD monitor/audio unit that can attach to the top of the camera, the C100 has an articulating monitor built in to the back of the camera much like a DSLR. The LCD can be flipped out of the way for storage and protection.
Behind the LCD there are rubberized playback controls for the camera’s media mode and display controls (these controls cannot be used while the LCD is closed). The playback buttons can be customized to be used for other functions while in the record mode. Also behind the LCD are the card slots to hold the recording media; in this case SD cards (class 4 or higher recommended for proper recording).
Unlike the C300 there is no battery door, allowing larger batteries like the BP-975 to be used (in order to use these batteries on the C300 the door must be removed).
The viewfinder is at the top of the camera and does not telescope or tilt like the one on the C300. The screen inside the viewfinder is very small and seems far away but it is high resolution.
On the right side of the camera are the I/O ports. The C100 has most of the standard ports for a camcorder which include a 3.5mm headphone output, 2.5mm remote control input, USB 2.0, HDMI, DC power input, and on the front a composite video output.
On the operator side of the camera are all the image controls. There are dedicated buttons for ISO, shutter speed, picture profiles, and white balance. There are also buttons for punch in, peaking, zebras, and waveforms. Thankfully, Canon has also implemented four ND filters on a rotating wheel. If you are using EF lenses there is a one-shot autofocus button (this button can be reprogrammed). The iris can also be manually adjusted using the jog wheel on the handgrip which also has image magnification and start/stop buttons. Additional start/stop buttons can be found on the top handle and near the lens mount on the front.
The “dumb side” of the camera has a LEMO port for the audio unit on the top handle and a port for the wireless file transmitter. There is also a screw in rosette for the side handle. This rosette has a special 3.5mm port to interface with the side handle controls.
On the top of the camera is a cold shoe mount with a 1/4 20” hole for the included handle/audio unit. The top handle has start/stop controls, XLR ports and controls and a shotgun microphone holder.
Internally the camera records 1080p at 30 and 24 frames per second (fps) for NTSC and 25 fps for PAL. The video is recorded to the now outdated AVCHD 1.0 spec at data rates from 13-24 Mbps in an 8-bit 4:2:0 color space. Canon is unfortunately behind in the times when it comes to internal recording on their cameras. This could be due to licensing issues (Sony and Panasonic are the companies behind the AVCHD codec) but canon already implements .MOV recording on their DSLRs and some even have an all I-frame option. There is also no 720p mode, so no 60 fps for slow motion (their DSLRs have this…) even though AVCHD can support 60fps in 1080p. Keep in mind that the compression can by bypassed using the HDMI port to record 8-bit 4:2:2 uncompressed footage to an external recorder like the Sound Deviced PIX-240.
Being designed specifically for professional video, the C100 has excellent ergonomics suited for that task. Fully built and with the right lenses, the camera can take on pretty much any task be it documentary or narrative work. When picking it up, the camera felt nice in the hands. Flipping the screen around so it faces up facilitates nice waist level shooting. Or if you articulate the handgrip you can comfortably use it at face level. Fully built with some larger or heavier lenses however, the C100 can feel rather front heavy and this should be considered when putting it down on a flat surface. This did not present a problem with hand-holding the camera as you should support larger lenses directly while pulling focus and moving the camera (or have a tripod or rig to make that easier).
Bringing it down to its most ‘barebones’ configuration, the C100 becomes very small and light. Great for run and gun shooting or inconspicuous videography. Although when you remove the handgrip, be aware that because of real estate issues on the camera Canon did not place a joystick or rotary encoder on the body itself (like the C300). This will prevent you from scrolling through the menu and from being able to change your exposure values (except for auto iris which could be useful in run and gun situations with frequent exposure changes). While this was frustrating at first, I found that I could reprogram the playback controls on the back of the camera (which by default only function in ‘media’ mode) to adjust those values but not to scroll through the menu. So if you need to use the camera this way, be sure to set up your camera menu settings before you shoot.
The components used to build the C100 are of a high quality, despite the plastic. The buttons are easy to press and have a positive click when pressed. The start/stop buttons are nicely damped and have a positive feel to them. Like all of their high end cameras the rotary encoder on the handgrip has a perfect balance of resistance in the clicks and comfort during use. The joystick feels slightly flimsy because it is small but will stand up to use and abuse.
One feature that the C100 has the the C300 does not is a built in microphone. For scratch audio it is more than sufficient but for anything more than that, use the XLR ports for external microphones. Even though the camera records internally to AVCHD, the audio can be recorded in 16bit 48KHz LPCM as opposed to the standard AC3 compression. With that specification, dual system sound is not required in most cases. Keep in mind that larger and heavier shotgun microphones will add to the front-heavy factor.
Probably one of the most important parts of considering which camera to use is the image quality. As seen with the C300, what is on paper does not always tell the whole story. Considering that the C100 has the same sensor as its bigger brothers the image coming out of the camera should be very nice. But there could be some issues. The low bit-rate AVCHD codec and the 8-bit color depth. So how does the camera do image quality wise in the real world? Let me tell you, you may be very surprised as to what you can get out of a 24Mbps AVCHD codec. While it is outdated, AVCHD is still an extremely efficient codec and combined with the wonderful Canon image sensor the quality in the images is delivered in spades- provided that you don’t push your post grade too hard. The dynamic range is maintained excellently, colors are rich (depending on your picture profile), and the image is very sharp with a lot of detail. One could easily cut between the C100 and the C300 if the picture profiles are matched, because the images are very much alike. But the C300 should be used for chroma key applications because of its better chroma subsampling (4:2:2). On the downside is the low bit-rate codec. AVCHD, as far as efficiency goes, holds onto detail extremely well despite the low data rate. But you should make sure that your exposure is set well. It is very easy to cause image artifacting through pushing the grade too far. One aspect of the image quality that never fails to impress though, is the low light capability. This camera can produce images at up to 20,000 ISO. Some other cameras can do that but cannot preserve the image detail, low noise level, and dynamic range that the C100 can at those higher ISO levels.
-Compared to HDSLR cameras-
The big question that people want answered is “What do I get for the extra money that I would spend on the C100 over a DSLR?” And the answer is a resounding “A lot”. Comparing image quality to older DSLR cameras, there are no aliasing artifacts due to subpar downsampling from the sensor. The amount of detail preserved in the camera itself is also massively improved over DSLRs. This is especially true in low light situations where most DSLRs would be pretty much unusable after about 3200 ISO while the C100 maintains a usable image throughout its ISO range. The dynamic range is significantly better than Canon’s other DSLRs when it comes to video and the highlight rolloff is much more controlled.
Ergonomically speaking, there is no comparison. The C100 delivers far superior ergonomics to DSLRs. The handgrip is comfortable and secure and offers a more secure grip on the camera with the thick, comfy, adjustable hand strap. You can easily and conveniently hold this camera steady for an extended period of time without a rig.
Most of the essential camera functions are available without having to dig through menus. Professional monitoring functions are available. Focus peaking, waveforms, punch-in, and histograms are all available while recording. XLR inputs are built in with audio adjustments and monitoring easily accessible, no bulky external preamps needed. Having ND filters built in is a huge convenience and time saver.
Although this is less of a problem with newer DSLRs, there are no cooling issues with the C100, the parts are constantly cooled by Canon’s innovative cooling system. And one of the biggest advantages, the battery life is amazing. No more having to change batteries every 45 minutes, Canon’s massive video batteries can last hours under the most intensive circumstances.
Many of these advantages over a DSLR come from the fact that this camera is not a DSLR. It does not need a mirror box for an optical viewfinder and buttons do not need to be rearranged for video use. There is more room inside and outside the camera to put necessary (and sometimes large) components while making sure they get cooled properly. This camera was designed from the ground up for video, not redesigned for an additional feature.
So do the specs tell the whole story with this camera. Not really. Like the C300, the C100 produces an image worth more than the specs speak of. The image sensor inside the camera does an excellent job with dynamic range and image quality, while despite the low bit-rate, image detail is maintained very well. If you are making a documentary or a super low budget narrative, the C100 is definitely worth a look.
Here at CSI we offer 2 savings packages which combine the C100 with some suggested lenses that will work to help you realize your vision. So be sure to check them out on our website for the latest prices or come by and check them out at our Manhattan location or give us a call at 212-243-7368.
Full-Frame Capture With DIGIC 5+ Power.
Newly designed 20.2 Megapixel Full-Frame CMOS sensor
The EOS 6D features a newly developed Canon Full-Frame 20.2 Megapixel CMOS sensor for high resolution, perfectly detailed images delivered with incredible speed and performance. A 35.8mm x 23.9mm sensor captures images of 5472 x 3648 pixels with a pixel size of 6.55 µm square for fantastic detail and a superior signal-to-noise ratio, resulting in great images from the start. With no conversion factor, the EOS 6D’s sensor ensures that lenses mounted on the camera will deliver the same angle of view they would on a traditional 35mm camera. Working in tandem with the EOS 6D’s DIGIC 5+ Image Processor, the sensor containing a new photodiode structure delivers ISO sensitivities of 100-25600 (with expanded sensitivities of L: 50, H1: 51200, H2: 102400) and can shoot at up to 4.5 frames per second. Wrapped up in the EOS 6D’s compact and lightweight body, photography with a full-frame sensor has never been so easy and so portable.
14-bit A/D conversion, wide range ISO setting 100-25600 (L: 50, H1: 51200, H2: 102400)
The EOS 6D offers 14-bit signal processing for excellent image gradation, delivers high standard and expanded ISOs, and a score of new options to enhance shooting in varied and fast-changing lighting situations. The EOS 6D has a standard range of ISO 100-25600 but thanks to the improved signal-to-noise ratio of the newly designed sensor and powerful noise reduction, the camera can shoot at expanded sensitivities down to ISO 50 (L) and up to ISO 51200 (H1), and even expand to ISO 102400 (H2)! Beyond the obvious advantages of its wide ISO range, the EOS 6D has automatic ISO settings, which can be found on the dedicated ISO menu. Minimum and maximum ISO settings can be specified, as can a user-defined range, plus full auto and manual.
DIGIC 5+ Image Processor for enhanced noise reduction and exceptional processing speed
For a whole new level of performance, the EOS 6D uses a DIGIC 5+ Image Processor. Working with two 4-channel A/D converter front-end processing circuits, and delivering speeds of up to 4.5 fps (RAW + JPEG), the DIGIC 5+ Image Processor improves data processing performance and features new algorithms that promote greater noise reduction at higher ISOs. In addition to conventional image processing functions, the DIGIC 5+ Image Processor offers real-time compensation for chromatic aberration in both still and motion images. With the power of this processor, speed improvements are noticeable from the instant the camera is turned on and the stunning results speak for themselves.
Rent the new Canon EOS 6D DSLR HD Camera at CSI Rentals New York City
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