It goes without saying that at The Camera Department, we encounter a lot of cameras. Our long standing perspective has been that cameras are tools, and we aim to equip our clients with the best tools for their jobs. Not too long ago the divide of quality was between film and digital. Now in the digital age we have found just about every camera will give you an incredible image. There is no shortage of high quality cameras, so much so, that the choices we make as cinematographers can sometimes seem arbitrary when it comes to picking a camera body. Obviously it’s still a big consideration, but comparing the latest from Arri, Sony, and Red can seem like a less critical choice than it once did. If the only tool you have is a hammer, everything tends to look like a nail. The Law of the Instrument.
Read MoreCinematography Masterclass - 2026
Cinematography Masterclass
We were very fortunate to host our first cinematography masterclass this past weekend at our Cincinnati location. This was something we had long wanted to do, and frankly, we’re still reeling from how great of an event it was.
First and foremost we want to extend our thanks to the attendees for coming to the class. We hope you had as great a time as we did.
We were lucky enough to have cinematographer Juanmi Azpiroz, AEC and gaffer extraordinaire Russ Faust share their knowledge with us. Over three days, they broke down their workflows, lighting philosophy, and on-set decision-making, offering a rare look into a cinematography process few get to witness.
A special thanks to our sponsors, Midwest Grip & Lighting, Sony, and Film Cincinnati who helped make the event possible.
We’re already talking about the next one, but for now, we’ll leave it there and share a few photos from the weekend.
Arri Alexa 35 Xtreme
Arri Alexa 35 xtreme
Arri has announced an exciting upgrade to their flagship Alexa 35 cinema camera. It’s been suitably dubbed the Alexa 35 ‘Xtreme’ keeping with their naming scheme from film cameras with high speed modifications.
We’re lucky enough to be one of the first rental houses in the country to get our hands on one, so let’s take a look at what has been upgraded.
WHAT HASN’T CHANGED
Body & Accessories
Same housing, I/O ports, connectors, and layout as the standard ALEXA 35, just a new “Xtreme” decal. Everything fits right in, no need to swap rigs.
Resolution & Baseline Frame Rates
The existing popular recording formats, resolutions, and frame rates remain available.
Menu Interface
The UI, navigation structure, and on-screen controls are unchanged, just some new options for the additional frame rates and ARRICORE.
WHAT HAS CHANGED
ARRICORE Codec
A new, leaner RGB codec that slots between ARRIRAW and ProRes in file size. It’s optimized for high frame rates and cuts data rates by 50% compared to ARRIRAW without compromising image quality.
Offers post flexibility: EI sensitivity, white balance, and tint remain adjustable in post.
It’s a lower data burden, with the same workflow DITs have been using. Same wrappers, textures, and metadata handling you already know.
High Frame Rates & Sensor Overdrive Mode
Higher speed ceiling: Max frame rates are up across the board up to 330 fps while maintaining full 17-stop dynamic range.
Sensor Overdrive: doubles the ceiling to 660 fps, at the expense of dynamic range (~11 stops) and raising base ISO to EI 1600.
Example increases in real modes:
4.6K Open Gate: from 75 fps → 120 fps standard, 165 fps in Overdrive
3.8K 16:9: from 120 fps → 150 fps standard, 240 fps Overdrive
3.8K 2.39:1: newly available; captures up to 240 fps at full DR
2K 16:9 S16: up to 330 fps standard, 660 fps Overdrive
All high-speed recording require the 2TB Codex Compact Drive media instead of the 1TB.
Other Upgrades
10% reduced power consumption. Longer battery life, less heat output.
Pre-record buffer is 5× longer: up to 30 seconds in 4.6K Open Gate (ProRes 4444), or 5 minutes in HD (ProRes 422 HQ) at 24 fps.
Improved Wi-Fi: now supports the 5GHz band, mesh roaming, and auto-reconnect for tools like Camera Companion. To take advantage of this longer upgraded antenna are included.
QUICK SPEC CHANGE OVERVIEW
| Feature | ALEXA 35 (Standard) | ALEXA 35 Xtreme (Standard Mode) | Sensor Overdrive Mode |
|---|---|---|---|
| Max FPS (4.6K Open Gate) | 75 fps | 120 fps | 165 fps |
| Max FPS (3.8K 16:9) | 120 fps | 150 fps | 240 fps |
| Max FPS (3.8K 2.39:1) | Not available | 240 fps | 240 fps |
| Max FPS (2K S16) | 120 fps | 330 fps | 660 fps |
| Dynamic Range | 17 stops | 17 stops | 11 stops |
| Codec Options | ARRIRAW, ProRes | ARRIRAW, ProRes, + ARRICORE | ARRICORE |
| Pre-record (4.6K OG @ 24 fps PR 422HQ) | 8.5 sec | 48 sec | 48 sec |
| Pre-record (2k S16 @ 24 fps PR 422HQ) | 20 sec | 5 min | 5 min |
For more information and a complete overview we’ve linked Arri’s Alexa 35 Xtreme guided tour below.
Questions? Looking test it out?
Contact Us today to set up a demo or rental from our Cincinnati, Pittsburgh, or Wilmington offices.
Our New Lens Database
Introducing: a new way to browse our lens inventory
We have a lot of lenses.
From high-end cinema primes and zooms to mirrorless E-mount workhorses and specialty options like tilt-shifts and probe lenses. Our shelves are packed with options for nearly every camera system, format, and creative need.
We get a lot of questions about seeing all of our offerings in a condensed way, or how similar certain lenses are to each other.
So we’ve revamped our lens inventory section to make your searches faster, easier, and more intuitive. Whether you're prepping for a feature film, a commercial shoot, or a last-minute pickup day.
ALL LENSES
Just like it sounds. This is your one-stop master list of everything we carry.
Explore our full lens rental inventory in one clean, scrollable view. Organized in collapsible sections and fully filterable by mount, coverage, sensor format, and more.
Looking for PL-mount Full Frame lenses? Trying to see what Super 35 zooms are available?
Filter away and browse with ease, you might even discover a lens you hadn’t considered.
VINTAGE
MODERN
ANAMORPHIC
BROWSE BY STYLE
Sometimes you're after a feeling more than a focal length.
Whether you want that vintage lens character, razor-sharp modern optics, classic anamorphic flares, or something truly offbeat, we’ve grouped lenses by look and vibe to help you find what suits your look.
Already familiar with the Canon K35s? Dive into the vintage style collection and see what else lives in that world. Want that crisp Signature Prime look, but are working within a budget? Check out the modern style options to find something in the same vein.
DSLR + MIRRORLESS
SPECIALTY
FULL FRAME
BROWSE BY TYPE
Need a quick list of EF mount lenses? Shopping for mirrorless-friendly options for your Sony FX3 or Burano? Or maybe you’re putting together a lightweight zoom package for doc work?
We’ve curated our most popular picks into easy-to-navigate lists based on mount, format, and use-case.
Whether you’re renting for a music video, branded content, or a feature doc, you’ll find tools that fit your workflow.
Not seeing what you want?
No sweat. We know the right glass can make or break a project, and sometimes what you're looking for isn’t in stock or isn’t on the list (yet).
Reach out. Send us an email or give us a call. We’ll help track it down, recommend alternatives, or work with our extended network to get the lenses you need. You bring the vision, we’ll handle the logistics.
Let us know if you want to build a custom kit, test something new, or just talk through your options. We’re here to help.
We have a New Location
Big News: The Camera Department is NOW IN Wilmington!
The Camera Dept. has opened a brand-new location in Wilmington, North Carolina, bringing our deep commitment to filmmakers, cinematographers, and creatives to one of the South’s most exciting production hubs. Whether you're working on a feature, commercial, or indie short, we're here to support your vision with top-tier gear and expert service.
Now open for rentals!
Come Visit Us in Wilmington!
We’re officially up and running at our new Wilmington location, and we’d love for you to stop by! Whether you’re a filmmaker, photographer, or just curious about what we do, our doors are open and the shelves are stocked.
📍 - 1470 N Kerr Ave Ste B, Wilmington, NC 28405
🕓 - Monday – Friday: 9:00 AM – 5:30 PM
Drop in anytime during business hours to check out the space, meet the team, and grab some exclusive giveaway merch while it lasts. We’re excited to be part of the Wilmington creative community and look forward to connecting with folks in the area.
If you're looking to rent gear, feel free to give us a call or shoot us an email.
We’re happy to help you get set up with exactly what you need for your next shoot.
📞 - (910) 817-7000
✉️ - Send us an email
We’re also planning a full grand opening celebration soon, more details to come, so stay tuned!
Arri Impression V Filters
ARRI IMPRESSION V FILTERS
Now available for rental, this set of 8 magnetic filters allows you to incrementally detune the Signature Primes & Zooms to your liking.
The set consists of 4 positive, and 4 negative rear diopters that slightly alter the focus characteristics.
This gives you the ability to have 3 distinct styles across one set of lenses, all while maintaining the mechanical and electronic advantages of the signature lens line.
Magnetic Attachment
The filters click onto the rear magnetic stage, making swap overs quick and simple. Positive diopters can be swapped without need for adjustments. The negative filter set requires the lens to be shimmed by our lens technicians, to maintain infinity focus.
The following images, courtesy of ARRI, showcase some of the characteristics that impression filters can impart on your imagery.
The most apparent effects of the filters can be seen in the out of focus regions of the images. The positive filters add softness to background bokeh, swirling to the edges, and an overall diffused quality to the image. This more glamorous look adds a feeling of warmth drawing attention to the subject. In contrast the negatives filters increase the perceived sharpness of the bokeh, creating overlapping textures and adding grit to backgrounds. There is also a subtle detail reduction, softening skin and other fine elements while still maintaining sharpness.
With 4 differing strengths of each diopter available, your chosen look can be fine tuned according to circumstance and focal length choice.
FOCAL LENGTH, IMAGE CIRCLE AND T-STOP CHANGES
When using the Impression V Filters with Signature Primes and Zooms, some basic parameters of the lens system will change. This is because the filters act like a ‘weak extender’.
The focal length of the base lens as well as the size of the projected image and the aperture will change. The factors are given in the following table.
CAMERA COMPATIBILITY
The ARRI Impression Filters will work with no adjustments needed inside the Alexa 35, Alexa Mini LF, and the Alexa 65.
A Signature lens with an attached Impression V Filter can only be mounted to an Alexa Mini or Amira if the camera has been converted for use with Leica M-Mount lenses. For further information regarding the conversion, please inform us of your camera preference prior to rental.
For use with an Alexa LF, Classic, XT, or SXT it is important to verify whether the filter position in the LPL lens mount is occupied by the LF IFM Filter Frame. A Signature lens with an attached Impression V Filter can only be mounted to the camera if the filter frame is removed.
For further information about the Impression V filter system please explore the official ARRI testing pages, and manual.
For questions about renting a set for your next production, please contact us through the above links on the site!
Alexa 35 Demo
Two dates, same great event.
Join The Camera Department & Arri in a comprehensive demonstration of the new Alexa 35 camera.
Don’t miss this chance to have a hands on experience with Arri’s latest camera. A full demonstration of the system will be lead by Guenter Noesner a special technical sales representative for Arri, with questions to follow. We will also have additional new rental items to showcase.
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Read MoreOur Full-Frame Lenses In 2021
