KrazzyGROUP

Best Film Shooting Studio in In Indralok Bhayandar East

Croma is a Barcelona-based independent creative studio. Our business is graphic communication, specialising in graphic design, branding and motion graphics. Motion graphics is an audiovisual technique to communicate messages in a visual and didactic way. It is a very dynamic and versatile method to present a corporate video, a product video, make an interactive presentation, a video clip, provide a mark of motion, making a spot, or to spread a message on social networks. We love our profession and believe in hard work, honesty and a job well done. For us design must always be at the service of communication, seeking solutions to the needs of each client. We treat each project with a strategic, conceptual vision and a multidisciplinary approach.

Elinchrom FRX 400 Lights with Umbrella and Reflectors/Softbox

2 FRX 400 1 EL-SKYPORT TRANSMITTER SPEED 2 PORTALITE SOFTBOX 66cm 1 LIGHT BAG 1 STAND SET (2 Stands and 1 Carrying Case) Features FRX 400 Facts Built-in EL-Skyport receiver for triggering. EL-Skyport with 8 Frequency Channels with 4 Groups. EL-Skyport Speed Sync mode for synchronization up to a 1/320 s on enabled SLR cameras. Pre-flash detector system to enable the use of FRX with speedlights. Visual Flash Confirmation option. The modelling lamp comes on to confirm the flash has been triggered. Proportional, maximum, minimum and independent adjustment of the modelling lamp. Variable f-stop steps: 1/1, 5/10, 4/10, 3/10, 2/10 or 1/10 steps are available. Programmable ready beep function. Power Auto-dump. Automatic temperature controlled ventilation. Action flashtube for sharper images. Multi-voltage auto-detection: 90-270 V (excluding modelling lamp). 5V sync socket for maximum protection of digital cameras. High impact resistant body shell. Accessory bayonet allowing the complete ra

Kanwee Walkie Talkie

New Portable Radio Walkie Talkie KANWEE TK 928 VHF 5W 16CH Two Way Radio handheld interphone CB radio Transceiver-in Walkie Talkie from Cellphones ...

Crane 2

Technische Daten: Marke: Zhiyun Modell: Kran 2 G?ltige Nutzlast: 500g ~ 3200g Kompatible Kameras: F?r Canon EOS Serie und f?r Nikon D Serie DSLR Kameras; F?r Panasonic LUMIX GH3 GH4 Serie...

DJI RONIN

Simply driving 5 minutes to our first shooting location was a struggle. The camera had already been balanced and being that I personally am not very experienced in that area, I didn't want to dismantle the Ronin and then balance it all over again once we arrived. I've read online that once you get some practice, balancing the Ronin only takes a few seconds. Although I do believe that some people may be capable of that, I imagine it's going to take quite some time before I can balance it in less than a few minutes. Since the Ronin can't really be laid down (it needs to be hung from a custom stand), I decided to sit in the back of the car and hold it. Apparently the bumpy car ride was enough to screw something up and I was forced to recalibrate the Ronin before the first shoot anyway.

HANDHELD GRIP

The new Photography and Cinema Pistol Grip is the only camera handle grip available with a wide platform. The large plastic molded handle makes working with small cameras more ergonomic and stable when shooting video. A rubber platform prevents slippage when the camera is mounted to the stage using the standard 1/4x20 threaded stud. The included threaded D-Ring allows the PNC Handle to be attached to a carabiner which in turn can be hooked onto keyrings, keychains, belt loops, etc. A small metal insert below the handle allows you to attach a PNC friction arm for carrying an extra accessory such as an LED light, Microphone, or Portable audio recorder.

SHOULDER MOUNT

The shoulder mount is very good looking and overall nicely designed, but the quick release platform makes it quite tall. Once mounted, the cameras were reasonably stable but there is a small bit of flex in the QR platform and the QR plate to camera mount. With the camera mounted it was time to add all the other stuff I need. For both cameras I like to use my gorgeous Alphatron EVF. On the FS700 this is mounted using a bracket that I fabricated which comes off the handle mount.

STEADY CAM

Lightweight, compact, agile, and easy to use, the Steadicam Smoothee features an innovative, patented design built around a durable monoframe metal structure. The recently announced Smoothee bonus pack ships with mounts for both iPhone 5 and 5S and GoPro HERO cameras. Optional mounts are also available for iPhone 4 and 4S, iPod touch, and DRIFT Ghost. With the Steadicam Smoothee in your corner, you'll be a smooth operator.

EASY RIG

The most liberating thing I was able to do was run across a wet and uneven moor doing tracking shots backward and forwards. While trekking across the moor was far easier with the EasyRig on things got a little more complicated once we got into the woods. Although the suspension arm only sticks out over your head by a few inches its significant enough when you?re ducking through the undergrowth and I came home with a few bits of tree and other extra camouflage. All joking aside, it did cross my mind that the EasyRig could have a future in military applications.

GLIDCAM 2000

I had an HD-2000 to test out but Glidecam also makes an HD-1000 and an HD-4000 for slightly smaller or larger cameras than mine. The first thing that struck me when I grabbed the individual parts from the box was how light they were. Obviously the counter-weights were?? weighty, but the rest of the Glidecam was beautifully machined and they have obviously made efforts to keep the weight down to a minimum without compromising the construction. Which is nice because you have to hold it all with one hand! With some simple assembly complete I excitedly attached my 5dMKII to the mounting plate on the top. Removing the top plate to mount the camera means unscrewing 4 different screws and dealing with several tiny washers. If you plan on taking the camera on and off the Glidecam a lot I would recommend investing in either the Manfrotto 577 rapid connector or the Manfrotto 357 quick release plate. Both of these will add the ability to keep a Manfrotto plate attached to the camera for quick and

MONOPOD

here are a few photographic situations where you will be glad you've got one. I really love using my newest monopod. I started with just one traditional camera monopod. Now I have three. I added a seflie stick and a monopod with feet to my list to use.

MANUAL SLIDER

When it comes to sliders for independent filmmakers, there seems to be three categories that split the ocean of sliders available. First up are the the ultra cheap non-motorized sliders in the $100-250 range. These can usually be found when you search for camera sliders on Amazon or Ebay and are often made by a handful of Chinese companies marketed under 50 different brands. These tend to use a ball-bearing system that loses its smoothness over time. It?s also tougher to get a very smooth and consistent long slide. They work but with a bit of elbow grease. Next is the the mid-range $250-600 category that uses rails and belt driven systems. You?ll find brands like Cinevate and Axler in this category. These tend to be better, but its hard to say what an extra $300 really buys you. There are a lot more options in this category, but I could never one that was easy and light enough to justify the expense. In the $700 and up category, you will find everything you could possibly need. Long sl

MOTORISED SLIDER

The first 2 shots are using the fast motor at full speed on the slider. The 3rd shot is the slowest motor at the slowest speed on the slider, shot over about 45 minutes. The 4th and 5th shots are the fast motor on the slider at the slowest speed. The remaining shots are using the revolve camera dolly (granted on carpet tiles, hence the wobble) fastest motor at the fastest speed.

POTA LIGHT

All-metal body ? for heat dissipation and strength. High quality lamp-holders for long-life and trouble ? free operation. ?Slim-line? body enable easy strong and portability. Wire locks click into place to ensure correct reflector angle for maxim

SOFTY LIGHT

Lighting is critical to producing high-quality video. If you?re shooting your videos using only ambient lighting in most corporate offices or homes, you?re leaving lots of quality on the table. You don?t have to spend a fortune to get good lighting, but you do need to buy smart and know what you?re getting. In this article, I?ll cover two common types of shoots and the lighting you should buy to enhance them. Read from OnlineVideo.net's - Light the Way: A Beginner's Guide to Video Lighting on a Budget http://www.onlinevideo.net/2015/06/light-the-way-a-beginners-guide-to-video-lighting-on-a-budget/#ixzz4WfLddvCM

LED LIGHT PANNEL

If your workspace is still lit using 4 x 18W recessed fluorescent units, you really ought to change them. There is a huge range of more efficient LED ceiling panels available. We have tested 10 panels from the cheapest and most cheerful to quality engineered units with sophisticated optics. We could easily have tested 10 more. We have tested both the thin flat panel (edge-lit) types and the deeper troffer types, which are backlit.

HAND CORDLESS MIC

A wireless microphone works by connecting a microphone unit(s) to a wireless receiver/transmitter via radio frequency or digital signal. This allows us to cut out those pesky cables, giving us some obvious conveniences that come with not having to deal with wires. Receivers/transmitters come in different shapes and sizes. Some connect to a 3.5 mm jack and transmit the sound coming from the microphone to speakers/headphones that way, while others sit on a desk or table and hook up to the speaker system via a wire itself. Microphones can also come in all forms (the most popular being dynamic handheld mics, but we?ve seem some lav too). Which type of receiver/transmitter and/or microphone(s) really depends on your intended uses and needs when it comes to a wireless system.

CORDLESS LEPAL MIC G2

The Sennheiser ew112G2 ME2 Omni Lavalier Mic Wireless UHF System gives you results that are sonically indistinguishable from cabled systems with freedom of movement up to 150ft. The ME 2 clip-on microphone is virtually invisible. The extremely small SK 100 G2 bodypack transmitter as well as the EM 100 G2 rackmount receiver feature 9 frequency banks each with 4 frequency presets for direct channel selection.

CORDLESS LEPAL MIC G3

Fast, flexible and professional: these characteristics make the ew 112-p G3 the perfect fit for every ambitious reporting team seeking both portability and great sound quality. The nearly invisible clip-on, ME2, omni-directional microphone transmits its signal via bodypack transmitter with mute function and a portable, battery-powered adaptive-diversity receiver. The receiver and transmitter are lightweight and easy to operate, yet rugged and packed with features.

302 SOUND DEVICE MIXER

The high performance of the 302 is especially apparent in its ability to handle very low frequencies. According to Jon Tatooles of Sound Devices, the 302's balanced transformers are the major reason, providing the necessary isolation from the source. In the 302 and in the lower-cost MixPre unit (see the sidebar), input signals are transformed magnetically; there is no direct electrical connection as is typically the case in cheaper mixers. For the shooter working in uncontrolled locations, an adequate low-frequency response is the key to capturing realistic, high-quality audio.VVVV

552 SOUND DEVICE MIXER

The 552 has two AES3 digital outputs routable to either the XLR connectors or to the 10-pin connector. Routing is almost unlimited. This opens a huge amount of flexibility when feeding either a single camera or multiple cameras. When feeding a single camera with two AES inputs, you can send a full mix to the first AES input and send two isolated feeds to the camera?s second AES input. When feeding multiple cameras, you can feed two cameras with an AES feed and two more with analogue. The output panel on the 552 is very similar to the 442.On the 552?s output panel, like-connectors are grouped together. The TA connectors are lined up in a row with the TRS connectors are all up top. All the switches for output level are together now, this makes it a bit easier to change Channel 2?s XLR output level. The direct outputs on the 552 have changed as well. Instead of only pre-fader out, the 552 has post-fader signal for each input channel?s direct out. You can set the direct out to be either l

664 SOUND DEVICE MIXER

The Sound Devices 664 is a mixer than can do it all and so much more. One of our regular sound guys just updated his rig to the 664. He's been up and running for about six months and we wanted to get his real world review of the 664 in action. The 664 has been put to use on all the major networks, reality programming and sporting events.The Sound Devices 664 is a mixer than can do it all and so much more. One of our regular sound guys just updated his rig to the 664. He's been up and running for about six months and we wanted to get his real world review of the 664 in action. The 664 has been put to use on all the major networks, reality programming and sporting events.The Sound Devices 664 is a mixer than can do it all and so much more. One of our regular sound guys just updated his rig to the 664. He's been up and running for about six months and we wanted to get his real world review of the 664 in action. The 664 has been put to use on all the major networks, reality programming

Canon EF 24-105mm f/4L IS II USM Lens Product Images

For incredible versatility, the EF 24?105mm f/4L IS II USM has been redesigned to deliver superb L-series optical performance that pairs smoothly with the high-resolution, full-frame sensors of SLR cameras. Featuring a zoom range of 24?105mm and a constant f/4 aperture, the EF 24?105mm f/4L IS II USM is ideal for landscapes, portraits, sports and more, offering effective all-day performance for advanced photography and videography. It helps reduce ghosting and flare, and has improved peripheral brightness as well as a 10-blade circular aperture that helps deliver sharp, evenly illuminated images with gorgeous background blur. It even has an improved IS system for better handheld performance, especially in challenging light. From wide-angle to mid-telephoto and everywhere in-between, the EF 24?105mm f/4L IS II USM is a durable, compact performer you can count on for excellent performance and gorgeous results in more places, more often.

Canon EF 40mm f/2.8 STM Lens - Fixed

A 40mm f/2.8 lens is not going to set any background blur records, but when used at f/2.8 and a short focus distance, the background goes nicely out of focus.

TOKINA 11-16mM

The Tokina 11-16mm f/2.8 AT-X Pro DX Lens review is the first Tokina lens review I've had the pleasure of creating. And it has been a very positive experience. This is a well-built, ultra-wide angle lens that has very good overall image quality and, at review time, has the widest max aperture available in a zoom lens wider than 14mm.

CANON ZOOM LENS 70-200mm

The Canon EF 70-200mm f/2.8L IS USM Lens' internal focusing is very fast, quiet and accurate thanks in part to Canon's excellent Ring USM (Ultrasonic Motor). An autofocus range limitation switch enables enhanced autofocus performance. Aside from a very slight amount of play in the focus ring (not enough to impede manual focusing), the zoom and focus rings are very smooth and nicely sized. The objective lens does not rotate or extend with focusing (or with focal length changes).

CANON ZOOM LENS 24-70mM

The Canon EF 24-70mm f/2.8L II USM Lens is clearly the best performing Canon full-frame-compatible general purpose zoom lens available. It is the best from both an image quality perspective and from an AF speed/accuracy perspective. This lens is very sharp/has excellent contrast across the frame even at f/2.8 and is well built, focuses extremely fast and contains a most-used range of focal lengths. The cons? Price and lack of image stabilization.

CANON ZOOM LENS 16-35

If you are looking for an extremely sharp ultra-wide angle zoom lens, the Canon EF 16-35mm f/4L IS USM Lens should be at the top of your consideration list. This lens delivers prime-grade image sharpness right into full frame corners and it has the overall performance to match, including AF speed and accuracy. A stellar-performing image stabilization system makes this lens even more useful. The price, though not cheap, makes this lens a great value.

CANON ZOOM LENS 8-15mm

The Canon 8-15mm f/4 is a super-sharp fisheye that gives us the convenience of either a frame-filling or a smaller circular image with the flick of a zoom ring on full-frame, as well one lens that serves as 180? frame-filling fisheye on any of Canon's various sensor-size cameras.

COMPACT PRIME LENS 135mm

The Compact Prime CP.2 135/T2.1 lens is the longest lens ever added to the Compact Prime CP.2 product line. With its focal length of 135mm and the shallow depth-of-field that comes from using a telephoto, the cameraman can maintain a relatively long distance from the subject while also isolating the subject from the background area. This is especially important for scenes in which the main characters are the main focus and the camera needs to capture expansive movement throughout the scene. Due to the working distance and the long focal length, the captured image looks very natural. At 1.6kg (3.52lbs), the 135mm lens is very lightweight for this product class, and yet, as with all Compact Prime CP.2 lenses, it is sturdy and suited for use in rugged filming environments.

COMPACT PRIME LENS 100 mm

The Zeiss Compact Prime CP.2 100mm/T2.1 CF Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Canon EF mount to be easily swapped out for an optional Nikon F or cinema-standard PL mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget. Based on the Planar design, this fast telephoto extends the reach of your camera while also allowing for close focus up to 2.5 ft (0.7m).

COMPACT PRIME LENS 85 LENS

The Zeiss Compact Prime CP.2 85mm/T2.1 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Canon EF mount to be easily swapped out for an optional Nikon F or cinema-standard PL mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget.

COMPACT PRIME LENS 50mm

The Zeiss Compact Prime CP.2 35mm/T2.1 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Canon EF mount to be easily swapped out for an optional cinema-standard PL or Nikon F mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget.

COMPACT PRIME LENS

The Zeiss Compact Prime CP.2 35mm/T2.1 Cine Lens (EF Mount) is part of the second generation of CP cinema lenses that were the first to offer full-frame 35mm coverage of large sensor DSLRs (such as the Canon 5D Mark II). What distinguishes the CP.2 from its PL-mount-only predecessor is its interchangeable lens mount, which allows the included Canon EF mount to be easily swapped out for an optional cinema-standard PL or Nikon F mount. For the first time, a single, affordable, professional quality lens can be used on both cinema and still cameras, opening up creative possibilities that keep your rig lightweight, versatile, and on budget.

COMPACT PRIME LENS

The Zeiss Compact Prime CP.2 35mm/T1.5 Super Speed EF Mount with Imperial Markings is a fast cine prime lens designed for filmmaking and video production applications. It shoots remarkably well in low-light. Aside from great optics and mechanics, the lens offers broad flexibility in the areas of camera compatibility, follow-focus compatibility, and shooting capacity.The Zeiss Compact Prime CP.2 35mm/T1.5 Super Speed EF Mount with Imperial Markings is a fast cine prime lens designed for filmmaking.

GoPro HERO5 Black

HERO5 Black is the most powerful and easy-to-use GoPro ever, thanks to its 4K video, voice control, one-button simplicity, touch display and waterproof design. Smooth stabilized video, crystal-clear audio and pro-quality photo capture combine with GPS to make HERO5 Black simply the best GoPro. When it's time to edit and share, HERO5 Black automatically uploads footage to your GoPro Plus cloud account to provide easy access on your phone. Then, you can create amazing videos automatically with Quik, the GoPro editing app.

416 BOOM MIC

Sennheiser is one of the most reputed names in the microphones and audio electronics arena. Its microphones have got a reputation of tolerating humidity much better than other microphones. Most of the Sennheiser microphones are RF Condenser based so they tolerate humidity much better. On the other hand most of the other microphones are AF capacitor based and in high humidity conditions like sea side or in tropical rainforests etc there is a tendency for the charge to escape giving rise to the noise. The output is also reduced. The AF capacitor microphones also attract more dust. And in outdoors in India with all the dust and moisture, the situation is really tough. So as a Wildlife filmmaker, it is quiet natural to trust is Sennheiser's RF condenser based microphones and put it in use in all weather conditions.

SONY FS 700

Even though the FS700 and FS100 look very similar, there are several key differences that give the FS700 an edge over last year's model as well as the competition. The FS700 packs a lot of new features into a body that is slightly larger than the FS100, yet looks and feels nearly identical in practice. One of the best new features are three built-in Neutral Density (ND) filters, alleviating the need to spend money and time buying and mounting external filters. The mechanism that controls the ND

SONY PMW 500

The PMW-500 is Sony Professional's first XDCAM HD422 Camcorder with solid state recording. It supports full-HD 422 50-Mbps MXF record and playback based on highly developed MPEG-2 Long GOP compression technology. Uniquely, it can also be switched to record in HD 420 35-Mbps MP4 format which makes for seamless integration when used alongside XDCAM EX models.

SONY PMW 300

A semi-shoulder handheld camera that integrates multiple camera functions, the Sony PMW-300 XDCAM is one that definitely does not let down. With 3 ?-inch Exmor full HD CMOS sensors, it is one of the best in terms of delivering high quality images even in low-lighting conditions. The ample support built for its interchangeable lens as well as its metal body provides for great security essential for its wide range of applications. If that?s not enough, the camera also has multi-camera operation an

SONY PMW 200

To test the usage of the PMW-200, we took it to a local football match (AFL) and shot the best part of two quarters of the game from just to the left of the goalposts. This allowed us to get action coming towards and also be able to follow the game zoomed in to the half way line. All shots were taken with the camera mounted on a Manfrotto tripod and audio was recorded via a mounted R?DE NTG-3 in favour of the on-board mic. (An adaptor was needed to make the mic fit the PMW-200?s mic holder ? see

SONY PMW EX3

After all, the EX1 and EX3 are essentially the same camcorder. Same 1/2in. 3-CMOS imager with 1920x1080 pixels; same 1080i/p and 720p with 24p and 50Hz/60Hz field rates; same super-high-resolution LCD display; same twin S?S card slots. Even the EX3's supplied detachable lens, a dual-mechanism 14X Fujinon zoom (mechanical and electronic focus) with a true iris ring and rotating handgrip, is the same lens that comes fixed on the EX1

CANON 7D

For a start, the camera is built around a new 18MP sensor, but the thing you're likely to notice before you even fire a shot is the impressive new viewfinder. 1.0X magnification and 100% coverage offers a noticeable improvement over the 0.95X, 95% finder in the EOS 50D and puts the camera on the same footing as the D300S (Its 0.94X finder ends up essentially the same size, once the focal length multiplier effect of its fractionally larger sensor is taken into account).

5D MARK II

So here is the 5D Mark II, which punches high in terms of both resolution and features, headlining: 21 megapixels, 1080p video, 3.0" VGA LCD, Live view, higher capacity battery. In other words, a camera that aims to leapfrog both its direct rivals, either in terms of resolution (in the case of the D700) or features (in the case of the DSLR-A900)

GOPRO HERO 5

The Hero 5 Black is the GoPro camera option for those who want the best action cam available right out of the box. You can almost think of the Hero 5 Black as GoPro?s "Greatest Hits" compilation. It takes the best features from previous generation GoPro cameras and combines them together in a single unit ? and adds a smattering of new functions too.

GOPRO HERO 4

When not recording, this same button accesses your settings menus. The menus on past models were a mess, but GoPro made things a bit easier by making everything sensitive to which mode you're in. That means if you're in video-capture mode and press the settings button, you'll only get the settings options for video.

DJI OSMO

DJI's gimbal game is strong, with the Ronin, Ronin M and just released at NAB 2016 the Ronin MX. All of these gimbals by DJI are standalone and work with multitudes of cameras, but with the OSMO, the camera and the gimbal are one. The DJI Osmo is a 3-axis stabilizer and 4K camera that can be operated by just one hand. Add those features to a very consumer friendly and affordable price point and you have a product that really stands out.

DIGITAL CAMERA SONY A7 II

This Sony A7S II is Sony's best camera. It's fast and sure, and shoots in the dark. It's so sensitive that I can see more detail in the dark through its finder with an f/4 lens than I can see with my naked eye! Not only does it see better than my own eyes, it has no problem focusing in the pitch dark with no need for an AF illuminator.

IT IS SONY PXW FS7

The PXW-FS70 is different. This is much more than an AX100 with new firmware. For a start the body of the camera is quite different. The right hand side of the X70 is quite different to the AX100. It has a much fatter hand grip. This makes the camera much easier to hold comfortably for long periods. It also makes space for a full size HDSDI output and a full size HDMI output. But the differences don?t stop there.

it is a digital camera

The 5D Mark III has a 22MP full frame sensor in a body that's based on the EOS 7D design, and with a 61-point AF system borrowed from the flagship EOS-1D X. From the glass-half-empty point of view, this could be seen as an unambitious update that trails disappointingly behind Nikon's 36MP D800 which was announced around the same time. But for those whose glasses tend more towards the half-full, it might just turn out to be the camera that 5D Mark II owners always really wanted.

it is an fabulous digital camera

The Canon EOS 5D Mark IV boasts a huge array of high end features, including a 30 megapixel full frame CMOS imaging sensor and Canon's latest AF system, for a significantly lower price than Canon's current 1-Series model. This value and versatility, as with all EOS 5-Series models before it, launched the Canon EOS 5D Mark IV to great fanfare and a strong demand.