Canon C500 Mk II FF Camera PL/EF with Expansion II module & EVF5.9K Anamorphic, Full Frame & S-35 capability £402/day£1,206/week Add to cartView item
Canon C300 Mk III S35 4K Camera PL/EF with Expansion II module & EVF4K capture with S35 sensor £361/day£1,083/week Add to cartView item
Canon C500 Mk II FF5.9K Camera PL/EF (Full Frame)5.9K capture with anamorphic, Full Frame & S-35 capability £333/day£999/week Add to cartView item
Canon C300 Mk III S35 4K Camera PL/EFIncorporates 4K S35 sensor £293/day£879/week Add to cartView item
Sigma 14-24mm F2.8 Art DG HSM – FF AF Zoom (EF Mount)Sigma native EF-Mount FF AF zoom £63/day£189/week Add to cartView item
ARRI HGA-1 Handgrip Adapter FOR Canon C300ARRI HGA-1 Handgrip Adapter FOR Canon C300 £18/day£54/week Add to cartView item
Convergent Odyssey 7Q+ 4K solid state recorder with ARRI/Sony/Canon/Panasonic RAW optionOdyssey 7Q+ 4K solid state recorder with ARRI/Sony/Canon/Panasonic RAW option £120/day£360/week Add to cartView item
Sandisk 512GB CFexpress Extreme Pro Memory Card 1700/1400MB/sCFexpress Extreme Pro Type B 1700MB/s £51/day£153/week Add to cartView item
Sandisk 128GB 160MB/s Extreme Pro CF Card for 4KCompact Flash CF Memory Card 160MB/s VGP-65 £18/day£54/week Add to cartView item
VMI – Taking Stock 29 April 2026 It has been ten days since RD took over at VMI, and what a whirlwind it has been. A lot of people have got in touch with me across the … Read more
Sustainable Film Competition 21 October 2024 CALLING ALL SUSTAINABLY MINDED FILMMAKERS! Our sustainability film competition was so successful last year, that VMI and Sustainable Film decided to repeat it again this year, offering a prize to … Read more
VMI Open House Day 13 Sep – Book Now 24 August 2023 A lot has changed in 2023, so instead of waiting until December for our annual new products day, we are hosting an ‘Open House’ in September with lots of new … Read more
VMI New Products Day 6/7/8 Dec. Limited Availability 1 November 2022 *** FREE EVENT – LIMITED AVAILABILITY *** VMI’s biannual New Products Day is this week! This is a big deal for us, as we only host this once every 2 … Read more
VMI-Supported “The Interview” Wins at That Film Festival VMI is proud to have contributed to the winner of Season 5 of That Film Festival. As part of the final of the festival, eight finalists were given the same … Read more
Shooting Tyger on SIGMA Classic Primes New British indie feature Tyger has finished filming with a Canon C500 II and SIGMA Classic Primes, a combination picked to enhance the emotional impact of an ex-soldier’s internal conflict. … Read more
Sci-Fi Short Shoots Anamorphic On 16:9 Sensor Shooting anamorphic with KOWA anamorphic lenses and a 16:9 widescreen camera is an unusual combination but it proved the perfect technical and aesthetic choice for a futuristic short film about … Read more
Sea Dragon shot with Sumire Primes Who loves a peek behind the scenes? We caught up with Clemens Majunke, DP on the short film Sea Dragon directed by James Morgan Photography, to find out more about his … Read more
Latest Canon EF lenses increase functionality of latest Canon 5D/C300 III/C500II cameras Canon’s autofocus technology has continued to improve and the latest dual pixel CMOS AF system is the most sophisticated ever, allowing smooth, high-performance focus tracking and face detection on the Canon C300 Mk II and C500 Mk II cameras.
How to achieve the most from the Canon C500 Mk II A brief article written by DP Clemens Majunke on how to achieve the most out of the Canon C500 II
VMI evaluation of whether the Canon C500 Mk II is any good? The Canon C500 Mk II may look like a C300 II but it has been completely redesigned and we think that in this configuration it becomes a fully-featured 4K camcorder … Read more
Shoot the best quality 200fps available using Odyssey 7Q and Sony FS 700/C500 The Convergent Odyssey 7Q is a new off board 4K recorder with 8” OLED screen that offers outstanding slow motion capability at very high image quality when used in conjunction … Read more
Do ‘Netflix Approved’ Cameras Really Matter? Netflix has established itself as a benchmark for original streaming content, and with that has come a specific set of requirements for the cameras used to capture its 4K Originals. … Read more
The Creative and Technical Differences between Full Frame and S-35 Fully Updated Article, April 2023: To shoot Full-Frame or S-35? Are there really artistic reasons for shooting on FF? What are the advantages and what gear will I need?
Mid-range cameras don’t mean compromise At VMI we’ve noticed a recent trend among filmmakers and wondered if you agree? We’ve spotted that a significant number of productions are ‘trading down’ from using traditional top of the range cine-cameras…
New generation of Auto Focus lenses now available with E and EF Mounts Auto Focus is here to stay and whilst this is not a panacea to force all focus-pullers to retrain, the increased adoption of Full Frame (which necessarily makes focussing more critical than S-35 or APSC formats) and the enhanced development of the technology, makes this functionality more useful and as a result, we are noticing an increased interest in it.
What real world Cinematographers think about using Infiniprobe lenses The Digital Cinema Society presents an exploration of Micro/Macro cinematography with three DPs including Bill Bennett, ASC, James Mathers, and Cameron Cannon. The trio photograph a variety of shots in order to evaluate these exceptional lenses and also share their insights in behind-the-scenes coverage.
Macro and Micro Cinematography We all love to see images of extreme magnification to show a world which we can’t experience with our own eyes but just like all cinematography, this is hard to do well. The choice right lens for the specific shot is key and this article aims to explain the differences between Close Up, Macro and Micro photography/cinematography and in particular, to introduce the cinematographer to a relatively recent new type of lens, which are called Nelsonian Lenses made by Infinity Photo-Optical and which use microscope techniques to create unique images which are not possible using traditional optics.
Beginner’s Guide to Depth of Field This article is written mainly for those who want to know the very simple concepts which allow camera operators to manipulate the Depth of Field in order to make them look more cinematic.
An account of a successful Sigma Lens Day held on 13 February 2020 at VMI VMI held a Sigma lens day on 13 February 2020 in London.
An Ideal Marriage – How to build a kit hire relationship that lasts Most GTC members will either regularly or occasionally need to hire items of camera equipment, whether it be a full kit for a long, ongoing shoot, or a one-off lens … Read more
A Filmmaker’s Guide to Sensor Sizes and Lens Formats This article aims to help questions such as: – “Will this lens work with my camera?” – “Will this lens cover 8K?” – “Will this lens cover full frame.” – “What will full frame lenses look like on a S-35 sensor.”
12 bit RAW capture ARRI, Panasonic, Sony, Canon and other cameras using Odyssey 7Q/7Q+ RAW Recorder This article explains how 12 bit RAW capture of ARRI, Panasonic, Sony, Canon and other cameras is possible using the Odyssey 7Q/7Q+ RAW Recorder.
HDR reality and monitoring – a DOP’s Perspective THESE ARE SOME EXCERPTS OF A CML THREAD ABOUT HDR AND MONITORING HDR, WHICH I HAVE REPRODUCED WITH PERMISSION FROM GEOFF BOYLE AND ART ADAMS. IT WAS REALLY INTERESTING AND IS ABOUT HDR FROM THE DOP’S PERSPECTIVE.