Equipment
ARRI, RED and Blackmagic cameras, ARRI and Cooke lenses, cranes, dollies and lights. We hire them from Kazakh rental houses at partner rates and bring them to set. Nothing to bring with you or clear through customs.
Cameras and drones
From ARRI flagships to compact REDs for action and aerial shots.
ARRI Alexa 35
ARRI's flagship: 17 stops of dynamic range and the signature ARRI colour.
ARRI Alexa Mini LF
The full-frame camera big films are shot on. “Ready to Shoot” kits.
RED V-Raptor
8K and up to 120 fps at full resolution.
RED Komodo 6K
A compact global-shutter camera — for action, cars and drones.
Blackmagic URSA Cine
Full-frame 12K cinema camera with built-in ND filters.
Drones with pilot
Aerial filming with a cinema camera. We handle the flight permits.
Also available
- Phantom Flex4K high speed: explosions, impacts, drops
- RED EPIC Helium
- Car mounts and suction rigs camera on the hood and side for chases
- Teradek Bolt 4K and Vaxis Storm wireless video transmission
- Blackmagic Video Assist and Atomos Sumo 19 director's monitors
- Director's video playback
Lenses
Spherical and anamorphic ARRI and Cooke lenses for any sensor and any look.
ARRI Master Anamorphic
2x anamorphic: wide frame and signature flares, 28 to 180 mm.
ARRI Signature Prime
A soft, dense look on large sensors, 18 to 280 mm.
ARRI Signature Zoom 24–75
A zoom with the same look as Signature Prime — no lens changes.
ARRI Signature Zoom 65–300
Long zoom for distant shots and chases.
ARRI Ultra Prime
Sharp classics from 8 to 180 mm, two full sets.
Cooke S4
The warm, soft “Cooke Look”, 18 to 300 mm.
Also available
- Zeiss Vario Sonnar 16–30, 30–55 and 55–105 mm zooms
- Filters Black Pro-Mist, Gold Diffusion, polarisers
- Converters and wide-angle adapters
Cranes, dollies and stabilisers
Everything to keep the camera moving: dolly moves, flights over crowds, long walk-and-talks.
Supertechno 30 Plus crane
The telescopic arm extends right in shot, with the camera on a remote head.
Panther Classic Plus dolly
A column dolly for moves on track and off.
Steadicam
Steadicam G70 for long walk-and-talks and moving shots.
ARRI MAXIMA
Three-axis handheld stabiliser: the camera floats in hand, on a car or on a cable.
Also available
- Panther Super Jib jib arm for the dolly column
- ARRI 360 stabilised head
- GF-Jib and GFM-16 camera jibs
- Track straight and curved
- Kessler and GF-Lite dollies
- Camera umbrellas
Lighting
HMI daylight, LED panels and soft light for location and stage.
ARRI SkyPanel
LED panels from S30 to S360: soft light in any colour and temperature.
ARRI M18 and M40
HMI lights for daylight on location and on stage.
ARRI True Blue D12
1,200 W Fresnel HMI: directional daylight.
Kino Flo
Soft light for faces, from mini units to 120 cm.
Also available
- 11 m lift light from above
- ARRI Orbiter
- Astera battery-powered tubes
- Dedolight spot lights
- Luxed and Arrisun
- Space Light soft light from above
- Frames and fabrics 8×8 and 12×12
- Wind machine
Stage and transport
Where to shoot when it's not on location, and how to get the gear to set.
727 m² sound stage
12 m ceiling, rigging grid and basic lighting — for sets and day-for-night scenes.
Green screen
A green screen across the full stage wall, plus portable framed screens.
Trucks for equipment
We move lights, grip and props from base to set and back.