Equipment Selection

The choice between ARRI, Sony, and RED depends on your production type, budget, and post-production workflow. ARRI ALEXA (Mini LF or ALEXA 35) is the gold standard for narrative film and high-end commercial work — its color science, dynamic range, and skin tone reproduction are unmatched. Most Chinese post-production facilities are optimized for ARRIRAW and ProRes workflows. Sony VENICE 2 offers exceptional low-light performance and dual ISO capability, making it ideal for documentary-style shoots, run-and-gun work, and productions that need maximum flexibility in challenging lighting conditions. The Sony FX6 is our most popular camera for mid-range productions — it offers cinema-quality images in a lightweight, versatile package at a fraction of the ARRI rental cost. RED V-RAPTOR excels for high-resolution work (up to 8K), VFX-heavy productions, and projects that need maximum flexibility in post. Its compact form factor makes it great for gimbal and drone work. Our recommendation: for feature films and premium commercials, choose ARRI. For documentaries and flexible productions, choose Sony. For VFX-driven projects, choose RED. We can always help you build the optimal package based on your specific creative requirements.

Zhanru offers an extensive lens collection covering every production style. For modern cinema: ARRI Signature Primes (best overall image quality, optimized for large format), Cooke S7/i Full Frame Plus (classic Cooke Look with warm tones), Zeiss Supreme Primes (sharp yet organic, excellent for interviews and documentaries). For anamorphic shooting: Atlas Mercury (affordable anamorphic with beautiful flares), Cooke Anamorphic/i (premium 2x anamorphic for feature films). For vintage character: Cooke Speed Panchro rehoused sets (classic Hollywood look), Leica R rehoused (organic rendering with vintage charm), Soviet-era lenses for distinctive character on period pieces. For zoom versatility: ARRI/Fujinon Alura zooms, Angénieux Optimo series, Canon CN-E zooms. We help productions match lens character to their visual style — whether you need the clinical precision of Zeiss or the dreamy softness of vintage glass. Lens packages start from ¥500/day for a basic prime set to ¥3,000/day for premium full-frame cinema primes.

Lighting selection depends heavily on your shooting environment. For studio work: ARRI SkyPanel S60-C and S120-C offer precise color-tunable LED lighting with full RGBW control, ideal for product shots, interviews, and controlled narrative scenes. ARRI M-Series HMI (M18, M40) provide powerful daylight-balanced output for large sets. Kino Flo Celeb series for soft, wrinkle-reducing beauty lighting. For on-location shoots: Aputure LS 600d Pro — our most popular location light, battery-powered with Bowens mount compatibility. Aputure MC series for compact accent lighting in tight spaces. Nanlite Forza series for budget-conscious productions. Litepanels Gemini 2x1 for versatile bi-color panels. Key considerations for China locations: power availability varies significantly between modern city locations and rural/historical sites. We always recommend bringing battery-powered options (V-mount batteries) for Hengdian period drama sets and rural locations. Our lighting technicians can pre-rig your setup and advise on power distribution based on venue specifications.

Camera movement and stabilization options depend on your creative vision and practical constraints. For gimbal work: DJI Ronin 4D — our top recommendation, an integrated camera-gimbal system with LiDAR focusing. DJI RS 4 Pro for lightweight setups with Sony FX6 or Canon C70. ARRI Trinity/Artemis for Steadicam-quality shots with a more compact system. For dolly and track: We stock GF-8 and GF-16 track dollies (the most common in Chinese productions), Fisher dollies for precision camera moves, and Dana Dolly for quick tabletop setups. Our track inventory includes straight and curved sections in various lengths. For jib and crane: we carry Stanton Jimmy Jib up to 40ft, Panther Foxy Crane, and smaller portable jibs for run-and-gun work. For drone/aerial: DJI Inspire 3 with X9 camera for cinema-quality aerial shots, DJI Matrice 350 for heavier payloads. Note: drone operations in China require specific permits — our team handles all CAAC flight approvals and no-fly zone clearances. Consider your location environment: traditional hutong alleys in Beijing require compact rigs, while Hengdian's large palace sets suit full dolly/track systems.

Our sound department covers professional audio recording for every production scenario. Mixers/Recorders: Sound Devices 888, 633, MixPre-10 II — industry-standard recorders with multi-track capability and Bluetooth control. Microphones: Sennheiser MKH 416 (the workhorse shotgun mic), Sennheiser MKH 8060 (ultra-clean shotgun for controlled environments), Schoeps CMC6 with MK41 (gold standard for boom work), DPA 4017C (compact shotgun). Wireless systems: Lectrosonics Digital Hybrid (SRc receiver with DBSM transmitter — the most reliable system for professional work), Sennheiser EW500 G4, and Wisycom MCR54 for multi-channel situations. Boom poles: K-Tek Avalon series (carbon fiber, internal cable). Accessories include wind protection (Rycote, Cinela), IFB systems, timecode boxes (Tentacle Sync E), and playback speakers. Our sound packages are tailored to your production: a basic interview kit (1 mixer, 2 wireless, 1 boom) starts from ¥800/day, while a full feature film sound package runs ¥2,500-4,000/day.