The Canon EOS 5D Mark II undoubtedly kicked off the large-sensor-in-a-small-body movement, so it’s no surprise that Canon would carry this momentum forward with the EOS-1D C. While the Mark II started as a still camera that conveniently shot video, it’s apparent that the 1D C was built with filmmakers in mind. As the first HDSLR with 4K and LOG recording capabilities, the 1D C introduces new possibilities for productions of any size. While it utilizes a full frame sensor (24mm x 36mm), the 1D C can also shoot in a Super 35 crop mode, while the 4K mode utilizes an APS-H sized crop. Many of the available accessories are shared amongst other HDSLR‘s, but the tall form factor of the 1D C means there will be some differences. In this article, we present the many different lenses & accessories that can be used with this camera.

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Sony’s new PMW-F5 and PMW-F55 cameras build upon the popular PMW-F3, and feature a Super-35mm size sensor with 2K and 4K recording options. Both the F5 and F55 are suitable for many different styles of production and can be customized with lenses and accessories to make them even more versatile solutions. Some of the existing accessories for the F3 are interchangeable with the F5 and F55, but the new form factor means some support accessories will be unique. In this article, we present the many different lenses and accessories that can be used with the cameras.

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Canon optics have a large following in the HDSLR world and are known for producing wonderful skin tones and a beautiful gradation into the blacks. In recent years, the popularity of Canon lenses has extended into the cinema world with many filmmakers seeking special adapters and rigs to use these photo lens in a production environment.  Canon has reacted to the market and created a line of cinema lenses that feature the same trademark Canon look, but designed for professional production work. To help you figure out your best Cinema EOS Canon lens options, we created the Canon Cinema EOS Lens Lineup.

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Canon launched the Canon Cinema EOS Camera product line with the C300.  Since the release of this camera, the lineup has expanded to include the EOS-1DC, C100, and C500. Each camera fills a different need in the production marketplace from B-cameras to documentaries to feature films. To help you figure out your best Cinema EOS Canon camera option, we created the Canon Cinema EOS Camera Lineup.

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Sony’s new NEX-FS700 camera builds upon the success of the NEX-FS100, but adds some much-requested features and a few surprises as well. The feature set is very similar to the FS100, so most lenses and accessories will be fully compatible between the two. In this article, we present the various accessories and lens options that can be used with the camera.

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At AbelCine, we offer a class on video formats that covers a variety of different terms and compression formats. One of the more common questions I’m asked is, “What’s the difference between uncompressed video, Raw and Log recording?” With so many cameras these days offering different recording options, combined with the popularity of external recorders, it’s no wonder there are a lot of questions about this topic.

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When Sony dropped off the new FS700 at AbelCine for some quick tests, we put it to work right away. We wanted to test many things, but focused on low-light performance, dynamic range, and the camera’s slow-motion options. The FS700 is an updated model of the FS100, so much of our testing also compared these two cameras.  More »

Sony’s F65 digital cinema camera records to SRMemory cards in a variety of formats, recording modes and frame rates. This chart gives the approximate maximum recording time in these various modes on different capacity SRMemory cards. Recording times are given in minutes.
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AbelCine has developed a plug & play Live Sports System that is powered by the new Phantom v642 and connects seamlessly with standard Sony camera control components. The system allows for “paint” control of the image, two-way transmission over Sony fiber optic, tally, intercom, and other familiar broadcast features. It also communicates seamlessly with EVS “hypermotion” functions such as triggering and playback control. The system offers dual-stream live and slo-mo recording and monitoring, all at an extremely affordable price point.

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With more and more cameras shooting in flat-looking Log modes or RAW, the topic of LUTs on set and their implications in post have become big points of discussion. At the same time, there are many cameras that utilize the more traditional Scene Files for control of color and contrast. Furthermore, there are cameras like the ARRI ALEXA and RED EPIC that offer their own unique types of image control. With all these different formats, the difference between LUTs, Looks and Scene Files can be confusing, so in this article I explain the terms and discuss how these files are applied.

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