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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Canon’s much anticipated EOS C300 is a modular Super-35 sized sensor camera available in both PL and EOS (EF) mount. The modular nature and size of the C300 means the camera can live in many configurations – from the fully decked out studio camera to a light-weight run-&-gun setup.

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Sony has entered the compact Large Single Sensor (LSS) camera market in impressive fashion with the release of their F3 camera. The PMW-F3 uses Sony’s XDCAM EX technology and records to SxS media. The Super-35mm CMOS imager delivers the wide field of view and shallow depth of field of 35mm imagery, with high sensitivity and wide dynamic range. In addition to a shallow F3 lens mount, which allows the use of adapters for a multitude of lens formats, the F3 includes a PL lens mount adapter for access to a wide variety of cinema lenses, such as those manufactured by Zeiss, Cooke and Fujinon. More »

Sony’s new NEX-FS100 camera is a Compact HD camcorder that shares the same Super-35 sized sensor and image characteristics as the PMW-F3. Because of it’s relative diminutiveness, the FS100 is suitable for many situations where larger cameras may not be. In this article, we present the many different lenses and accessories that can be used with the camera.

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Panasonic’s new AF100 camera is a full-featured video camcorder with a large 4/3rd size sensor. Panasonic designed the AF100 to fit many different production needs and to be highly customizable. In this article, we present the many different lenses and accessories that can be used with the camera.

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