| |
Raw, Log and Uncompressed Explained
Thursday, 17 May 2012 15:33
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.
More »
|
|
|
|
|
F65 Maximum Recording Times Chart
Monday, 16 April 2012 19:13
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.
More »
|
|
|
|
|
The Difference Between LUTs, Looks and Scene Files
Tuesday, 27 March 2012 13:54
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.
More »
|
|
|
|
|
FAQ for ARRI ALEXA
Thursday, 02 February 2012 13:12
Many questions regarding ALEXA are answered in the ALEXA User Manual. Information contained in the manual will not be duplicated here. These frequently asked questions (FAQ) were last updated on August 19, 2011 and supersede any earlier versions. Any directions given are always from the operator’s point of view.
More »
|
|
|
|
|
ARRI ALEXA White Papers
Thursday, 07 July 2011 21:01
Here, we have collected ARRI’s white papers on the ALEXA camera line. This page will be updated as new white papers are released.
ALEXA Anamorphic De-squeeze White Paper – July 7, 2011
Starting with ALEXA Software Update Packet (SUP) 4.0, some new features can be added to ALEXA cameras through the purchase of a license. The first such feature is an anamorphic de-squeeze function. This paper describes the basics and history of the anamorphic process and how the de-squeeze function in ALEXA works. While the subject of the anamorphic process is fascinating and really deserves a longer treatise, this is meant as a simple primer to better understand the ALEXA de-squeeze function.
More »
|
|
|
|
|
Introduction to Phantom 65-Z3D System
Tuesday, 31 May 2011 18:45
Introduced at NAB 2011, the Phantom 65-Z3D system is built on a unique design concept and offers several advantages for creating uncompromised, high quality, user-comfortable 3D content, as well as significant production, workflow and post benefits. The system uses a single Phantom 65 Digital Cinema camera and Zepar Stereo 3D Prime Lenses to record two 35mm film-sized images side-by-side within the Phantom 65’s single 65mm sensor.
More »
|
|
|
|
|
Advantages of the Phantom 65-Z3D 3D Technique
Tuesday, 31 May 2011 18:30
There are several techniques currently employed for shooting 3D with control over what appears in front of the screen and what appears behind the screen.
In traditional side-by-side and beamsplitter 3D rigs, by toeing-in both cameras, the two images ‘converge’ at a distance where objects in front of the convergence appear in front of the screen, while objects behind it are in the back. While this technique provides flexibility in positioning the convergence point, the images can exhibit keystoning or distortion, due to the fact that the cameras are at slight angles to the image plane.
More »
|
|
|
|
|
Technical Components of the Phantom 65-Z3D System
Tuesday, 31 May 2011 18:05
In this article, discover the technology that makes up the Phantom 65-Z3D system, from camera to optics to lens control.
Camera – Phantom 65 Gold Camera
 The Phantom 65 Gold is a 4K digital cinema camera that delivers nearly 10 megapixels at full resolution. It has a 4096 x 2440 sensor that is the same size as a 65mm film negative, so it achieves 65mm depth-of-field and field-of-view. When used in 3D mode (1080 pixel height) the camera can run at speeds up to 300 frames per second, and provides shutter speed control down to 2 microseconds (1/500,000 second), giving you precise control over the amount of blur or clarity in each scene. Exposure time can also be set in increments of one microsecond. The excellent sensitivity of the CMOS sensor (ISO 320) and wide dynamic range combine to give you an image quality that rivals film.
More »
|
|
|
|
|
An Introduction to LOG and Its Uses
Thursday, 06 January 2011 00:00
Our eyes perceive brightness differently than an electronic sensor does. Video monitors are locked into a standard for color and contrast, but now Digital Cinema camera systems are being used to capture images that are used and displayed in media that can see well beyond those limitations.
More »
|
|
|
|
|
ALEXA Sample Footage
Wednesday, 10 November 2010 21:16
The ARRI ALEXA has been generating a lot of interest lately, and we’ve received many requests for sample footage. Specifically, people want to see what the footage looks like straight out the camera – as it would be seen on set, and on first arriving in post.
To accommodate these requests, Abel’s Mitch Gross and Guenter Noesner of ARRI decided to capture some basic material, and Geoff Boyle of the CML graciously agreed to host the files, which you can download here.
More »
|
|
|
|
|
|
| |
|
