» Posts Tagged ‘abelcine’

Description image

Zach ZamboniFor many of us, traveling around the world with our cameras, meeting tons of interesting people, and getting to eat some of the best cuisine in the world sounds like a dream job. If you’re curious about what that’s like, just ask award-winning DP Zach Zamboni, who heads up the cinematography on CNN’s Anthony Bourdain: Parts Unknown. In fact, why don’t you just check out his masterclass on cinematography, presented by AbelCine, in association with Sony, in which he discusses working with the Sony F5, using S-Log, basic documentary film theory, and many other cinematographic tricks of the trade. More »

Description image

s16 F55In late 2013, Sony released version 3.0 of the firmware for their F5 and F55 cameras. This update added a veritable plethora of new features for these two cameras, including internal 4K and more options in regards to high frame rate shooting. However, one of the most interesting features of the update was the addition of what Sony calls “Center Scan Mode” which essentially crops the sensor in order to allow native use of lenses with a smaller image circle than s35, chiefly older s16 lenses. In another informative “At The Bench” video from AbelCine, Andy Shipsides breaks down everything you need to know about Center Scan Mode on the F55. Check it out. More »

Description image

Cooke LensLenses are often one of the more subtle choices that the cinematographer makes when determining the look of a film. Usually things like camera (or film stock) and lighting take precedence over lenses. However, what many people don’t realize is just how powerful an effect certain lenses can have on the final image of a film, no matter how subtle or subconsciously appealing the look may be. Cooke lenses, for example, are known worldwide for their distinctive look. But what exactly is the “Cooke look”? Where does it come from, and why would you want it on your next project? Stick with us to find out: More »

Description image

AbelCine Arri-Zeiss ComparisonOne of the important characteristics of a set of cinema-style lenses is that each and every lens in the set is manufactured to have the same visual characteristics. They should each maintain a certain level of sharpness and render colors and contrast in the same way as the other lenses in the set. However, it’s often necessary to use more than one set of lenses on a production, and in those cases it’s important to know the visual similarities and differences between the lenses. In AbelCine’s look at Zeiss’s new Compact Zoom cinema lenses, they compared them to the famed Arri-Zeiss Ultra Primes and Master Primes. Here are the results: More »

Description image

Video thumbnail for youtube video AbelCine Lays Out The ARRI ALEXA XT - nofilmschoolThere has been some significant news on the Arri front over the past few months — namely, that the growing Alexa family is forking out ‘budget’ HD-specific and Doc-friendly body implementations. All the while, AbelCine has been a great resource on keeping us all up to date on the family’s tech specs & specifics. This trend continues as AbelCine’s Andy Shipsides walks us through Arri’s Alexa XT system. Briefly, the XT series upgrades Alexa to Codex-powered internal ARRIRAW recording. Andy’s videos go through the ins and outs of this system — detailing everything from virtual media to live-grading metadata. Read on to check out the videos. More »

Description image

salienceFilmmaker Paul Trillo (full disclosure: a fellow Brooklyn Filmmakers Collective member, and also my former roommate) used chromakey suits to novel effect in his music video Lonely, and now he’s back with a new experimental short that finds clever uses for chromakey suits — as well as a high-speed Phantom Miro camera. Check out SALIENCE, an experimental short: More »

Description image

AbelCine doc grantAbelCine has extended their documentary grant deadline, giving applicants another week to upload a Vimeo pitch for the chance to win a $33,000 Canon C300 rental package. They’ve also added another prize to the mix: Unlimited DPX access to cloud-based rolling credits service Endcrawl, which includes all the 2K, HD DPX, and 1K H.264 renders your little heart could desire. Read on for the details. More »

Description image

AbelCine doc grantFilm and video equipment and service provider AbelCine announced the 2013 AbelCine Documentary Grant yesterday, calling on filmmakers to submit 2-5 minute Vimeo videos pitching their longer documentary projects. Each of three winners will receive $33,000 which can be applied to their choice of a Canon C300 rental packages and lenses from AbelCine. US Residents 18 years and older are eligible to apply; hit the jump for deets. More »

Description image

Arri Alexa HD - AbelCineWant that sweet ALEXA look but can’t quite afford the full price to buy one? Or need the rental to be just a little cheaper? What if you don’t need that fancy schmancy RAW option? Then the new ARRI ALEXA HD might be in your immediate future. ARRI has taken everything that’s good about the camera series — like the 14-stop 800 ISO sensor, 10-bit Log-C ProRes, SxS cards, and the intuitive menu system — and is passing the cost savings on to the customer. Here is AbelCine’s Mitch Gross explaining exactly what this camera has to offer for users who want their ARRI just a little cheaper: More »

Description image

FreshDV gets the scoop as Mitch Gross shows off these new optical adapters, including adapters for B4 Mount lenses utilizing the new Universal Mount System. Watch the video below for details, and listen to discussion about the future of 4K imagery: More »

Description image

The Phantom Flex4K is the upgraded version of Vision Research’s Flex high-speed monster, designed to be production-ready with form factor improvements, audio options, and the ability to record to compressed formats. Check out the pyromaniac-friendly debut short and our interview, co-presented with FreshDV: More »

Description image

On-board monitors might not be among the sexiest pieces of gear on set, but they are definitely among the most useful. Whether they’re used as a reference for a camera assistant or a dolly grip, the camera operator isn’t able to use the eyepiece, or you’ve got a director who likes to hover behind the camera, on-board monitors have become essential to the filmmaking process in the digital age. But with so many different monitoring technologies, and with just as many options for these monitors in the marketplace, deciding which on-board monitor is right for your next production can be a downright daunting task. Luckily for us, AbelCine has our back. More »

Description image

Ever asked yourself, “What in the f#$% is a LUT?!” Or what a LUT’s relationship is with color space? Or what a color space is? If “yes,” not to worry — these concepts can be fairly confusing. Fortunately, engineering can and will work for you as an artist, so long as your understanding of it covers the fundamentals. And even if you answered “no” to all the above, you should still check out some of outstanding basic-breakdowns of these concepts below — including how to convert CinemaDNG footage into the Academy Color Encoding Spec color space (ACES) in Davinci Resolve, plus how to use that very program to generate dailies (like a boss). More »

Description image

Wireless monitoring is often a very expensive proposition, but in the last few years it really has been consumer technology that has brought down the price significantly. While there have been many new interesting wireless solutions over the past few years (like some of those from Teradek), many people still want a simple plug and play wireless device that is completely self-contained. Over at AbelCine, they are utilizing consumer technology and adding in some professional tools to make a wireless video solution fit into literally any workflow. Check out the video below as Mitch Gross takes us through the AbelCine Wireless Video Solution. More »

Description image

While many productions choose the Arri Alexa for its superior dynamic range, sensitivity, and color rendition, having the ability to record to high quality ProRes can mean faster turnaround times with a workflow that is already a standard. Any production that will rely on color correction will usually choose a log profile, but this also means that unless you do some sort of correction, the files will be very flat. Since the Alexa can output both log and standard gamma profiles, you can use an external recorder like the Sound Devices PIX 240 to record proxy files with a standrad gamma profile. The new 2.01 firmware for the 240 gives it the ability receive timecode and have identical file names to the internally recorded files from the Alexa, so those can be matched up perfectly when you want to re-link files later for color grading. Andy Shipsides from AbelCine gives a walk-through of that process in this video: More »

Description image

Sony F3 with 65mm Lens/Mattebox/Follow FocusSony, in a move that will either please or anger some F3 owners, is releasing S-Log for free in a new firmware update. While they had decided to make it free with all new F3 cameras back in March, it still cost money for those who hadn’t purchased it yet. Now it’s going to be free to anyone that wants it. Before you send angry emails to Sony, they’ve limited the free S-Log to 4:2:2, so you’ll still need to purchase it if you want the full 4:4:4. If you’ve been thinking about an F3 purchase, there has never been a better time than the present. Here is AbelCine’s Andy Shipsides with a video discussing the new update and how it affects the overall camera system: More »

Description image

The Sony FS100 is a fantastic large sensor video camera for the money, but one of the chief criticisms is that its highlight roll-off is less than pleasant. If you’re trying to squeeze as much dynamic range out of that camera as possible, your options are limited, as it does not provide any sort of log mode like its big brother the Sony F3. By utilizing scene files, we can make the most of the limited color space and dynamic range. Andy Shipsides, who is an essential resource for all things color profiles and crop factors, recently updated his custom scene files for the FS100. More »

Description image

Sony’s paid S-Log upgrade for its F3 camcorder has been out in the wild for a while now, but to date no one has released a scientific test of how much extra dynamic range the $3,600 upgrade adds to the camera. Abel Cine has just done so, and they find the firmware takes the camcorder from from 12 to 13.5 stops (which is awfully close to ARRI ALEXA territory — and that camera costs $75k). Here’s the test: More »

Description image

Abel Cine continues their helpful camera tests on their blog with an insightful look at the dynamic range of the post-HDSLR Sony FS100 camcorder. They find the camera gets a respectable 11.5 stops, which according to similar tests is the same as the Sony F3 and Canon DSLRs like the 5D Mark II. They also look at the different CinemaTone settings, which are the customizable knee settings in the FS100. Along with pro audio inputs and interchangeable lens mounts, these settings help separate it from its cheaper HDSLR brethren: More »

Description image

The folks at AbelCine have put the prosumer Sony FS100 through the same tests to which they subjected its professional cousin, the Sony F3, and have discovered some interesting things. First of all, it seems the FS100 gets about 10 stops of dynamic range as opposed to the F3′s 12 stops. But the FS100 has higher sensitivity settings, which let it reach the equivalent of an astounding 16,000 ISO. Here’s the chart that AbelCine came up with, to translate Sony’s video-centric “db gain” settings to the filmic ISO rating to which many are more accustomed: More »