Sony stopped by recently to show us the FS700 with the RAW output option enabled. This upgrade has to be done at Sony for a cost of $400. However, if you buy their HXR-IFR5 and R5 recorder the fee is waived.

AbelCine has developed our line of Resolution Analysis Charts to allow for accurate, repeatable measurements for any cameras and lenses that resolve 2K, 4K and higher. We have compiled this FAQ to help users get the most out of the charts.

Last year at Cine Gear, Mitch got a peek at Hedén's new HLC System - an inexpensive, single-channel, Bluetooth wireless lens controller.

To camera people like ourselves, the term Auto White Balance usually brings to mind that little AWB button on many camera systems. When you press the button, the camera tries to adjust its RGB gain levels to make white things in your picture actually white. However, this is not the only place on set where white values are important. A properly calibrated monitor is essential to ensuring what you see on set is what you'll actually get back in post.

4K was the definitive buzzword at NAB this year, as well as CES, with a number of manufacturers releasing 4K televisions, 4K game systems, and 4K cameras. With the consumer demand for 4K content just around the corner, one of the most often asked questions is "How much is this gonna cost us?!"

A cinematographer and lighting designer by trade, Rick Siegel has worked on feature length and short films in the narrative and documentary genres. He photographs episodic television series as well -- in music, comedy, fashion, home style, reality and magazine formats. In this blog, he tells us all about his Sony PMW-F3 rig.

A few months ago, Andy wrote an article for HDVideoPro called Making 4K Plug & Play about how to use the Canon C500 with AJA's Ki Pro Quad to easily record and monitor 4K video. Getting these two to play nice isn't too difficult, but there are a few things to be aware of if you want to get the best results possible.

Recently, a client who purchased a Sony PMW-F3 from AbelCine gave me a call with a “quick question”. He had just updated his camera with the S-Log recording option and discovered that he could now set his camera’s sensitivity in a number of different ways. He could set the camera’s gain, ISO or, with the S-Log mode turned on, he could set an Exposure Index (EI). He wanted to know the difference between these settings, and which was best to use.

With every new camera, come many new questions about workflow. The term "workflow" can be fairly broad, but today I am looking at importing Sony F5/F55 footage into various non-linear editing systems (NLEs). Both the F5 & F55 can record in MPEG2 (XDCAM), XAVC and HDCAM SR formats internally. With the addition of the AXS-R5 recorder, they can also record in Sony Raw. This article is focused on MPEG2 and XAVC, but be sure to keep an eye out for future blogs on working with Sony Raw and HDCAM SR.