Recently, a colleague of mine asked about how to set up the Ki Pro Mini for use with the Canon C300. With the latest firmware (v3.0), the Ki Pro Mini can be triggered to record via the C300, as well as record in 24p (23.976 to be exact).

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.

In this last part of my Sony F3 and S-log series, I go over how to generate 3D LUTs that can be used with external LUT boxes and in post. In order to do this I use an HD Link Pro from BlackMagic Design and, to control it, a program called LinkColor.

In this third part of my series on the Sony F65 Workflow, I go over how to use Sony's SR Compression format. In the latest firmware revision, the F65 is able to record in the SStP (Simple Studio Profile) video format, also known as the SR Compression format. This is the same format found in the F35 and other HDCAM SR recording cameras. Right now, the F65 can record in the SQ Mode (at 440 Mbps) to the SR Memory cards, with HQ and Lite options available in the future.

In the fourth part of my Sony F3 S-log series, I explain how to create Look Up Tables (LUTs) to be used in the camera. When shooting in S-Log, the F3 allows you to apply a LUT to an output of the camera, letting the operator visualize how the image will look after post-production correction.

Last year in our booth at NAB, AbelCine showed a prototype of the new Canon CN-E 14.5-60 T2.6 Cinema Zoom lens. We were very impressed at the time, and in recent private testing, were even more pleased. Now that the release version is shipping, AbelCine's optical technicians have put this new PL-mount zoom through a battery of evaluations, and we are very excited by the results.

With the Sony F65 and the SR-R1 recorder come a new set of workflow processes. At AbelCine, we are always trying to stay ahead of the curve, even as technologies such as these are evolving. Sony's F65 and the SR-R1 both record to SRMemory cards, which are high-speed memory that enables recording of F65RAW video at up to 120 fps. To work with these cards, Sony has released the SR-PC4 and SRPC-5 transfer stations, which present a unique way of playing back and downloading content.

A few weeks ago Arri dropped off their new MFF-2 follow focus for us to play with. I spent some time looking at the features and differences between the MFF-2 and the popular MFF-1 follow focus.

With every new camera, comes many new questions about workflow. The term 'workflow' can be fairly broad, but today I am looking at importing C300 footage into various non-linear editing systems (NLE). The C300 uses the same workflow as the Canon XF series of cameras (which includes the XF305, XF300, XF105 and XF100), because it records in the same format. However, the tools for importing the footage have been updated by Canon. Below, I outline how to ingest footage onto a hard drive, and how to import into Avid Media Composer, Final Cut Pro 7, Premiere 5.5 and Final Cut Pro X. Keep reading for a brief how-to on each process.