The Slow Mo Guys are creator/cinematographer Gavin Free and co-host Dan Gruchy. Free and Gruchy primarily use a Phantom Flex4K high-speed camera to capture various forms of natural and physical phenomenon in super slow motion at 1,000 frames per second. Popular episode subjects include jumping into a giant six-foot water balloon, diving into 1,000 mouse traps, underwater bullets (filmed at 27,450 fps with a Phantom v1610), and much more. In this exclusive interview, Free takes AbelCine behind the scenes of The Slow Mo Guys.

John Hancock Insurance Company initially engaged AbelCine for consultation on constructing a studio in their new corporate headquarters in Boston, MA.

As DPs, we often decide whether our project should be shot with primes or zooms based on the desired look and logistics of the shoot. However, there are plenty of times when we need to use both. Maybe we are handheld, shooting outside for some scenes, so zooms make the most logistical sense. Yet for other portions, we are shooting portraits or interviews, and we want the added optical quality, control, and stop of a prime. Then, our main objective becomes making sure the lenses match and will cut together cohesively.

The Canon EOS C500 Mark II digital cinema camera features a 5.9K full-frame CMOS sensor, 15+ stops of dynamic range, Dual Pixel CMOS autofocus, with support for Touch AF and Face Detection AF, a user-changeable lens mount (EF included), and more. Here are a few accessories that complement the camera and expand its functionality for virtually any production application.

Mott Hupfel is a cinematographer known for his work on The Savages, The American Astronaut, The Cobbler, and You. When researching the Sony VENICE for an upcoming project, he discovered the camera's Sensor Extension System, also known as Rialto. Recently, he talked to us about his latest project, The Last Shift, which premiered at the 2020 Sundance Film Festival and how he made use of Rialto.

Recently, I had a chance to take a closer look at a few of the latest offerings from ARRI Pro Camera Accessories. In this video, I explore the versatility and functionality of the ARRI Lightweight Mattebox LMB 4x5 as well as the 138mm Diopter Frame and 138mm Diopter Stage. There is also a LMB 6x6 version available for 6” filtration that is very similar to the LMB 4x5 as both were designed for extreme modularity at minimum weight.

Sony VENICE firmware version 5.0 has arrived. This update brings a bevy of new features and improvements, including new frame rates and monitoring options to streamline workflows.

Recently, I talked by phone with Ari Robbins, a well-known Steadicam operator. He shared insights about his career, incorporating new tools, and how ARRI’s TRINITY and MAXIMA inspire him to innovate new techniques that allow him to achieve the Director and DPs' vision.

The Light Bridge has introduced the CRLS, Cine Reflect Lighting System. The system includes a series of C-Reflectors with various levels of diffusion applied to them. The CRLS can be used to create different lighting effects from a single lighting source. Any Fresnel, from a small tungsten lamp to a Leko, can be used with the CRLS.