Sony has announced the availability, this fall, of major new firmware versions for both of their full frame (aka full format) digital cinema cameras: the PXW-FX9 as well as the flagship CineAlta VENICE.

We had the opportunity to talk to Emmy Award-winning Cinematographer, Petr Cikhart, about how he got started in the industry and his use of Sony cameras on various projects. 

Recently I had the opportunity to sit down for a conversation with DP Tommy Maddox-Upshaw to discuss his career, his inspirations, and his most recent work with the Sony VENICE on Season 6 of FOX's Empire, and two seasons of FX's SnowFall.

Cinematographer Robert Hanna is an Emmy-award winning, veteran commerical, and documentary filmmaker, as well as a longtime customer and friend to AbelCine. Hanna's credits include Carrier, Circus, and A Portrait of Robert Frank. He has experienced several successive technological revolutions first-hand, going from 16mm to high-definition video to 4K digital cinema and beyond.

Dan Soder: Son of a Gary debuted on HBO in December 2019. Cinematographer Andrew Wehde (Jeff Garlin: Our Man in Chicago, Adam Sandler: 100% Fresh) captured the stand-up comedy special using five Sony VENICE cameras supplied by AbelCine. In this exclusive interview, Wehde describes his visual approach and workflow. 

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.