We asked the team at Paxeros Creative, winners of the ARRI Inspiration Challenge last year, to share their stories of getting started in the industry, winning the challenge, and how they've been putting their ALEXA Mini to use on some of their recent projects.

The Fujifilm GFX100 camera features a 102 Megapixel sensor, with an image circle that exceeds the dimensions of most full frame digital cinema cameras. In this blog, I take a look at its recording features for video capture.

ARRI recently announced their extremely bright, versatile new light: The Orbiter. The Orbiter is a tunable, customizable, ultra-bright point light source directional LED. The output of the Orbiter is comparable to corresponding HMI systems. Now that’s a sentence worth repeating: its brightness is comparable to that of an HMI!

In this video I give you an overview (along with practical applications), of the ARRI SkyLink System and the Stellar Lighting Control App using ARRI SkyPanels and an L-Series Fresnel. Stellar, an app for iOS and Android mobile devices, works with ARRI’s wireless SkyLink system to automatically configure wireless DMX.

The Sony VENICE offers several ways to import professional audio. Three different types of audio signals can be imported through the five-pin audio connector. Watch as I demo how to input these signals, as well as how to manage them using the internal audio menus.

Tom Cubby from Sony dropped by the office to give us a first look at Sony’s brand new full format camera: the PXW-FX9. Join Tom and I as we dive into the philosophy, specs, capabilities, and exciting new features of this compelling addition to the ever-expanding full format video/cinema camera landscape.

Ever since the introduction of the RED RANGER camera system, initially available only with a MONSTRO 8K VV sensor (and only to RED-approved rental houses worldwide), cries to make the camera available with a broader range of RED sensors have echoed far and wide across the camerasphere. Now, those cries have been answered.

I recently had the chance to get a hands-on look at a pre-production prototype of Canon's brand new camera, the Cinema EOS C500 Mark II. Join me and Canon USA Account Manager Jesse Mineo as we go through the features, specs, and concept of the successor to Canon's original high-end cinema camera, the C500. And be sure to stay tuned for lots more on this exciting, new full format offering from Canon. 

Beginning with the ARRI/ZEISS LDS Ultra Primes in 2001 and Cooke's S4/i primes in 2004-2005, many cinema lenses have been able to transmit a lens’ focal length, serial number, current aperture, and the current focus distance via digital encoders wired to the focus and iris rings on their barrels. Many of these metadata-enabled lenses have also featured a multi-pin Lemo port to allow for this data stream to be sent directly to an on-camera monitor (such as the Starlite series of displays from Transvideo). The information would then be shown as an overlay, along with picture, to aid First ACs in focus-pulling and disseminating lens info throughout the set.