The Sony PXW-FS7 is causing a lot of buzz, and with good reason, since it can acquire multiple resolutions and codecs. The XDCA-FS7 is an extension unit that attaches to the back of the FS7, providing inputs and outputs, as well as the ability to export Raw for external recording.

With today's latest technologies, "4K" has become more than a buzzword and interest in acquiring in 4K is growing. Recently, I wrote an article for ProductionHub's new 4KHUB discussing my experience with the Producers Guild of America and how they wanted to understand the deeper implications of a 4K workflow. To make things clearer, I touched on data space requirements, recording simultaneously in 4K and HD, LUTs, external recorders, and more.

In a recent guest post on NoFilmSchool, AbelCine client Richard Patterson outlined some the challenges he faced when traveling to Haiti to work on Papa Machete, a documentary following Alfred Avril, the last master of Haitian machete fencing.

Ahead of NAB, Sony has announced new AXS media for the AXS-R5 Raw recorder, which is designed to work with the F5, F55, and the FS700. These new cards have been shrunk in size from the original AXS 512 GB card (AXS-512S24), and are now the size of standard SxS cards.

The Alexa XTand Alexa Classic with the XR recording module both have the ability to read ASC CDL (Color Decision List) LUT settings as they record.

Last month I showed you how to set up the Ki Pro Quad with the Canon C500 to capture 4K ProRes files. Today I'm going to go over how to capture Canon RAW (up to 59.94p) using the Ki Pro Quad's Thunderbolt pass-through function and AJA's CamXchange software.

One of the big advantages of the Sony F55 is its ability to record both RAW and HD at the same time (this is true of the F5 as well). When paired with the Sony AXS-R5 recorder, the F5/F55 can record 16-bit RAW data to AXS media cards, and HD video (MPEG2 or XAVC) to SxS cards. This gives you an easy-to-use offline editing format as well as an extremely high quality online Raw format at the same time.

Our customers are always asking for "the perfect camera", one that fits all of their needs and then some. Of course, there is no such thing as the perfect solution for everyone; however, there are some key requirements that we hear all the time. Most new cameras today have features that set them apart from each other and sound great on paper, but when it comes time to go into production the camera needs to be a solid tool that preforms a required task.

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.