Anamorphic seems to be enjoying a renaissance lately, and we’ve received some questions about how to acquire and deliver this format when shooting with ARRI’s ALEXA Mini.

Recently, AbelCine hosted back-to-back Tiffen Steadicam workshops here in our Brooklyn office, and we noticed students were really cozying up to the Sony VENICE. They enjoyed taking this particular payload for a test drive on their Steadicam rigs, getting in some trigger time “flying” Sony’s flagship digital cinema camera.

You may be familiar with Matt Porwoll from last year's Behind the Lens blog series, but did you know he's also an Emmy Award-winning cinematographer who used to work in the AbelCine rental department? It's true! Luckily for us, Matt enjoys sharing what he's learned about the technical aspects of his craft. Recently, we had the chance sit down for an in-depth discussion on his current favorite gear.

DSMC2, the latest generation of RED’s camera BRAIN, is not only powerful, but the entire system is extremely versatile. These bodies can house four different sensors: MONSTRO 8K VV, HELIUM 8K, GEMINI 5K S35, and the recently launched 5K DRAGON-X. A wide range of modules and accessories expand the possibilities even further. We asked three of our Technical Specialists to describe their ideal RED DSMC2 package. Here’s a look at what’s in Geoff's RED kit.

It's been nearly 10 months since the Sony VENICE camera first became available, and in the last few months it has really started to take flight. Demand is skyrocketing for both sales and rentals of the VENICE. Because of this, and because it is such a great camera, we thought it was time to give you a deep dive video on just how it works.

I was excited to get my hands on the new TVLogic F-7H 7” HDR Field Monitor, having read about its 1920x1080 resolution display and extremely powerful backlight. In fact, the F-7H boasts an eye-watering 3,600 NIT maximum brightness that makes it the brightest 7" screen on the market right now, besting TVLogic’s previous models by over 1,000 NITs.

New from cmotion, the cPRO is the latest addition to their family of wireless focus solutions. In this blog I take a look at several camera builds using the cPRO system.

RED's DSMC2 cameras are able to record .R3D RAW files and ProRes files simultaneously. Both recordings are stored in the same folder, sharing the same metadata. The cameras also allow you to import 3D LUTs with the option of "baking" the LUT into the ProRes files. So, you could say the camera is generating "lite" dailies.

Recently I had the chance to take a closer look at the SmallHD 1303 HDR monitor. This 1500 nit 13” 1080p monitor is exceptional for field work. In this video, I take a look at the build, menu set up, and LUT functionality.