We've discussed many of the advantages of shooting Log C on the ALEXA before, but often one of the biggest roadblocks is the preconceived notion of an overly complex workflow. While this can be true if you need to grade the majority of your footage, often times (especially if you nail your exposure), a simple translation is all that is necessary.

AbelCine client Nicholas Matthews is a cinematographer who has worked on varied projects such as award-winning commercials, music videos, and features like In Loving Memory (International Film Festival of LA Official Selection). Recently, he started work on a new project - an indie film called Jackrabbit 29 .

The Arri ALEXA XT, featuring a new XR recording module and in-camera ARRIRAW recording up to 120fps, has started shipping across the US. In this three part video series, Andy Shipsides goes hands-on with the camera and takes us through the technical details and workflow processes.

There is no denying that anamorphic has come back in a big way this year, and it is more accessible than ever. With the increase of anamorphic glass in the market and the 4:3 sensor of the ALEXA Plus 4:3, more filmmakers are able to find an affordable way to get the anamorphic look.

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.

The Arri ALEXA XT has starting shipping across the US, and we recently put our hands on one to see what it could do. The ALEXA XT features the XR, or extended recording, module that allows you to record in ARRIRAW, along with ProRes or DNxHD.

The new Arri ALEXA HD camera is designed for economical and efficient HD video workflow. It shares the same sensor, color processing, controls, and menus, as well as accessories and software license options as the rest of the ALEXA line.

On November 20, AbelCine held the first event in its new EXPO series: Filters for Digital Cinema. Tiffen, Schneider Optics, and Formatt participated and scores of clients attended or watched via Livestream. One of the more significant discussions was on the topic of IR pollution control.

At AbelCine, we offer a class on video formats that covers a variety of different terms and compression formats. One of the more common questions I'm asked is, "What's the difference between uncompressed video, Raw, and Log recording?" With so many cameras these days offering different recording options, combined with the popularity of external recorders, it's no wonder there are a lot of questions about this topic.