A few months ago, Andy wrote an article for HDVideoPro called Making 4K Plug & Play about how to use the Canon C500 with AJA's Ki Pro Quad to easily record and monitor 4K video. Getting these two to play nice isn't too difficult, but there are a few things to be aware of if you want to get the best results possible.

With every new camera, come many new questions about workflow. The term "workflow" can be fairly broad, but today I am looking at importing Sony F5/F55 footage into various non-linear editing systems (NLEs). Both the F5 & F55 can record in MPEG2 (XDCAM), XAVC and HDCAM SR formats internally. With the addition of the AXS-R5 recorder, they can also record in Sony Raw. This article is focused on MPEG2 and XAVC, but be sure to keep an eye out for future blogs on working with Sony Raw and HDCAM SR.

Canon has released their very easy to use Cinema RAW Development software for Mac OS Lion and Mountain Lion, which allows you to ingest, play, and export Canon RAW files.

The new Canon C500 is just hitting the streets, offering both internal 50 Mbps 422 recording, as well even higher quality outputs. The camera can output HD & 2K in 4:2:2 up to 120p, or 4:4:4 up to 60p, and uncompressed 4K Raw data up to 60p and 120p at half vertical resolution.

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.

Convergent Design has announced the Gemini RAW Recorder. It features the same characteristics as the Gemini 4:4:4 but with more processing power. The unit can record up to four inbound HD streams at the same time.

Earlier this week, AJA announced the newest member of the Ki Pro family, the Ki Pro Quad. AJA worked closely with Canon, designing the Ki Pro Quad to accept a 4K raw signal from the C500 over SDI and providing a method to record and monitor the signal.

With more and more cameras shooting in flat-looking Log modes or RAW, the topic of LUTs on set and their implications in post have become big points of discussion. At the same time, there are many cameras that utilize the more traditional Scene Files for control of color and contrast. Furthermore, there are cameras like the ARRI ALEXA and RED EPIC that offer their own unique types of image control. With all these different formats, the difference between LUTs, Looks and Scene Files can be confusing, so in this article I explain the terms and discuss how these files are applied.