I’m here with Steven Manios from Cartoni to discuss their product offerings at this years NAB. Following last years release of the Lambda 25, Cartoni has improved on the system by adding a third axis of motion, a roll axis. This allows for a more refined level of control that operators have been begging for.

I met with Alan and Brian of Freefly Systems to discuss their new MoVI Pro as well as other recent product announcements. The new MoVI Pro features a number of improvements over the original MoVI family, including hot swappable batteries and an integrated stand to allow for all day shooting with minimal downtime.

Today I met with Jean-Marc Bouchut to get the rundown on Angenieux’s new offerings showing at NAB 2017. Included is the compact and lightweight Optimo Style 48-130, available this fall, with a 44mm diameter image circle, T3 constant maximum aperture, and 3’1” close focus.

In this video, I speak with newly-minted Panasonic Cinema Product Manager Mitch Gross about upcoming updates to the VariCam LT and other Panasonic products. In June 2017, Panasonic will release a free firmware update for the VariCam LT enabling RAW output of 2K at up to 240 fps.

Today we’re here with Greg Smokler of Teradek to talk about their latest LUT box, the COLR Duo. The Duo is an upgraded version of the previous COLR, now sporting two, independent 3G-SDI outputs each capable of displaying their own 33x33x33 sided cube LUTs.

I had ZEISS’ Snehal Patel over for a lively discussion about the new Compact Prime 3 and Compact Prime 3 XD lenses from ZEISS. This exciting new series of professional cinema lenses feature smaller and lighter housings than their CP.2 predecessors, consistent 95mm front outer diameters, and an updated focusing mechanism for a consistently smooth feel, even in cold weather.

When Canon announced the Compact Servo 18-80mm T4.4 last year, it was also announced that it would be part of a family of lenses. Today, the Compact Servo 70-200mm T4.4 joins the ranks as the second lens of the series.

Fujinon recently released the native Sony E-mount MK 18-55mm cinema zoom as an “ultra-compact, and 2 lb, 2 oz lightweight design lens that meets the needs of Super35 and APS-C sensor cameras.” The lens features “outstanding optical performance and low distortion with T2.9 speed across the entire zoom range, as well as fully manual lens rings for focus, zoom, and iris.”

As a documentary cinematographer, I am constantly struggling to decide which lenses I want in my kit for any given project. The options over the years have ranged from minimal to overwhelming. In the beginning, I was mostly restricted to DSLR-style lenses to interface with my EF or Sony E-mount cameras.