Fujifilm's Optical Devices Division today announced their latest entry into the 35PL lens market, the Fujinon 19-90 T2.9 Cabrio zoom lens. The name Cabrio is a reference to small convertible sports cars, aka Cabriolets. The lens is both physically compact, at less than nine inches in length, and a feather-weight, at less than six pounds, making it the longest focal range handheld lens available. But the Cabrio allusion also extends to the included removable handgrip/zoom rocker servo.

Sony just announced the NEX-FS700 camera and, lucky for us, they brought it by for a quick peek. It has all the features of the FS100 but with some big improvements including a 3G-SDI output, ND filters and high-speed recording options.

The pre-NAB announcements keep rolling in, and Sony is making waves. Today they officially announced the PMW-100, which is a new variation on their popular XDCAM EX line of cameras.

The new Phantom Miro M320S high-speed camera has just been announced by Vision Research. This is the new flagship in the Phantom Miro line of ultra-compact high-speed cameras, whose form factors open up a new world of creative possibilities for super slow motion cinematography.

The new Phantom Miro line and its flagship M320S are the latest groundbreaking high-speed cameras from Vision Research. With a small form factor, affordable price point, uncompromised image quality and ultra high-speed capability, they make high quality high-speed accessible to more professional image-makers than ever before.

At NAB 2012, Vision Research will launch the Miro M-series -- the most accessible Phantom cameras ever. The Miro M320S has a sensor size near that of 35mm film and can record 1920x1080 up to 1,500 fps with an ISO of 1,100.

Recently, a colleague of mine asked about how to set up the Ki Pro Mini for use with the Canon C300. With the latest firmware (v3.0), the Ki Pro Mini can be triggered to record via the C300, as well as record in 24p (23.976 to be exact).

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.

In this last part of my Sony F3 and S-log series, I go over how to generate 3D LUTs that can be used with external LUT boxes and in post. In order to do this I use an HD Link Pro from BlackMagic Design and, to control it, a program called LinkColor.