At this point in time, audiences have become accustomed to the idea of award shows incorporating some version of remote or virtual collaboration, especially as travel restrictions keep much of the talent at home. So when Dick Clark Productions chose to reunite the Emmys producing team for this year's Golden Globes and reached out to Mike Nichols, AbelCine Business Development Manager, our previous experience with the remote camera and lighting kits proved invaluable. We were able to build, set up, deliver, and remotely control a number of identical "drop kits" that were delivered to various nominee locations across the country.

In this video, I take a deep dive into the features and performance of the ARRI Orbiter LED Light. Key features include the fixture’s incredibly bright output, remarkable versatility (thanks to its changeable optics), 2,000K to 20,000K CCT range, fast processor (4x faster than the SkyPanel), expanded connectivity, integrated array of sensors, weatherproof housing, smooth dimming, and more.

While this article is focused on the advancements in ARRI lighting technology, one can draw parallels from ARRI’s camera and Professional Camera Accessories (PCA) line to understand the design philosophy and evolution of the greater lighting ecosystem. No other brand has such tight integration between camera, lens, and mechanical or electronic accessories. There are plenty of examples to draw from, but innovations like incorporated wireless focus motor receivers and wireless video transmission in the ALEXA SXT-W, the interconnectivity of the entire LBUS range of motors and focus tools, and wireless range extension for various families of products with the ERM-2400 all showcase ARRI’s unified design philosophy.

Recently, I had the opportunity to sit down for a conversation with Ellen Kuras, ASC to discuss her work as the cinematographer on David Byrne's American Utopia, a concert film directed by Spike Lee.

A law firm with offices in the US, Asia, and Europe reached out to AbelCine with specific streaming needs for their year-end meeting: high-quality video and rock-solid connectivity. The event, with over 350 participants, would take place virtually for the first time in 2020.

Canon’s latest full-format Cinema EOS camera, the C500 Mark II, is a study in versatility. Join filmmaker Rubidium Wu as he describes his experiences shooting with the C500 Mark II and gives his perspective on how it fits into the equipment roster of a growing production company.

Since the release of Sony's PXW-FX9 digital cinema camera, we've gotten a lot of questions from clients about how it compares to Sony's flagship cinema camera, the VENICE. Now that Sony has released major firmware updates for both cameras (2.01 for the FX9 and 6.0 for the VENICE), we thought now would be a good opportunity to compare their capabilities, particularly in terms of each camera’s sensor.

In late September, ARRI introduced a new line of Signature Zoom lenses in focal lengths of 16-32mm, 24-75mm, 45-135mm, and 65-300mm. All feature full-frame coverage and fast, constant apertures of T2.8. The 65-300mm is also available with a dedicated 1.7x extender, for a 110.5-510mm range and maximum aperture of T4.95 when mounted.

AbelCine is constantly on the lookout for new technologies with the potential to truly enhance the creative process and production capabilities of our customers. One of the most exciting innovators in the realm of camera movement is Motion Impossible, and their AGITO robotic camera dolly system, which we are proud to support in the US market.