Sony recently released firmware version 1.2 for the F5 & F55 cameras, which is a pretty big update that adds many features and fixes like Wi-Fi remote control support and SR Codec recording.

Cooke makes several sets of primes lenses, from the high-speed 5/i set to the industry standard S4/i primes to the affordable Mini S4/i lenses. They are separated by T-stop, but they all share the "Cooke Look".

One of the advantages of the C100 sharing a sensor with the C300 and C500 is the interoperability between scene files. While the C300 and C500 can share profiles with a bit of simple computer know-how, if you want to use those same profiles on the C100, you'll have to manually copy the settings. I took our C300 scene files and copied the settings to the C100 - our vectorscope confirmed that the profiles are nearly identical, although the C100 tends to be slightly less saturated.

The Resolution Analysis Charts set accurate focus every time with any camera / lens combination at any focal length. Designed by AbelCine engineers to work in all environments and meet the stringent technical requirements of today's HD, 2K and 4K cameras and lenses.

A little while ago, Sony released the latest firmware for the F5 & F55 cameras, as well as the AXS-R5 Raw recorder. Version 1.15 of the F5/F55 firmware has some small incremental updates, with mostly bug fixes included. However, some big changes include improved naming conventions on the AXS card, de-anamorphic function on the viewfinder, and a warning when you haven't black balanced in a while.

Over the past couple of years at AbelCine, we've grown increasingly aware of the shortcomings of the charts used in many rental checkout bays throughout the industry, including our own. When we planned the redesign of our Burbank facility, we set out to upgrade our rental department with the most state-of-the-art and efficient rental bays we could imagine. A large part of this was introducing a completely redesigned resolution chart specifically designed to meet the more stringent demands of today’s 4K digital cinema cameras and lenses.

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.

Last month I showed you how to set up the Ki Pro Quad with the Canon C500 to capture 4K ProRes files. Today I'm going to go over how to capture Canon RAW (up to 59.94p) using the Ki Pro Quad's Thunderbolt pass-through function and AJA's CamXchange software.

One of the big advantages of the Sony F55 is its ability to record both RAW and HD at the same time (this is true of the F5 as well). When paired with the Sony AXS-R5 recorder, the F5/F55 can record 16-bit RAW data to AXS media cards, and HD video (MPEG2 or XAVC) to SxS cards. This gives you an easy-to-use offline editing format as well as an extremely high quality online Raw format at the same time.