It's not just cameras that we feature at our NAB booth - we also like to feature interesting new optics, such as Schneider's newest prime lenses. For starters, the Cine-Xenar III primes are specifically designed for digital cinema and feature a choice of mounts (PL or EF), an image circle of 31.5mm, 18-blade iris, and easily interchangeable, calibrated focus scales.

We posted about the Odyssey 7 & 7Q monitor-recorders when they were first announced, and now Convergent Design has been nice enough to let us display them in our booth (#C6013) at NAB this year.

One of the most exciting debuts at this year's NAB show is that of Vision Research's newest camera, the Phantom Flex4K. As you can probably guess from the name, the camera's most notable feature is the ability to shoot up to 1000fps in 4K.

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.

Today Canon announced a 35mm CN-E cine-style prime lens to complement its complete line of optics for cine production. The 35mm fills the current gap between the 24mm and 50mm focal lengths.

The Sony F5 & F55 cameras are shipping in quantity now, and we've gotten a lot of requests for some custom scene files. I've put together five files in our usual flavors. They are designed both to change the cameras' look and make matching the two cameras easier.The cameras handle colors very differently due to their different Color Filter Arrays (to learn more, read Mitch's article on CFAs), so you'll see some obvious differences in the files. My focus on these files was to match skin tones and give a nice overall look.

Canon is introducing two new lenses to their lineup of Cine Primes, which currently includes the 24mm T1.5, 50mm T1.3 and 85mm T1.3. This prime set has now been expanded on both the wide angle and telephoto ends with a 14mm T3.1 and a 135mm T2.2.

Last month we posted about Element Technica's Elements Micron accessories for the Sony F5/F55, and today I got a chance to sit down with another piece from their Elements line, the F5/F55 Powered Studio Riser.

Zeiss has begun deliveries of their first Compact Zoom, the CZ.2 70-200 T2.9. This lightweight lens is a sister to the Compact Prime lens family, which means that it shares versatile traits such as Full Frame 35mm coverage (it'll cover the Canon 5DM3 and 1D C) and professional cine style gearing and marking.