In keeping with our long-standing tradition, AbelCine has released our standard suite of scene files for the Sony PXW-FX9. The names of these scene files will be familiar to anyone who has been downloading and using them with other popular cameras over the years. We have done our best to keep the looks faithful to the original files created some 15 years ago.

In our tradition of providing scene files for the latest professional cinema cameras, we have created a collection of scene files for the Sony PXW-FX9. These files are based on the looks AbelCine has been creating for many years and are designed to fit a variety of common shooting scenarios.

Beginning with the ARRI/ZEISS LDS Ultra Primes in 2001 and Cooke's S4/i primes in 2004-2005, many cinema lenses have been able to transmit a lens’ focal length, serial number, current aperture, and the current focus distance via digital encoders wired to the focus and iris rings on their barrels. Many of these metadata-enabled lenses have also featured a multi-pin Lemo port to allow for this data stream to be sent directly to an on-camera monitor (such as the Starlite series of displays from Transvideo). The information would then be shown as an overlay, along with picture, to aid First ACs in focus-pulling and disseminating lens info throughout the set.

WonderLookPro is an on-set color grading program from TVLogic that is used in conjunction with their IS-miniX LUT box.

The Sony VENICE has been out for a while now and has quickly become a popular camera for feature films, television series, and a wide range of other applications. The VENICE produces great looking images, as it should, and it also offers a very good post workflow. Sony has been improving their workflows for years, and after many iterations, they really nailed it down in the F55. The VENICE builds on this even more and does a great job of keeping things simple.

Anamorphic seems to be enjoying a renaissance lately, and we’ve received some questions about how to acquire and deliver this format when shooting with ARRI’s ALEXA Mini.

RED's DSMC2 cameras are able to record .R3D RAW files and ProRes files simultaneously. Both recordings are stored in the same folder, sharing the same metadata. The cameras also allow you to import 3D LUTs with the option of "baking" the LUT into the ProRes files. So, you could say the camera is generating "lite" dailies.

It is now common for digital cinema cameras to record a RAW file as well as a proxy. Proxy recordings can be loaded to a laptop and then into NLE programs, which is a quick and easy way for production to check on composition and performance. Additionally, proxies can be used to select takes and string out an edit. This streamlines the post process as only selected takes are color corrected.

Canon's C200 employs a new recording format, Cinema RAW Light, that allows users to record DCI 4K RAW files directly to the camera's internal CFast card slot.