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.

Vision Research has released the long-anticipated support for ProRes 422 HQ recording for the Flex4K camera platform through a free firmware update. This update also includes audio recording which allows a stereo AES/EBU signal to be fed to the camera.

At the recent LA stop of the VII Evolution Tour, the topic of video compression was brought up in relation to using an external capture device instead of recording internally to the camera.

Today Arri announced that they will offer a new software upgrade for the AMIRA, which will allow it to record ProRes Ultra HD files (at a resolution of 3840x2160). The upgrade is expected to be available for purchase at the online Arri License Shop by the end of 2014.

Apple just released Final Cut Pro 10.1.2, which has a host of new features including improved media management tools, Rec709 LUT support for Log footage (Arri, Sony, Canon, and Blackmagic cameras), 3DLUT support for the Arri AMIRA, and support for their new ProRes 4444 XQ codec.

Convergent Design has been busy building new firmware for the Odyssey7Q. In the latest firmware, they announced support for 4K Raw data from the Sony FS700, ProRes recording, and much more.

Sony has just announced that they will be adding two new codecs to the F5 and F55 cameras: Apple ProRes and Avid DNxHD.

With the capability of the Canon C100 and the newly updated 5D Mark III to output uncompressed video with 422 color, the two cameras can both be set up with the Ninja 2 recorder from Atomos.

4K was the definitive buzzword at NAB this year, as well as CES, with a number of manufacturers releasing 4K televisions, 4K game systems, and 4K cameras. With the consumer demand for 4K content just around the corner, one of the most often asked questions is "How much is this gonna cost us?!"