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ACES Gamut

We have big news for cinematographers: the long awaited Academy Color Encoding System (ACES) is now available in its first production-ready release. With ACES v1.0, DPs can have confidence that their creative vision in regards to color management will be consistent from image capture to release. The entire lifecycle of the project will contain their original intent, which in itself is a game changer.

…continue reading Academy Color Encoding System (ACES) v1.0

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Topics Audio, Sony

Sony FS7

Sony has announced a new firmware update to the FS7 that will be available free of charge on March 15. This update includes great new features and improvements, including support for 4K XAVC-I recording, the ability to encode and write ProRes files to a single internal XQD card, and 4-channel audio recording capability.

One of the many updates is support for 4K (4096×2160) XAVC-I recording. Many refer to this as true DCI 4K recording, as it is ideal for projects that will be shown in theaters that have DCI compliant 4K projectors and a 17×9 theatrical aspect ratio screen. Other applications of this 4069x2160p frame and resolution size include recording 4K plates and stock footage that can be used by feature movie companies looking for specific niche locations or subjects. The chart below shows the frame rates and bit rates available with the new firmware:

…continue reading New FS7 Firmware Enables More Recording and Audio Options

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Topics Arri

Arri ALEX Mini


Arri just announced the latest addition to the ALEXA family, the all new ALEXA Mini. Coming in at a svelte 7.3″ x 4.9″ x 5.5″ (LxWxH) and weighing only 5 pounds, the Mini compliments the series with the same S35 ALEV III CMOS sensor found in the ALEXA and AMIRA. Utilizing a carbon body with titanium lens mount attached directly to the titanium sensor mount, the Mini shares the same PL, EF and B4 bayonet lens mounts, as well as the same MVF-1 viewfinder as the AMIRA.

The powerful record options include ProRes 422 HQ, ProRes 4444XQ, and ARRIRAW (all in 16:9 or 4:3 modes), with the ProRes codecs supporting HD, 2K, 3.2K, and 4K UHD. Like the AMIRA, the Mini records to CFast 2.0 cards at a maximum frame rate of 200 fps at HD or 2K, but can also record ARRIRAW up to 30 fps. In addition to the internal ARRIRAW capabilities, the Mini can also output ARRIRAW via 6G-SDI to the new Codex Multi-Camera Recorder at 120 fps. The Multi-Camera recorder can simultaneously record ARRIRAW from up to four ALEXA Minis.

…continue reading ALEXA Mini Brings Breakthrough Mobility to the ALEXA Family

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Dust and debris on your sensor can be a real problem when shooting with a closed down iris, particularly in bright environments, like a snowy exterior scene, or when shooting tabletop elements. Dust often shows up as soft dark spots in the image. In the video above, I show you one simple way to clear your image of dust, debris and smudges.

…continue reading Service Tips: How to Clean a Dirty Sensor

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Topics Sony

The Sony FS7 camera is shipping in quantity now, and we’ve had a lot of requests for some of our custom scene files. We’ve put together five files in our usual flavors, along with new matching files for the Sony F5. These files are designed both to change the camera’s look, and make matching the FS7 and F5 cameras easier. Our focus on these files was to create nice skin tones, matched to our original files, and give a nice overall look. We’ve made it easy to download all the files here: Sony FS7 Scene Files & Sony F5 Scene Files. You can also download each file individually; below you’ll find an example image and a short description of each.

Instructions for loading the scene files are at the bottom of this post.

…continue reading New Sony FS7 Scene Files from AbelCine

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Data archiving is not something most of us want to think about, but it’s a reality that all filmmakers have to face today. The demand for lower compression and higher resolution material is increasing, meaning that we all eat through hard drives much faster. On the bright side, archiving is getting easier and more affordable all the time. The LTO tape format has become the standard for data archiving in our business, and the new LTFS (Linear Tape File System) makes it easy to use. One downside of an LTO deck setup is that it is usually tied to a full computer workstation. That’s where mLogic’s mTape comes in.

…continue reading At the Bench: mLogic mTape LTO-6 System

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Panasonic has just released new firmware for the VariCam 35 and HS cameras. This update includes some of the most anticipated features for these new cameras, and it’s completely free. First off is ProRes HQ recording (in HD) on both the 35 and HS, a must have for many productions. This format comes on top of the AVC-Intra formats already found in the HS & 35 today.

The VariCam 35 expands that list even further with AVC-Intra 4K/UHD 444 12-bit recording, the highest possible recording format in-camera. This format promises to give the most color depth with the least overall compression. Panasonic has also added variable frame rate recording to the 35, allowing up to 120p in both 4K/UHD and HD modes, making it one of very few cameras that offer 4K recording over 60p without cropping. Note that it does utilize a more compressed format – AVC-Intra 4K-LT – to record at this high speed.

…continue reading Panasonic Releases New Firmware for VariCam 35 & HS

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