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With the introduction of the VEO 640S, Vision Research has really evened out its line of high speed cameras. Whether you’re looking for something lightweighthighly configurable, or simply want brute power, the current Phantom line now has options for everybody. Check out our updated Phantom chart, above, to see an overview of the key technical specs for each camera. These specifications also translate into differences in production workflow, all of which need to be taken into consideration when choosing the right Phantom for your project.

Click the image above to view a larger version of the chart, or download the pdf.

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zeiss-otus-lenses-designed-for-modern-cameras-with-high-resolution

RED has opened the doors for third party manufacturers to work natively with their DSMC2 cameras, including the WEAPON, SCARLET-W, and RAVEN. This allows for some some fantastic integrations, both mechanically and electronically. In addition, a number of lens manufacturers have options that work perfectly with the RED platform. Below, we have put together a list of the latest RED accessories available at AbelCine. 

…continue reading Lens and Accessory Guide for RED Cameras

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Master-Grips-AMIRA-Configuration

ARRI has announced their new Master Grips, a set of flexible, ergonomic handgrips with a rich feature set for camera and lens control. First and foremost, they serve the primary function of stabilizing the camera for shoulder-mounted handheld operation. Using a design more than a little reminiscent of handgrips for classic ARRIFLEX film cameras (such as those used with the 16SR, 235 and 435), the Master Grips look to keep the same great feel in the hand while putting both camera and lens control at your fingertips.

…continue reading Introducing the ARRI Master Grips

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zeiss 21-100As IBC 2016 draws closer, the internet is abuzz with rumors and announcements of new products to be introduced at this year’s show. One of the first official product announcements, published today, was the introduction of Zeiss’s newest offering in the lightweight zoom category, the LWZ.3 21-100mm T2.9-3.9.

The new 21-100mm lens weighs in at just over four pounds and features a speed of T2.9 on the wide end, which linearly ramps to around T3.9 when fully zoomed in. It is a very smooth and fairly subtle transition as you zoom in, one that is almost unseen in these type of variable aperture lenses. The minimum focus distance for the lens is right at about 2.9 feet with a generous 300 degrees of focus rotation, making this an extremely flexible option for both narrative and documentary shooters. Designed to match with both Ultra and Master primes, this lens will make a nice addition to round out a kit and provide the flexibility lacking in prime lenses’ single, fixed-focal lengths.

…continue reading Zeiss IBC 2016 Announcement: Lightweight Zoom 21-100mm

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Topics Canon, Featured

Canon announced today their new C700 Cinema Camera, the XC15 4K video / still camera, and two new 4K production monitors. Recently, I had the opportunity to talk to Canon’s Jesse Mineo about these exciting additions to the Canon line, as well as the DP-V1710 and DP-V2420 HDR reference monitors.

…continue reading AbelCine First Look: Canon’s IBC 2016 Announcements

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The ARRI SMB-2 is an extremely flexible 4” x 5.65” studio mattebox. In this blog, I’ll take you through some of the key features of the product, giving an in-depth look at how to assemble and configure the mattebox. With the SMB-2, ARRI has designed a hugely customizable platform, easily convertible for a variety of shooting environments. Features like the option for anamorphic conversion, a tilt mechanism, and geared filter stages make this an excellent choice for any production. Be sure to check out the video above for the detailed breakdown of the ARRI SMB-2.

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c300mk11-profile

Canon’s newest firmware update (1.0.4.1.00) for their C300 Mark II camera contains a number of nice improvements to the camera’s features and functionality. One of the updates that caught our eye is the inclusion of a new logarithmic gamma curve, Canon Log 3, available from the Custom Picture menu. From what we know, this new log curve aims to “split the difference” between the legacy Canon Log curve (aka Canon Log 1) and the newer Canon Log 2 curve that’s been a part of the C300 Mark II since its introduction last year. We’ve had a chance to take a closer look at this new curve on a C300 Mark II running the new firmware.

Canon Log 3 looks like it could be the “GoldiLog,” in other words, a “just right” Log gamma setting for shooters who are used to the unique characteristics of Canon Log 1 but who want more dynamic range than classic Canon Log 1 can provide.

…continue reading Canon Log 3: Is It the “GoldiLog”?

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