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The Cameo VEObob is a breakout box specifically designed for the Phantom VEO camera. This breakout box attaches to the Cameo VEO Essential kit, and allows for a variety of power and connection options. For example, the VEObob provides hot-swap capability between dual power inputs (2 x XLR-4), giving priority to a power supply over a battery, and provides three accessory power outputs (2 Lemo-2, one Fischer-3 R/S). Most crucially, as the camera body does not have a 5-pin remote port for the VRI’s Bluetooth dongle or a PCU, the VEObob adds the remote port for full camera control.

In this blog, I take a closer look at how it is rigged to the body as well as the connectivity options. I also discuss its application on set, so watch the video above to learn more.

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Topics Lighting

The Fiilex P360 Pro Plus will look familiar to those accustomed to working with the flagship P360, but has several notable updates. Output has been increased to a 400W equivalent fixture, plus the adjustable color temperature range has been expanded from 2800K to 6500K. Fiilex has also added hue control for additional tunability. Weighing in at 1.8 lbs it is the right light for numerous applications.  The unit ships with an AC power supply and barn door. Additional accessories include a Fresnel lens attachment and a diffusion dome using magnets to hold it in place. A LED panel on the back panel displays light settings. In this blog, I give a walkthrough of the light; I also take the fixture outside and use it as a key light and as a fill instrument. Having the ability to change Kelvin as well as hue, I was able to easily match the light to the other sources. Watch my video above to learn more and see the P360 Pro Plus in action.

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This year’s Cine Gear Expo was definitely one of the most eventful ones. From new camera announcements to the latest in lighting technology and more, there was a little something for everyone to get excited about. In that vein, we’ve rounded up some of the most relevant coverage — both from our own specialists as well as our friends over at Newsshooter. Watch the video above, featuring Erik Naso (Newsshooter), Jem Schofield (theC47) and our own Jeff Lee for a great round up and discussion of Cine Gear 2017 highlights, then continue below for specific product videos.

…continue reading Cine Gear 2017 Roundup

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The Canon EF-S 17-55mm and Canon EF-L 24-105mm lenses have been a staple in documentary film productions since the advent of DSLR cameras for video. They are compact and light lenses that cover a great range and pack easily into small configurations. While they fall into a different category of any other lens in the series, I felt it was important to look at them both as a point of comparison to the other cinema zooms, but also because we will continue to use them on their own as well as in addition to the other lenses in the series.

…continue reading Behind the Lens: Canon EF-S 17-55mm & EF-L 24-105mm Zooms

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The other day I had the chance to get a peek at the new Fujinon MK50-135 zoom lens. This lens compliments the recently-announced MK18-55 (watch Matt Porwoll’s video on the 18-55, part of his Behind the Lens documentary zoom series). The 50-135 shares many of the attributes of its wide angle companion: it is parfocal, meaning that it maintains focus through its entire zoom range, and as well maintains a T 2.9 stop from wide to tight. Macro focusing – down to 2′ 9″ – and a back focus adjustment are available as well. Watch my video above to get a closer look at the MK50-135 as well as some test footage.

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Topics Sony


The Sony FS7 II is now shipping, and many of you have asked about our custom scene files.  While it has the same sensor as it’s predecessor, the FS7 II has a different scene file structure; scene files from an original FS7 cannot be directly uploaded into a FS7 II.  Thus, we recreated our popular scene files for the FS7 II and compiled them in this blog post.

You can download the scene files individually below or, for convenience, you can download them all at once. Instructions for loading the scene files are at the bottom of this post.

…continue reading Sony FS7 II Scene Files

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Our own Lead Integration Engineer, Ben Meadors, is talking monitor calibrations – from why you should be doing them, to how they’re performed, to how often you should perform them. A properly calibrated monitor is the key to ensuring you will see the most accurate colors.

As Ben mentions in his video, AbelCine offers professional monitor calibration services, as well as in-depth monitor calibration training if you’re interested in learning more. Plus, our Pre-Summer Service Special is still running, so for a limited time you can get 10% off any service over $135.

Watch the video above to learn more, and let us know in the comments if you have any other questions!

 

 

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