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At NAB 2015, I showed off the innovative Exhauss Exoskeleton support system at our booth. After spending more time with it, I decided to take a more in-depth look and answer some of the questions that I’ve been getting about the rig. Check out the first video above for step-by-step instructions on how to assemble the Exhauss system when you first take it out of the case.

In my second video below, I’ll show you how to adjust the tension on the arms correctly based on the weight of your gimbal and camera setup. I’ll also demonstrate how to get in and out of the Exoskeleton by yourself, as well as how to adjust it for proper fit and comfortable operation. I cover the two modes of operation; the “hands-free” mode where you secure the straps around the crossbar of your gimbal, and the more direct approach where you slip your hands through the straps and grip the gimbal normally. Both offer their advantages, but when you slip your hands through the straps you’re able to still perform handoffs or pass-throughs since the Exhauss is not directly attached to the gimbal.

…continue reading At the Bench: Assembling & Operating the Exhauss Exoskeleton

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Here on our AbelCine blog we feature a variety of equipment for rigging our cameras. However, as our technical specialists come from diverse backgrounds, we all have our own preferences on what accessories improve and complement different cameras. In the video above, I show off some of the accessories that make up my favorite C100 Mark II rig. As I come from an ENG and run’n’gun shooting background, I focus on a style of rig that is lightweight but robust enough to work in a variety of situations. Some of the accessories I’ll touch upon include the Gratical HD viewfinder from Zacuto, as well my preferred audio and cabling solutions.

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Zeiss creates high-quality cinema lenses that can be used for a variety of creative and technical applications. With so many great lens options, it can be difficult to choose the best lens for your needs. To make things a little easier, we have created two new resources. Our CP.2 Lens Lineup presents all the CP.2 lenses in one easy-to-read comparison chart.

We have also created an overview of lens and camera compatibility. This chart allows you to map which Zeiss lenses work with each camera system and indicates if any adapters are needed. Click on the images to view a larger version of each chart, or download pdf versions below.

…continue reading Zeiss Lens Lineup & Camera Compatibility

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RED’s WEAPON 8K camera, announced at this year’s NAB show, has many people excited. RED has always pushed the boundaries of digital cinema, and the WEAPON 8K is another great example of this. The most interesting, and perhaps confusing, aspect of this new camera is the size of its sensor. The WEAPON 8K has a 40.96 x 21.60mm sensor with a resolution of 8,192 x 4,320. While amazing, it has many people asking what lenses will cover this sensor. To give you an idea how big the sensor is, the diagram below shows various sensor sizes including the new WEAPON 8K sensor.

…continue reading RED WEAPON 8K Lens Options

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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. Jessica Dimmock, one of the photojournalists from VII Photo, explained that she used a Canon C100 combined with an Atomos Ninja Blade, specifically to capture ProRes files that are higher quality than the camera’s internal recording. After the workshop, I continued to receive questions about the specifics of compression and recording formats, which led to my latest HDVideoPro Help Desk article.

In this article I wanted to show a more visual representation of the difference between internal compression and external ProRes recording, so that you can easily understand what is gained or lost when choosing one or the other. I also go into more detail on the actual methods of compression, as well as the practical ramifications of uncompressed recording. Often when people are trying to get their heads around various recording formats, the real question is: how will my footage look? As you can see from the image at the top of the post, sometimes the differences aren’t immediately obvious. However, with today’s expectation for high-quality video on every screen, it’s worth it to consider all your choices carefully. Read the full article to understand how these choices impact your production.

Want to learn even more about compression, codecs, shooting Raw vs. Log, and more? Check out our Core Concept workshops available online!

 

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Using Pomfort’s LiveGrade you can remotely color grade the VariCam 35. In my previous post, I explained how to set up the camera in preparation for the next step – working with the LiveGrade software. The software connects to the camera over a wired or wireless network and can work in a couple of different ways. You can set it to use the Default 3D LUT in-camera, which uses the V-709 LUT in the camera, and then applies basic CDL color correction. Or you can set LiveGrade to ‘Use 3D LUT from LiveGrade’ which allows you to both load a 3D LUT into the camera and adjust the CDL parameters. These two options give you a lot of versatility in how you work with your material in post production. In the video above I show how to set up LiveGrade and the Varicam 35 for remote color grading. Check it out and let us know what you think.

Make sure to watch Part 1 here: Live Color Grading with the VariCam: Part 1 – Camera Setup

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One of the great features of the Panasonic VariCam 35 is its built in color management. The camera can record in VariCam Log while applying look up tables (LUTs) to all outputs, including the viewfinder. The camera can load in both 3D LUTs for full color adjustment, as well as CDLs (Color Decision Lists) for basic Lift, Gamma, Gain and Saturation adjustments. While these LUTs and CDL files can be loaded in via an SD card, what really makes this camera unique is that it can also be live graded.

Using Pomfort’s LiveGrade software and a network connection (wireless or wired), the software can directly talk to the camera and adjust colors – no LUT box needed. This feature allows you to make color decisions on the fly, while still recording in high quality Log internally on the camera. All 3D LUTs and CDL adjustments are made live as metadata on each recording. Watch my video above to learn how to set up the camera to enable this function, and stay tuned for the second part on enabling LiveGrade.

Watch Part 2 here: Live Color Grading with the VariCam: Part 2 – Working with Pomfort

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