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AbelCine is excited to be Gates Underwater’s first Proud Partner Dealership, meaning we are authorized to offer sales and rental of Gates Underwater equipment to our clients. In this blog, I want to introduce the basics of Gates housings and the factors involved in underwater photography.

I am specifically concentrating on their DEEP DRAGON housing, which can accommodate the RED Epic, Scarlet, or Dragon. I’ll cover basic build concepts, take the housing into the water, and then discuss wrapping out from a dive.

AbelCine is also uniquely qualified to address your interest in underwater video. At our Burbank location, there are several certified divers on staff to handle your underwater motion capture needs. Also, we have recently posted the date for our first underwater training class, so make sure to check it out: Underwater Cinema Gear with Gates Underwater Products.

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Canon’s Cine-Servo 17-120, with its versatile zoom range and 31.7mm image circle, has proven to be popular with our clients. However, depending on what camera you are shooting with, there are extra items to take into consideration, such as adapters, power options, support, and more. In my video above, I will do a rundown on how to mount the lens on various cameras, including the Sony FS7 and F55, Canon C500, and Arri AMIRA. Since the 17-120 is a great option for those wanting a familiar ENG design when combined with a Super35 body, hopefully this will make things easier when using the lens on the camera of your choice.

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A few months ago, Canon introduced their new CN20x50 IAS lens, which features an impressive focal range of 50mm-1000mm at T5.0 to T8.9. A Super 35mm lens with this focal length and zoom ratio is very rare, but it certainly has many applications in sports and nature documentary situations. The lens is 4K-ready, with an image circle of 31.4mm, and is available in either a PL or EF mount. It also features a 1.5x multiplier for additional reach of 75mm-1500mm.

As a member of the Cine-Servo family, the 50-1000mm also supports the same communication protocols – Cooke /i Technology is included with the PL model and Canon EOS with the EF model. The servo unit can also work with traditional Canon zoom and focus control systems. I got a chance to check out this lens the other day and took it outside of our shop to get an idea of what it can do. Check out the video above to learn more and see the impressive zoom range for yourself.

Want to get a closer look at the 50-1000? It’ll be in our NYC showroom for a few days next week so make sure to stop by!

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Topics Sony

a7sfiles

The Sony a7S has proven to be extremely popular, and we have had a lot of requests for some of our custom scene files. So, we’ve put together four files in our usual flavors for you to try out. As there isn’t much adjustment in the camera, we did our best to make files that matched our popular looks. These files are designed both to change the camera’s look and make matching the FS7 and other cameras easier. Our goal with these files is to create nice skin tones, match our original files, and give a nice overall look.

…continue reading Sony a7S Scene Files from AbelCine

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dolby-vision

For years we have been hearing about the next great innovation in television displays. 3D, 4K, curved, you name it, there is always a new buzzword that is used to push consumers to buy new TVs. These display trends certainly mirror the trends in camera technology, both the good and the bad. The latest buzzword that you may have heard is HDR or High Dynamic Range displays. Our current Rec.709 displays are really only designed to output between 7 and 9 stops of dynamic range. We call these SDR or Standard Dynamic Range displays. Compare that to the 14+ stops dynamic range that we can capture with many of our modern digital cinema cameras today, and you can see that our current displays aren’t really keeping up.

A proposed standard for HDR displays would get us up to 12-14 stops of dynamic range output, matching what our cameras are capable of today and making much more realistic images. So HDR displays just might actually be buzz-worthy. Let’s break down a bit more exactly how HDR works, how you can actually see the results, and how it might impact your next production.

…continue reading High Dynamic Range Explained

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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

EDIT: Sony FS7 firmware v2.0 is now available for download from the Sony Community Site.

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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