In my last F3 blog, I wrote about the new F3 firmware v 1.31. This is a key update for anyone using S-Log, because it enables S-Log output in 422 via the ‘A’ connector. At the same time, LUTs can be applied to the standard HD-SDI or HDMI outputs. It also enables the use of Sony’s new 11-16mm zoom lens (SCL-P11X15), which is shipping soon, and simultaneous control of two SCL-Z18X140 power zoom lenses via 3D-LINK cable (with the CBK-3DL01 option installed). You can download this latest firmware from the Sony USA site.

Another important note for all F3 users – after firmware version 1.2 is installed, the old XDCAM Clip Browser will no longer work. Sony has stopped working on that software, and has instead focused on the newer XDCAM Browser. XDCAM Browser was designed to replace all the different apps used for XDCAM products, including XDCAM Clip Browser, XDCAM Transfer and all the PC apps as well. The newest XDCAM Browser will only work with clips from an F3 with firmware 1.2 or higher, so make sure to download the latest version today.

When you think of a 35mm sensor camera, what characteristics come to mind? Probably the first is shallow depth of field. It is part of what many consider the “look” of that imager size and a principle defining difference between it and other formats. But while some consider this the chief attribute of the format, others may find it to be a detriment in certain situations. For those shooting documentary, run-and-gun productions, a deeper depth of field may be preferable to maintain focus. Fortunately, there is another major facet to the latest crop of 35mm sensor cameras – a very low noise floor. This means that in a camera such as the Canon C300, a wide range of ISO settings can be applied with little objectionable artifacting to the image. Using the concept of the “variable depth of field camera,” you can adjust the available parameters of the camera to yield the depth of field desired for any given image. Watch the video to see this concept demonstrated.

There’s nothing like the experience of our Rental department to build the most complete, battle-tested camera kits for our camera owner and rental house sales clients. In the first of our series “AbelCine Rental Kits,” we look at our RED EPIC camera packages. This same kitting can be applied to the RED Scarlet camera.

Watch the video for a detailed explanation of the components that go into the AbelCine RED EPIC/Scarlet Accessory Kit. For your convenience, we have created an accessory package (available in Anton/Bauer and V-Mount options) that includes all the items in a typical rental setup.

Blackmagic Design has just released the successor to the HyperDeck Shuttle, the aptly named HyperDeck Shuttle 2. Identical in almost every way, the big news is that in addition to uncompressed recording, the HyperDeck Shuttle 2 can now also record DNxHD 220x (220Mbit/s, 10-bit). You will need to use a computer with the Blackmagic HyperDeck Utility to switch between uncompressed recording and DNxHD, but at $345, the Hyperdeck Shuttle 2 is certainly the least expensive external recorder on the market today. If you own a Shuttle 2, you can download the firmware to unlock DNxHD recording capabilities for Mac OSX or for Windows. Sadly, the update will not unlock DNxHD recording on the original HyperDeck Shuttle.

In the third part of my S-Log series, I took the Sony F3 outside on a nice bright day to show what S-Log can do. Jeff Lee and I headed up to the roof of AbelCine and found some shade to stand in; this allowed us to show the most contrast possible. I shot the blog in S-Log, as well as in the standard video modes with the AbelRange profile that I created earlier this year. This way I could show just what S-Log enables in the camera. All the clips in the video, except the last one, were recorded to the Gemini 4:4:4 recorder, which records in uncompressed DPX stacks so nothing was lost along the way. The last shot was S-Log out to a PIX240 recorder in ProRes422 HQ, which was enabled with the new F3 1.31 firmware from Sony.

I graded all of the shots in DaVinci Resolve Lite. The difference between S-Log and my range profile can be slight at times, but pay close attention to highlight areas, especially the skin highlights. Thanks to Isaac Kiener from Sales for helping out. Stay tuned for the last part of the series on look up tables in the camera.

To learn more about the F3, S-Log and LUTs make sure to check out our F3 Training Class in NY and LA.
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You can find parts 1 and 2 of Andy’s S-Log and F3 series here:

Part 1: On The Charts
Part 2: Exposure Index Mode

Slider systems are getting more and more popular these days, and there are currently a huge variety available. The CamTram came well before the rush of other systems, but still holds its own as a versatile tool, both as a slider and dolly. I put together a series of videos going over the many features and options of the system. Check out the these hands-on videos to learn more about the CamTram and the new accessories that expand the system even further.

Then read our client testimonials to hear what others are saying about their experiences with the CamTram and the creative uses they’ve found for it.

Canon’s much anticipated EOS C300 and C300 PL mark the beginning of a new series of cinema cameras from the company. While the small form factor, large sensor revolution can be credited to Canon HDSLRs, up until recently Canon has been mostly silent while we’ve seen cameras from Panasonic and Sony that really capture the momentum of the industry. While Canon told us that they would be designing a new cinema camera, we were pleasantly surprised at the results when they previewed the camera for us. Because of the rather unique form factor, we put together a lens and accessories guide you can check out here.