Arri recently released their new Mini Mattebox, the MMB-2, which has all the quality that Arri’s products are known for in a lightweight package. The MMB-2 has a single 4×4 filter stage and a 4×5.6 filter stage, and is so lightweight that it easily clips on to just about any lens. It also has a 114mm back, which fits exactly onto the Zeiss Compact Prime.2 lenses. If you have still lenses, like Canon EF glass, Arri also make a series of rings that thread onto your lens so the mattebox fits perfectly. Arri also has a dual 4×5.6 filter stage model that gives more flexibility to anyone with a lot of 4×5.6″ filters. Both models are a great fit for cameras like the Sony F3 and the Canon C300. Watch my video above to learn more.

From the very first time I saw an iPad, I thought it would make a great slate. It offered a bright display that could easily be modified for a huge variety of applications, and indeed many different slate apps started to arrive shortly after the iPad was released. The most popular app is simply called Movie-Slate and includes many functions, from detailed camera notes, to music video song syncing, and even timecode jamming.

However, the action of actually clapping the slate was quite limited on these software tools. On set a loud clap is very important for easy syncing in post. So a couple of different companies have released physical slates that can interface with the iPad to improve their performance. iKan’s T-Slate has a very simple design, and works as both a regular slate and an iPad holder. The pad is simply held on with a case and strap. AC Evan Luzi runs a great blog called The Black and Blue, and he has written up a review of the T-Slate, as well as iPad slates in general.

Another option is the MamboFrame, which has a slot for the iPad to slide into. Their design is very slick and solidly built – definitely worth checking out. With options like these, the next time you need a slate, you might be leaving your Expo markers at  home.

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.

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.

Soon after the announcement of the EOS Cinema C300, Canon brought the camera by and let us check it out. I put together this video with my first impressions of the camera. I have to say that I was pleasantly surprised by both the quality and functionality of the C300. The quality of the image, skin tone rendition and overall resolution make a good impression. Also the form factor, which seemed strange at first, allows the camera to fit nicely in your hand and is fun to operate. Check out my video above to learn more.

We carry a huge variety of equipment here at AbelCine, and it is a constant challenge to stay on top of what is changing. For our clients this can be even more of a struggle, so we put together these firmware blogs to let you know what’s out and what’s coming soon for your gear. On our last Firmware Friday blog we mentioned new firmware for the Sony PVM series OLED displays and we have a new update for that. In addition, the Panasonic AF100 and Atomos Samuri have new firmware out, and we have some more details on the Sony F3 1.31 firmware on the way.

…continue reading Keeping Up with the Firmware: Friday Edition

I often get asked about the stuttering video motion, or judder, seen in 24p video. Even though we have all been watching or shooting 24p for years, for many of us it is new to see true 24p (or 23.98p) video displayed on a monitor.

24p is ‘jumpy’ by its nature, but the look of 24p video in a digital video camera can still come across a little more ‘jumpy’ then you’d expect. There are several reasons for this, which I explain in article for HDVideoPro magazine called “Did I Judder.” As part of the article, I put together these two videos to show the difference between native 24p video and 24p converted to 60i. I did this because much of the 24p content we see has been converted to 60i already, which has a smoothing effect that is very noticeable on television.

…continue reading 24p Judder and 60i Conversion