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Posts by Geoff Smith

Lexar CFast 2.0 cards have become a popular choice with our customers. Their Professional 3500x and 3600x cards present a great combination of performance, reliability and value.

Lexar_Pro-CFast-3600x-256GBWe’ve found them to be rock-solid media at a great price. Canon has also certified the 3500x in 64GB, 128GB and 256GB capacities for the Canon C300 Mark II. With maximum read speeds of 525 MB/sec and maximum write speeds of 445 MB/sec (that’s megabytes, by the way, not megabits), they are more than fast enough to keep up with the C300 Mark II even in its high-data rate 4K and 120 fps recording modes.

ARRI has approved Lexar’s Professional 3600x cards for use in AMIRA and ALEXA Mini as well as the forthcoming full-size ALEXA SXT (when used with ARRI’s CFast 2.0 Adapter 2 in the SXT’s media bay). Lexar’s 3600x cards are available in 128GB and 256GB capacities.

Though they feature the same maximum read and write speeds as the 3500x versions discussed above, be sure to use only cards marked 3600x in ARRI cameras. While it may be possible to use these 3600x cards in other devices, such as the C300 Mark II, understand that Canon has only qualified and approved the 3500x cards for use in the C300 Mark II. For other devices, always be sure to check the manufacturer’s website to see which cards have been certified for use with their equipment. You can also see Lexar’s official compatibility chart below.

lexar compatibility

(Click to view larger)

With the CFast 2.0 memory card market maturing, the format has been rapidly and widely adopted by digital video/cinema cameras (and, increasingly, still cameras as well). It’s great to see competitively priced, high performance cards from Lexar being certified by manufacturers for use in a wide variety of gear – that’s good for everybody.

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Master-Grips-AMIRA-Configuration

ARRI has announced their new Master Grips, a set of flexible, ergonomic handgrips with a rich feature set for camera and lens control. First and foremost, they serve the primary function of stabilizing the camera for shoulder-mounted handheld operation. Using a design more than a little reminiscent of handgrips for classic ARRIFLEX film cameras (such as those used with the 16SR, 235 and 435), the Master Grips look to keep the same great feel in the hand while putting both camera and lens control at your fingertips.

…continue reading Introducing the ARRI Master Grips

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Convergent Design has announced an exciting new upgrade option for their popular Odyssey and Apollo line of monitor/recorders. It allows a single camera shooting in UHD 3840×2160 to create the effect of shooting with multiple cameras. It does this by extracting HD resolution windows from the “master” 4K image. In addition to monitoring and recording the full image (supersampled down to HD resolution), the additional “angles” can be also be recorded. The full image and extracted windows can also be live switched, allowing for a total of up to four HD signals that can be recorded. Depending on how the wide shot is composed, and where subjects are placed in the frame, one could record a medium shot and a close-up in addition to the wide shot, two medium shots, or a variety of other shots.

For the one-man crew shooters out there, Titan HD Extract provides the incredible ability to record a multicam production with essentially nothing more than a single 4K-capable camera and an Odyssey or Apollo, which allows you to fit your kit into a single case. This makes transportation in the field much easier, especially when traveling to difficult or remote locations. Titan allows for the ultimate quick turn around on multi-cam jobs, allowing you to provide your client with a high-end looking production with no post-production work necessary. Should you want to polish your live cut, however, Titan will generate an Edit Decision List as an .EDL file compatible with many of the major post production software available.

Titan’s list price is set at $1295, with a special introductory offer of $995, and is expected to be available in the beginning of October. To learn more about Titan HD, visit Convergent Design’s site: convergent-design.com/titan

convergent-design-titan-_-featured

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c300mk11-profile

Canon’s newest firmware update (1.0.4.1.00) for their C300 Mark II camera contains a number of nice improvements to the camera’s features and functionality. One of the updates that caught our eye is the inclusion of a new logarithmic gamma curve, Canon Log 3, available from the Custom Picture menu. From what we know, this new log curve aims to “split the difference” between the legacy Canon Log curve (aka Canon Log 1) and the newer Canon Log 2 curve that’s been a part of the C300 Mark II since its introduction last year. We’ve had a chance to take a closer look at this new curve on a C300 Mark II running the new firmware.

Canon Log 3 looks like it could be the “GoldiLog,” in other words, a “just right” Log gamma setting for shooters who are used to the unique characteristics of Canon Log 1 but who want more dynamic range than classic Canon Log 1 can provide.

…continue reading Canon Log 3: Is It the “GoldiLog”?

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ALEXA Mini

The ALEXA Mini from ARRI is a versatile and flexible camera body with a compact form factor and outstanding image quality. Combining some of the best features of ARRI’s other cameras, such as the ALEXA series and the AMIRA, as well as some of the image quality improvements ARRI made when developing the large format ALEXA 65, the ALEXA Mini is a compelling option for DPs and shooters who want to realize their creative vision in a wide range of situations. Its symmetrical, cube-like design is well suited for handheld scenarios, such as with a Ronin or MōVI gimbal, on the shoulder, or mounted on a drone for soaring aerial shots. It’s equally at home in the studio as an “A” or “B” camera on commercials, music videos or narrative projects. One of the best features the ALEXA Mini “inherited” from its doc-style bigger brother, the AMIRA, is ARRI’s next generation look management controls which allow for CDL-style grading directly in the camera or — and this is the topic we’ll be focusing on today — the ability to load look files converted from 1D and 3D LUTs directly into the camera to be applied to a variety of viewing options and outputs.

When used in conjunction with the ARRI Color Tool, a free download from the ARRI website, programs like DaVinci Resolve can be used to create unique looks and load them into the camera quickly. Pomfort LiveGrade can be used to color the camera’s LogC signal in real-time, and the resulting grades can then also be loaded directly into the camera. This is especially useful in situations where the camera is mounted in a position that makes doing live color impractical. Lastly, many people have large libraries of existing 3D LUTs they’ve found around the web, made themselves, or purchased. LUT utilities such as Lattice serve as “swiss army knives” for getting your existing production-quality LUT into a format that can be loaded into the ALEXA Mini. In this blog post we’ll take a look at all three of these approaches.

…continue reading Creating and Loading 3D LUTs on the ALEXA Mini

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Fujinon_XK6x20

Fujifilm has announced their latest cine zoom lens, and the first in the new “XK” category, the Cabrio XK6x20. The lens features a wide zoom range, fast constant aperture of T3.5 and a detachable servo. Zoom range is from 20mm on the wide end to 120mm telephoto. The detachable servo allows the lens to function in both ENG/run-and-gun scenarios as well as in a more traditional cine mode with a follow focus, matte box and other cinema accessories.

The lens has a 9-bladed iris for smooth rendering of out-of-focus areas (“bokeh”) and transmits both Arri/Zeiss LDS and Cooke /i metadata (such as zoom position, aperture and focus distance). Additionally, the lens’ barrel markings are luminous for easy visibility in low-light shooting scenarios. All distances are listed in both feet and meters and ACs will definitely appreciate the generous 200-degree throw on the focus ring.

…continue reading Fujifilm Announces Cabrio XK6x20 20-120mm Super35 PL Zoom Lens

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Topics Sony

Sony’s PXW-FS5 has been available for a little over a month and has already received its first firmware update – version 1.1. Prior to this update, when recording UHD 3840×2160 (what Sony calls “QFHD”) internally on the camera, the SDI and HDMI ports were not capable of outputting a signal.

This update remedies that situation, enabling the use of external UHD recorders (such as the Atomos Shogun, Ninja Assassin and the Odyssey 7Q+ from Convergent Design) while simultaneously recording UHD internally. One caveat is that when this option — called “QFHD Rec Output” in the menu — is enabled, the viewfinder and camera LCD will no longer show a picture (though status information displays and the menus are still accessible). This limitation is not present when recording and outputting an HD signal.

…continue reading Sony Releases PXW-FS5 Firmware Update v1.1

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