We’re proud to show off our Cameo VESA mount, part of the Cameo line of digital camera accessories manufactured by AbelCine. This flexible and well-thought-out system was designed by AbelCine’s own Jesse Rosen, Director of Technical Development, and his team. The Cameo VESA Mount is a production monitor support with 230º of tilt and a full 360º of rotation, enabling monitoring for vertical shooting as well as the odd shot where a camera is upside down (such as when inverted on a MoVI or other specialty rig). The Cameo VESA Mount also allows mounting of wireless video receivers and pro “brick” batteries to create a self-contained, fully wireless and mobile monitoring solution. In this video, I built the VESA mount and its related accessories on a production monitor.
You may remember our previous blog post about the release of the Titan HD Extract option for Convergent Design’s Apollo and Odyssey monitor/recorders. Titan allows multiple HD-resolution windows to be captured as distinctly framed shots from a single camera shooting in UHD 4K (3840×2160). 1920×1080 windows are supported at up to 30p; 1280×720 for 50p and 60p. The full 4K image is subsampled to 1920×1080 resolution along with two user-set frames that can be selected on the touch screen. A fourth 1920×1080 stream can be captured as either a quad split or a live switch of the three “shots.” With this setup, Titan delivers ISOs and a switch cut to the same drive. In the video above, I will show you how to set up a project and extract each video stream on the post side.
To purchase or rent Titan, visit Convergent Design’s site.
The C300 Mark II‘s dual-pixel technology provides reliable and predictable autofocus. We now have the ability to dedicate autofocus to skin tones only, subjects coming in and out of frame, or multiple subjects in the same frame. The C300 Mark II also gives users lots of options for autofocus. As of firmware version v 18.104.22.168.00, we now have autofocus with the Canon 17-120 servo zoom. A free firmware update for the 17-120 lens is required to use autofocus with the C300 Mark II. This update can be done at a Canon service center or at AbelCine’s New York or Burbank locations.
…continue reading At the Bench: Autofocus Updates for Canon C300 Mark II & 17-120
Fujifilm today launched two exciting new cinema zoom lenses: the FUJINON MK18-55mm T2.9 and MK50-135mm T2.9. The two lenses are the first of the new MK series and look to be a great fit for emerging shooters and DPs who need coverage of the most useful focal length ranges for Sony E-mount Super35-sized sensor cameras (similar to the APS-C sensor size in the DSLR world). Both lenses will also be available later in Fuji’s X-mount, used in their popular mirrorless bodies. For a detailed look at the new 18-55mm lens, be sure to check out the video above which features real-world test footage towards the end. You can read Fujifilm’s official press release for more details on both lenses.
The Panasonic VariCam LT offers a legendary look in a compact digital cinema camera. Combining the VariCam LT with the Convergent Design Odyssey 7Q+ recorder opens up the ability to capture Raw files. In this blog, I explore how to set up both the VariCam and the Odyssey in order to capture in Raw. The VariCam outputs Raw files in either 12 bit or 10 bit, requiring single and dual-link SDI connections, so I step through both of these scenarios. After setting up the camera, I went out and shot some test footage in both 10 and 12 bit. I then took the footage into DaVinci Resolve for finishing. Check out the video above to learn more.
The OConnor 2560 can be thought of as the little brother to the 2575. However, with a payload weight of up to 83 lbs it is hardly a lightweight. The 2560 has a smaller profile than the 2575, but enjoys the same functionality. In this blog, I take you through all the key features of this head that make it infinitely adjustable. Whether using mounting platforms from OConnor or third-party configurations, the 2560 delivers exceptional camera movement every time.
The ARRI SkyPanel is an LED soft light that is packed with features. The SkyPanel comes in two different configurations and three sizes. In this blog, I will take a closer look at the S-60C model. C-model SkyPanels have adjustable color temperatures from 2,800K – 10,000K. In addition, the units have what ARRI describes as Vibrant Color Selection. This means that color hue and saturation can be adjusted. The light can also be programmed to display the color quality of both Lee and Rosco color gels.
…continue reading At the Bench: ARRI SkyPanel S60-C