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Posts by Megan Donnelly

The Cameo VEObob is a breakout box specifically designed for the Phantom VEO camera. This breakout box attaches to the Cameo VEO Essential kit, and allows for a variety of power and connection options. For example, the VEObob provides hot-swap capability between dual power inputs (2 x XLR-4), giving priority to a power supply over a battery, and provides three accessory power outputs (2 Lemo-2, one Fischer-3 R/S). Most crucially, as the camera body does not have a 5-pin remote port for the VRI’s Bluetooth dongle or a PCU, the VEObob adds the remote port for full camera control.

In this blog, I take a closer look at how it is rigged to the body as well as the connectivity options. I also discuss its application on set, so watch the video above to learn more.

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Topics Sony


The Sony FS7 II is now shipping, and many of you have asked about our custom scene files.  While it has the same sensor as it’s predecessor, the FS7 II has a different scene file structure; scene files from an original FS7 cannot be directly uploaded into a FS7 II.  Thus, we recreated our popular scene files for the FS7 II and compiled them in this blog post.

You can download the scene files individually below or, for convenience, you can download them all at once. Instructions for loading the scene files are at the bottom of this post.

…continue reading Sony FS7 II Scene Files

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I caught up with Les Zellan of ZGC and Cooke Optics to hear all about their new S7/i “full-frame plus” lenses, a new front-anamorphic zoom, and a new variant of the Anamorphic/i primes with modified coatings to provoke more cinematic flare. Stay tuned through the end of the video to see the new line of Panchro/i lenses, Cooke’s own reproductions of the classic Speed Panchro’s from the golden age of cinema.

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Thomas Fletcher of Fujifilm joined me to discuss the new Fujinon MK 50-135mm T2.9 Cine-Zoom lens. This is a telephoto companion lens to compliment the recently announced 18-55mm T2.9. The new 50-135mm shares the same weight, length and diameter of the 18-55mm. It also shares the same par-focal design, with minimal breathing and no aperture ramping. Like its “shorter” brother, this lens will be offered in a native E-mount for Sony cameras like the FS7II.

The Fujinon MK 50-135mm T2.9 will start shipping in July. Watch the video above to learn more.
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In this video, Toni Lucatorto of Vision Research tells me all about the latest update to the Flex4K, a Global Shutter option. This important update is the first to the Flex4K system since it was released around three years ago. The camera retains rolling shutter capabilities, so you can choose between rolling and global options depending on the needs of production. Rolling shutter mode provides the full 12 stops of dynamic range, while global shutter provides 9 stops of dynamic range with a boost in ISO. All existing Flex4K cameras can be outfitted with the global shutter upgrade.

Vision Research also released new Phantom media, the CineMag IV Pro, which is compatible with all existing Flex4K cameras. This mag was designed specifically for ProRes encoding. Clips will be saved faster to the media, and you are able to record at even higher maximum frame rates directly to the mag.

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I stopped by the ARRI booth to talk to Mike Wagner about the new features in the version 3.0 firmware for ARRI’s SkyPanel LED light fixtures. Building on the semi-hidden “Party Mode” in earlier firmware versions, a number of fun and creative new lighting effects have been introduced to simulate environmental lighting without console patching or programming. Effects like lightning, fireworks, fire, strobe, candle, television, cop car, and paparazzi are now available with customizable parameters for dialing in a unique look on set. Preset effects can also be triggered on cue. A new high-speed mode is also available to avoid flicker at high frame rates, such as when shooting with Phantom cameras.

Another new feature is called source matching. The SkyPanel now has simulations of consumer and industrial lighting available so, for example, a SkyPanel could be set to match a high-pressure sodium streetlight during a night exterior shoot. Also available are settings to match household incandescent lights, compact fluorescent bulbs, traffic lights, road flares, a stove burner, etc. Altogether there are 46 sources programmed in for matching, including classic film lighting fixtures such as carbon arc.

By plugging an Ethernet cable into the SkyPanel, you can now interact with the fixture through a web browser to install firmware updates as well as manipulate all settings in real time, or on cue during a shot. Download firmware v3.0 from ARRI now, and watch my video to learn more.

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I spoke with Alan Ipakchian from Vitec Group to see what’s new with Litepanels’ line of industry-standard LED fixtures. Their new Astra models offer increased brightness over the original 1×1 Astra; the Astra 3X and Astra 6X provide, as you might guess, 300% and 600%, respectively, of the 1st generation panels’ output. For example, the Astra 3X Daylight draws only 55 watts while providing output comparable to a 200W HMI. The 3X Bi-color has the same draw and matches a 125W HMI in daylight mode or a 650W traditional fixture in tungsten mode. The new lights maintain the same form factor and will fit all accessories for existing Astras.

The Sola 4+ and Sola 6+ are upgraded versions of Litepanels’ daylight-balanced LED fresnels. Due to advances in LED efficiency and power supply design, the Sola 4+ draws only 10% more power than its predecessor, the Sola 4, but manages to more than double light output. Size, weightand most importantly priceall remain the same as the previous versions.

Be sure to stay tuned until the end of the video to hear about how to preview an exciting new lighting product from Litepanels at the show.

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