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Posts by Megan Donnelly

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This week Panasonic released firmware Version 7.0 for the VariCam 35 and HS, and Version 5.0 for the VariCam LT. These updates feature expanded ProRes recording, including higher bit rate Apple ProRes codecs and VFR to allow for more internal recording options to support your production’s needs.

…continue reading VariCam Firmware Updates

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MEGAN BLOG

Choosing the make of the lenses you use on a project is one of many ways to create a look. The quality and characteristics of a lens add to the flavor of the image, and is one of the many ways to impart your look as a DP. It’s one of my favorite choices a DP can make on a project: which make of lenses will I use for this specific project?

One of the elements that adds to the characteristics of this choice is the contrast and color rendition in a lens, so I wanted to take a deeper look at ARRI/ZEISS primes. Both Master Primes and Ultra Primes have been a staple in our industry for a long time and complement each other extremely well. While there are differences between them that I’ll discuss, the lenses can in fact be interwoven.

…continue reading A Closer Look: ARRI/ZEISS Master Primes and Ultra Primes

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The Litepanels Astra 1×1 Panel lineup now consists of eight models, with the latest being the Astra 1×1 Soft Bi-Color LED Panel that was announced at NAB 2016. The Astra 1×1 family is known as being extremely portable, which DPs know means faster lighting setups and potentially more scenes completed in one day. They are also extremely flexible due to their bi-color settings, battery options, and light modifiers.

With all of these models having specific applications, I wanted to take a closer look at two of them – the Astra 1×1 Bi-Color and the Astra 1×1 Soft Bi-Color – to see how they worked as a pair. I chose to focus on these two as the Astra 1×1 Bi-Color has the strongest output, and the Astra 1×1 Soft Bi-Color is the newest and softest source. I wanted to see if they complimented each other in a kit for multiple shooting applications and environments, so I put them to the test.

…continue reading In the Field: Litepanels Astras

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At Cine Gear 2016, I was able to stop by the DSC Labs booth and catch up with DP Art Adams, who recently designed their latest color chart. In this video, Art explains his inspiration and method for developing the new DSC Labs OneShot Color Chart. This color chart was specifically designed for digital cinematography to assist with color grading and ensure consistency. In addition to white, black, and middle grey, the OneShot chart incorporates flesh tones, as well as primary and secondary colors that match your vectorscope. DaVinci has also integrated the chart into Resolve’s Color Match feature, which can be utilized to automatically achieve a base grade between multiple cameras, angles, or shots.

Want to learn more about color grading and working with color in DaVinci Resolve? Check out our upcoming Color Training Workshops in all locations!

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In this Tech Talk, AbelCine’s Moe Shore, Director of Advanced Imaging, discusses the history of Phantom cameras, as well as what’s new for 2016 in terms of recording options. He is joined by Megan Donnelly, who goes over the latest camera offering by Vision Research, the Phantom VEO. VEO is a mid-range option, capable of capturing up to 1,500 fps at 2.5K resolution. It transfers its internal RAM buffer directly to onboard CFast 2.0 media. Moe and Megan also discuss some of the Cameo accessories that have been designed to work specifically with the new VEO. The Phantom VEO will be available in the second half of 2016. For a more detailed look at the camera, watch the video above.

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In this Tech Talk, Rainer Hercher from CW-Sonderoptic joins me for a discussion of Leica’s new cinema products for NAB 2016. They’ve added the 40mm focal length, highly prized by many DPs, to the Summicron-C lens set. Summicron is Leica’s trade name for lenses that open to a T2 (or f/2 for stills lenses). Also new is a 15mm lens that will be available in October. This brings the Summicron line to 11 primes in all. The Summilux family, which all open to a T1.4, also has 11 lenses, but there are some minor differences in terms of focal lengths between the two lines.

Another new product is the Leica Cine Macrolux, a purpose-built macro diopter for digital cinema applications. Leica used a simple but highly precise optical design that yields no perceivable light loss, even when stacked. The Macrolux will fit any Summicron-C or Summilux-C cine lens (or any lens with 95mm front outer diameter). For more information, and to see these products in action, watch the video above.

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There was a lot to see at ARRI’s NAB booth this year. Andy and Megan stopped by to get a closer look at all of their new products including the ALEXA SXT, coming this summer with many new features including six new recording formats and new color management options.

Megan also looks at their latest 180mm Master Anamorphic lens, as well as updates to their SkyPanel light lineup and professional camera accessories. Watch all their videos to learn more.

…continue reading NAB 2016: ARRI Booth Updates

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