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Arri Posts

This year’s Cine Gear Expo was definitely one of the most eventful ones. From new camera announcements to the latest in lighting technology and more, there was a little something for everyone to get excited about. In that vein, we’ve rounded up some of the most relevant coverage — both from our own specialists as well as our friends over at Newsshooter. Watch the video above, featuring Erik Naso (Newsshooter), Jem Schofield (theC47) and our own Jeff Lee for a great round up and discussion of Cine Gear 2017 highlights, then continue below for specific product videos.

…continue reading Cine Gear 2017 Roundup

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Our annual Post-NAB event that we held in NY earlier this week was a success — we had a great turnout and more gear than ever before. During the event, we tried something new and streamed interviews with some manufacturers directly to Facebook Live. If you missed those interviews, don’t worry, you can watch them all below!

…continue reading Live from NY: It’s Post-NAB 2017

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Topics Arri, NAB 2017

I spent some time at the ARRI booth today talking to Chase Hagen, Phil Vischer and Hendrik Voss about the company’s new products and updates. We managed to cover a lot of information. Check out the video to learn about:

ALEXA SXT-W — ‘W’ for wireless, adding a rich first-party wireless feature set to the ALEXA SXT, including camera control, color grading, video transmission, and more.

Diopter Frame & Stage — accessory diopter trays to make working with these powerful lens modifiers easier. The Stage model features a friction wheel for rotating a split diopter.

ARRI Master Grips — with SUP 5 installed on the AMIRA or ALEXA MINI, the Master Grips now provide fine-grained control of focus and iris on Canon EF lenses via a Master Grip thumbwheel.

WCU-4 — ARRI’s wireless hand unit has received a software update (SUP 3) enabling wireless upload of lens table files to ARRI cameras, footage playback, and customizable user setups. A new Lens Table Marketplace allows for the exchange of lens table files by camera department crew, as well as visualizations and ratings of different lens files.

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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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topblogs2016

As the year officially draws to a close, it’s time for our annual round-up of the most popular CineTechnica blog posts over the last 12 months. It’s been a busy 2016, and as usual a wide range of topics was represented – including new product announcements, comparison charts, workflow how-tos, custom scene files, and more.

Our Top 15 blogs are listed below in no particular order. Make sure to check them out, and let us know in the comments what you’d like to see us cover in 2017!

…continue reading Top Blogs of 2016

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Topics Arri, Lighting

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

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In my latest video, I talk about the new Beachtek DXA-ALEXA for the ALEXA Mini. As you may know, audio input to the ALEXA Mini is via a Mini 5-pin connector on the front housing, while audio into the camera is line level only. This presents operators with a challenge getting their mic level signals into the camera. The Beachtek DXA-ALEXA converts mic level signals to line level for recording audio direct to the C-Fast cards used by the ALEXA Mini.

The Beachtek DXA-ALEXA is a preamp that supports powered mics, as well as those requiring phantom 48 power. The unit supports channels of audio input via XLR 3 connectors with independent gain switches. Tracks can be recorded separately or as a mix. Each channel input adjustment knob has a detent, so range of adjustment can be made by feel if or when line of sight is not possible. Each channel has a diode for record level that is color coded, and levels can be quickly and easily evaluated for record level.

The kit for the ALEXA Mini comes with the preamp and mounting bracket; cables are ordered separately as the preamp will work with other cameras, such as RED. In my video above, I go through what is included in the kit, set up, and usage, as well as a microphone test.

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