The Canon Cine-Servo 17-120mm made some waves when it was released in 2014. Finally, we had an ENG-style servo lens with a long zoom range for Super 35 sensors shooting in high resolutions. This made a lot of people happy in the documentary and TV world, eliminating the need to carry multiple lenses and bringing us back to broadcast camera / lens design. Let’s take a deeper look at this lens.

Freefly’s latest handheld gimbal stabilizer, the MoVI Pro, has been rebuilt from the ground up to improve upon almost every aspect of the original family of MoVIs. There is very little on the system that has not been given the deluxe treatment; from the integrated tuning stand by way of the ring with attached feet, to the dual battery system allowing hot-swapability.

The PCU2+ is the latest version of the PCU from AbelCine’s Cameo line of accessories. The unit can control two Phantom cameras at once, and also replaces the need to be tethered to a computer to control the functions of the camera.

The Sony E PZ 18-110 is a native Sony-E mount lens for Super35 / APS-C sensors designed for cinematographers needing the sharpness and color of a professional 4K lens, while still retaining the electronic characteristics familiar with traditional fixed lens video cameras.

The Cameo VEObob is a breakout box specifically designed for the Phantom VEO camera.

The Fiilex P360 Pro Plus will look familiar to those accustomed to working with the flagship P360, but has several notable updates. Output has been increased to a 400W equivalent fixture, plus the adjustable color temperature range has been expanded from 2800K to 6500K.

The Canon EF-S 17-55mm and Canon EF-L 24-105mm lenses have been a staple in documentary film productions since the advent of DSLR cameras for video. They are compact and light lenses that cover a great range and pack easily into small configurations.

The other day I had the chance to get a peek at the new Fujinon MK50-135 zoom lens. This lens compliments the recently-announced MK18-55 (watch Matt Porwoll’s video on the 18-55, part of his Behind the Lens documentary zoom series).

Engineer Ben Meadors talks monitor calibrations – from why you should be doing them, to how they’re performed, to how often you should perform them. A properly calibrated monitor is the key to ensuring you will see the most accurate colors.