A few months ago, Andy wrote an article for HDVideoPro called Making 4K Plug & Play about how to use the Canon C500 with AJA's Ki Pro Quad to easily record and monitor 4K video. Getting these two to play nice isn't too difficult, but there are a few things to be aware of if you want to get the best results possible.

Recently, a client who purchased a Sony PMW-F3 from AbelCine gave me a call with a “quick question”. He had just updated his camera with the S-Log recording option and discovered that he could now set his camera’s sensitivity in a number of different ways. He could set the camera’s gain, ISO or, with the S-Log mode turned on, he could set an Exposure Index (EI). He wanted to know the difference between these settings, and which was best to use.

With every new camera, come many new questions about workflow. The term "workflow" can be fairly broad, but today I am looking at importing Sony F5/F55 footage into various non-linear editing systems (NLEs). Both the F5 & F55 can record in MPEG2 (XDCAM), XAVC and HDCAM SR formats internally. With the addition of the AXS-R5 recorder, they can also record in Sony Raw. This article is focused on MPEG2 and XAVC, but be sure to keep an eye out for future blogs on working with Sony Raw and HDCAM SR.

Last month we posted about Element Technica's Elements Micron accessories for the Sony F5/F55, and today I got a chance to sit down with another piece from their Elements line, the F5/F55 Powered Studio Riser.

The Canon EOS 5D Mark II undoubtedly kicked off the large-sensor-in-a-small-body movement, so it's no surprise that Canon would carry this momentum forward with the EOS-1D C. While the Mark II started as a still camera that conveniently shot video, it's apparent that the 1D C was built with filmmakers in mind. As the first HDSLR with 4K and LOG recording capabilities, the 1D C introduces new possibilities for productions of any size.

ARRI has greatly expanded its range of Professional Camera Accessories (PCA) and now makes kits designed to fit other manufacturers' cameras. Their newest PCA kit is designed specifically for the Sony PMW-F5 & PMW-F55 cameras. All ARRI products are notable for both the quality of their construction and the elegance of their design, both of which take into consideration the way working camera people really use their tools.

Canon recently announced their new 1.0.8.1.00 firmware for the C300.

Rare is the camera kit that has no accessories hanging off it. Monitor, lens controller, wireless transmitter, signal converter, timecode clock, focus rangefinder -- sometimes the camera can barely be seen under the accessories. These devices need power, and often the cameras themselves do not have enough outputs available. Switronix has created several versions of the JetPack, a battery mount (Anton Bauer or V-lock) with multiple power outputs in a variety of useful voltages.

Sony's new PMW-F5 and PMW-F55 cameras build upon the popular PMW-F3, and feature a Super-35mm size sensor with 2K and 4K recording options. Both the F5 and F55 are suitable for many different styles of production and can be customized with lenses and accessories to make them even more versatile solutions. Some of the existing accessories for the F3 are interchangeable with the F5 and F55, but the new form factor means some support accessories will be unique. In this article, we present the many different lenses and accessories that can be used with the cameras.