When Canon launched the EOS C300, one of the touted features was Wi-Fi control via the optional WFT-E6A adaptor. Originally designed for the Canon EOS-1D X DSLR, the WFT-E6A allows you to preview the image and make exposure adjustments from any web browser, including tablet devices and smart phones.

The folks from Cartoni stopped by the other day to show us their new JIBO compact jib. What struck me right away was its modular design. The jib is made up of three sections, so assembly is fast and easy. Conveniently, all three sections fit into a portable wheeled case.

The latest firmware for the F3 was just released a few days ago, and it adds a great new option. Version 1.40, which can be download here, adds S-Log into the Picture Profile menu of the camera. This allows anyone to turn on S-Log without the RGB key, although you still need the key for 4:4:4 output.

Working with Log material can be difficult at times, so we have put out a couple of different LUTs for use when using the Sony F3's S-Log or Canon Log from the Canon C300. You can download the F3 LUTs and the C300 LUTs, as many of you have already done. Arri has their online LUT Generator, and the Technicolor CineStyle LUTs are available when using the CineStyle profile on the 5D Mark II.

Cartoni was nice enough to stop by a few days ago with their new Master Mk2 Fluid Head, so I decided to give it a thorough once-over.

AbelCine offers scalable software and hardware to manage your digital assets effectively and affordably. These systems have been chosen because they work well together and offer simple, straightforward solutions that can leverage your existing resources rather than over-complicate your workflow.

Sony's new NEX-FS700 camera builds upon the success of the NEX-FS100, but adds some much-requested features and a few surprises as well.The feature set is very similar to the FS100, so most lenses and accessories will be fully compatible between the two. In this article, we present the various accessories and lens options that can be used with the camera.

At AbelCine, we offer a class on video formats that covers a variety of different terms and compression formats. One of the more common questions I'm asked is, "What's the difference between uncompressed video, Raw, and Log recording?" With so many cameras these days offering different recording options, combined with the popularity of external recorders, it's no wonder there are a lot of questions about this topic.

Have you ever wondered how a digital camera actually "sees" color and translates it into information that can be recorded? A Color Matrix describes the balancing of different parts of the color spectrum in order to create an accurate representation for capture. It describes not only the three primary colors, but their relationships to one another. By adjusting the properties of the Color Matrix, you can do things like: shift the white balance of a camera, change the sensitivity, alter the color pallet, adjust for color anomalies in the lens, or flaring on the sensor.