Arri has recently started the second Open Beta phase for Software Update Packet 10.0, and they've announced some exciting features for this release.

The Phantom Flex4K camera has been out in the world since the beginning of this year and workflow support for the files created by the camera has been steadily increasing. Some significant transfer speed records are being achieved and breakthroughs in workflow support from 3rd party companies are now being implemented.

One of the most important features of the new Arri AMIRA is its ability to load 3D LUTs (Look Up Tables), which really allows you to modify the way the camera looks. The ALEXA allows for basic LUTs with ASC CDL adjustments, but the AMIRA goes a step beyond that to allow for full customization of the image.

Little by little, update by update, Blackmagic Design has been adding editing features to their popular DaVinci Resolve color grading software. With the newest version, Resolve 11, they've fully committed to providing a single platform from which users can color correct, edit, finish, and deliver.

If you've ever browsed the Tools section of Arri's website, you've probably seen their ALEXA simulator, along with a number of other great resources. Well, here's some good news for those of you who are curious about the new AMIRA - Arri recently released the first version of their AMIRA simulator.

Canon has had great C300 and C500 simulators available on their site for a while now, allowing users to explore the full menus and function buttons on the camera.

Have you ever found yourself wondering about the image a particular camera and lens would produce? Well, if you have your phone on you, there's now an easy way to find out. DIRE Studio has released an app called Mark II Artist's Viewfinder, which has the ability to preview and capture hundreds of camera and lens combinations.

One of the most popular blog posts I've written was a guide to Applying LUTs to Log Footage in various NLEs. Since I posted it, a lot has changed in the popular NLEs; the tools used to apply Look Up Tables are now included in many of them, and they are generally better than ever. Here is a break down of how to apply LUTs to Log footage (or any footage) in Final Cut Pro X, Adobe Premiere Pro CC, Avid Media Composer 7, and Resolve 10

We've discussed many of the advantages of shooting Log C on the ALEXA before, but often one of the biggest roadblocks is the preconceived notion of an overly complex workflow. While this can be true if you need to grade the majority of your footage, often times (especially if you nail your exposure), a simple translation is all that is necessary.