In this video, I take a detailed look at the Tilta Nucleus-M lens control system. This low-cost system has been hotly anticipated, and I finally got to have some hands-on time with the production-ready model.

After the recent surprise announcement from Sony, I was was able to play with some of the new imager and recording modes in firmware v2 for the VENICE, and it includes some killer new features that are easy to overlook at first blush. Specifically, the two all-new 6K imager recording modes (6K 17:9 and 6K 1.85:1), enabled with the new firmware on cameras with the 6K Full Frame license, allow recording of the sensor’s full width (6,000 pixels across) to SxS cards in XAVC-I class 300 and class 480.

In a surprise move, Sony has moved up the general availability of the highly-anticipated version 2.0 firmware for their flagship digital cinema camera, VENICE. Originally promised for sometime in August, later rumored to be available in early July, this new firmware is actually available now and enables a broad range of features and functionality on the camera.

Recently, I had the opportunity to test some of the new features of the version 4 firmware for ARRI SkyPanels. In the first video, I take a look at the four new lighting effects, which include Explosion, Fluorescent Flicker, Process, and Welding. This now brings the SkyPanels to seventeen pre-programmed lighting effects, an amazing amount of options in one light source.

Canon’s Cinema EOS camera line has matured to include options for all levels of production and all budgets. There are single-operator, handheld cameras like the C100 Mark II and the new C200, with its ability to shoot Canon’s Cinema RAW Light internally. At the higher end are models oriented to feature production: the C700 and the new full format C700 FF, both sporting flexible shooting and recording modes and the ability to send Cinema RAW to an on-board Codex recorder. In the middle sits the C300 Mark II with its class-leading documentary features and high-quality internal codec.

The RØDE VideoMic Pro+ is one of the most popular powered camera microphones ever produced. The third version of this microphone introduces some new features and also improves upon the design of the earlier iterations of the microphone.

ZEISS has just announced a new chapter in cinema optics: the Supreme Primes. These full format, large image circle primes build on ZEISS's deep experience in cinema lenses and provide a modern, yet classic, platform that looks to combine the best aspects of classic Super Speeds as well as modern Ultra and Master Primes. Initial availability is scheduled for this fall. Let's dive in and take a closer look at this exciting new option for top-tier full format cameras like the ARRI ALEXA LF, Canon C700 FF, RED MONSTRO, and Sony VENICE.

The PLx Extenders have been designed for AbelCine by IB/E Optics to be compatible with a wide range of PL-mount lenses. This chart lists zoom and prime lenses that have been tested with the PLx2, PLx1.4 and PLx1.4 Mark II. Keep in mind that if the maximum aperture of a lens is greater than the maximum input aperture of an adapter it will need to be stopped down to achieve a usable image.

Recently, I had the opportunity to test the new PLx1.4 Mark II extender from IB/E Optics. Just like the Mark I, it extends the focal length of your lens by 1.4x, and only loses one stop of light in the process. It also has an image circle of up to 34.5mm, which means it can resolve up to 6K, on the RED EPIC DRAGON for example.