With the capability of the Canon C100 and the newly updated 5D Mark III to output uncompressed video with 422 color, the two cameras can both be set up with the Ninja 2 recorder from Atomos.

Sony has just announced the new PMW-300, replacing the very popular PMW-EX3. As an evolution of the EX3, it features an interchangeable lens system and side-mounted viewfinder. The camera comes with a 14x zoom lens, and a 16x version will be available sometime later in the year.

The Canon C500 has been built on the foundation of Canon's popular EOS C300 camera. Sharing the same impressive sensor as the C300, the C500 adds outputs for 10 or 12-bit HD and 2K (2048x1080) video, as well as 4K (both DCI and Quad-HD) RAW output. Available in PL and EOS (EF) mounts, the modular nature and size of the C500 means the camera can live in many configurations - from the fully decked out studio camera to a lightweight run-&-gun setup. In this article, we present the many different lenses and accessories that can be used with the camera.

Our customers are always asking for "the perfect camera", one that fits all of their needs and then some. Of course, there is no such thing as the perfect solution for everyone; however, there are some key requirements that we hear all the time. Most new cameras today have features that set them apart from each other and sound great on paper, but when it comes time to go into production the camera needs to be a solid tool that preforms a required task.

Sony stopped by recently to show us the FS700 with the RAW output option enabled. This upgrade has to be done at Sony for a cost of $400. However, if you buy their HXR-IFR5 and R5 recorder the fee is waived.

A cinematographer and lighting designer by trade, Rick Siegel has worked on feature length and short films in the narrative and documentary genres. He photographs episodic television series as well -- in music, comedy, fashion, home style, reality and magazine formats. In this blog, he tells us all about his Sony PMW-F3 rig.

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.