In this blog video, I join Litepanels' Tim Duff for a comprehensive look at the Gemini 1x1 Hard light fixture and Apollo wireless DMX control app.

It's official. One day after RED CEO Jarred Land teased some tantalizing images on his Instagram account, RED has launched their latest 8K digital cinema camera, V-RAPTOR. Featuring a new form factor (the first in the company's new DSMC3 line), a locking variant of Canon's RF lens mount, CFexpress 2.0 Type B media support, dual SDI outputs, and a new multi-format sensor similar in configuration to RED's MONSTRO sensor, the new camera system is a powerful and elegant optimization of RED's camera DNA, clearly incorporating design cues from their popular 6K KOMODO body.

In this video, I give an in-depth look at ARRI's Electronic Control System, including video transmission, camera and lens control, and other wireless solutions. I discuss technical best practices, interconnectivity, and advanced integrations.

In this video, we share some footage captured in the new recording formats found in ARRI's latest ALEXA Mini LF Software Update Package 7.0.1. This SUP includes four new Super35 recording formats and two new Large Format recording formats, plus feature enhancements to the overall user experience.

In this in-depth interview, AbelCine Director of Education Jeff Lee sits down – virtually – with director Greg Robbins and DP Chris Fanning of RDM to talk about their work in the world of virtual production.

AbelCine's FOV Tool 2.0 is here! This update to our original, and very popular, FOV (field of view) Comparator allows you to compare camera and lens combinations, including a variety of sensor sizes, recording resolutions, and aspect ratios. Of course, the new tool features the latest cameras and even more lenses.

Sony’s FX9 is a popular choice for freelance shooters, sporting a full-format (aka full-frame) imaging sensor in a body design evolved from their equally popular FS7 series of cameras. Emmy-award-winning New York-based DP Rick Siegel, whose credits include features, short films, documentaries and musical events shot in a style we’ve come to refer to as “cinematic multi-cam,” has owned the FX9 since shortly after it came out. He was kind enough to lend his talents to exploring the new features in firmware 2.0/2.1 for the FX9.

In October of 2018, Canon introduced the EOS-R, the first in a new line of full-frame mirrorless still and video cameras along with a new lens mount, dubbed ‘RF’. Unlike the familiar EF mount, which debuted in 1987 with the original EOS series of film cameras, Canon’s new mirrorless mount provides a greatly reduced flange focal distance — also known as flange depth or registration distance — along with a higher bandwidth data pathway between bodies and lenses.

ARRI has released SUP 7.0 for their popular ALEXA Mini LF camera system. The update includes some long-awaited features, with new dedicated Super35 recording modes that match those found on the original ALEXA Mini. In most cases, these new modes can achieve higher maximum frame rates than the original ALEXA Mini. There are new LF (Large Format) recording modes, an expanded list of framelines and anamorphic squeeze factors, and a number of other enhancements as well.