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.

Today Canon announced a 35mm CN-E cine-style prime lens to complement its complete line of optics for cine production. The 35mm fills the current gap between the 24mm and 50mm focal lengths.

The Sony F5 & F55 cameras are shipping in quantity now, and we've gotten a lot of requests for some custom scene files. I've put together five files in our usual flavors. They are designed both to change the cameras' look and make matching the two cameras easier.The cameras handle colors very differently due to their different Color Filter Arrays (to learn more, read Mitch's article on CFAs), so you'll see some obvious differences in the files. My focus on these files was to match skin tones and give a nice overall look.

Canon is introducing two new lenses to their lineup of Cine Primes, which currently includes the 24mm T1.5, 50mm T1.3 and 85mm T1.3. This prime set has now been expanded on both the wide angle and telephoto ends with a 14mm T3.1 and a 135mm T2.2.

Last month we posted about Element Technica's Elements Micron accessories for the Sony F5/F55, and today I got a chance to sit down with another piece from their Elements line, the F5/F55 Powered Studio Riser.

Zeiss has begun deliveries of their first Compact Zoom, the CZ.2 70-200 T2.9. This lightweight lens is a sister to the Compact Prime lens family, which means that it shares versatile traits such as Full Frame 35mm coverage (it'll cover the Canon 5DM3 and 1D C) and professional cine style gearing and marking.

The Canon EOS 5D Mark II undoubtedly kicked off the large-sensor-in-a-small-body movement, so it's no surprise that Canon would carry this momentum forward with the EOS-1D C. While the Mark II started as a still camera that conveniently shot video, it's apparent that the 1D C was built with filmmakers in mind. As the first HDSLR with 4K and LOG recording capabilities, the 1D C introduces new possibilities for productions of any size.

The HDx35 Mark II and Hx2 Mark II have been designed for AbelCine by IB/E Optics to enable B4-mount lenses to work with large sensor cameras. On this page we have compiled a list of cameras that are compatible with each adapter.