The ARRI ERM-2400 LCS is an external radio module system that provides point-to-point connection between handsets and cameras, making it a valuable tool for distanced camera crews.

The ARRI SRH-3 and DEH-1 are unique wireless tools that are more relevant than ever in today's remote production world.

Sachtler's new generation of fluid heads, the aktiv line, is here. These heads maintain the reliability and operating experience that we have come to know and love.

HDR, or High Dynamic Range video, is well-established at this point. With Netflix, along with newer streaming services like Apple TV+ and Disney+, all offering Dolby Vision as a premium experience for their customers, and Amazon's embrace of a wider range of HDR standards, those of us with HDR-capable televisions now have a broad range of content to consume in this vibrant new format. But what about those of us charged with making content for these new distribution avenues?

These days, you can name almost any subject and find a great podcast on that topic. This holds true for filmmaking as well. From podcasts designed for general film lovers to super technical ones from industry insiders, there truly is something for everyone. In this post, we've curated a list of our favorites, based on input from our technical specialists and other members of our team.

With award shows moving to virtual formats this year, the 2020 Creative Arts Emmy Awards is one of the highest profile events to make the transition. Over the summer, AbelCine created a range of remote production kits that enable high quality image capture in a safe, easy to set up, remote controllable package. As a result, the team at Done+Dusted, the producers of the Emmys telecast, tapped AbelCine to help build 25 remote kits for select nominees at the 2020 Emmy Awards. 

Building upon the success of its predecessor, the new Sony Alpha a7S III has been updated with several standout features focused on video. With an updated BIONZ XR processor and new 12.1-megapixel BSI Exmor R sensor, the a7S III packs powerful internal recording options, including full-frame 4K 120p and S-Log2 and S-Log3 support, all via the new XAVC HS format, an HEVC / H.265 based 10-bit 4:2:2, intra-frame (All-I) codec. External output options include 16-bit RAW via the full-size HDMI (Type A) port to a compatible recorder, up to 4264x2408 (16:9) at 60p.

Today Canon announced the C70, the latest model in their line of Cinema EOS digital cinema cameras. It uses the same Super35-format sensor as the C300 Mk III, including Canon’s DGO (Dual Gain Output) technology for 16+ stops of dynamic range, their legendary Dual-Pixel Autofocus, and is the first Cinema EOS camera to use Canon’s RF lens mount (which first debuted on the EOS R full-frame mirrorless stills-oriented body). All this is packed into the smallest Cinema EOS body ever – yet with few compromises in terms of the features and functionality Canon users have come to rely on over the years.

Running about a month ahead of schedule, Sony today announced the availability of firmware version 2.0 for the PXW-FX9 full-frame digital cinema camera. Originally scheduled for October, the new firmware brings 16-bit RAW output (in conjunction with the XDCA-FX9 extension unit), new 4K recording and sensor modes, 180fps shooting in HD, and improved image quality when shooting in the camera’s Super35 2K mode, among other enhancements.