Arri just announced the latest addition to the ALEXA family, the all new ALEXA Mini. Coming in at a svelte 7.3" x 4.9" x 5.5" (LxWxH) and weighing only 5 pounds, the Mini compliments the series with the same S35 ALEV III CMOS sensor found in the ALEXA and AMIRA. Utilizing a carbon body with titanium lens mount attached directly to the titanium sensor mount, the Mini shares the same PL, EF and B4 bayonet lens mounts, as well as the same MVF-1 viewfinder as the AMIRA.

Deciding on the perfect zoom lens isn't always easy, but we've created this chart to make the job a little easier. You can compare lenses based on weight, image coverage, maximum aperture, budget and more. Download the latest version of the chart.

The ALEXA XT has the same size sensor as previous models, but with its increased processing power, it can now record the full sensor area all at once.

Today Arri announced that they will offer a new software upgrade for the AMIRA, which will allow it to record ProRes Ultra HD files (at a resolution of 3840x2160). The upgrade is expected to be available for purchase at the online Arri License Shop by the end of 2014.

Recently, Gates Underwater made an exciting announcement and revealed their new ALEXA underwater housing. As with their other housings, this unit features simple fingertip controls, an adjustable trim weight system, Gates Precision Ports, and adjustable handle grips.

Arri has recently started the second Open Beta phase for Software Update Packet 10.0, and they've announced some exciting features for this release.

Phil Lott is quite the triple threat - as a cinematographer, director, and showrunner, he has been working in the industry for over two decades. Phil has extensive credits in television, and while he enjoys the medium, his most recent project is an indie feature called Kelly & Cal.

Our scene file blogs have always been some of our most popular posts, and our specialists get many questions regarding how to create matching scene files for different cameras. Last year I actually wrote an article for HDVideoPro called "Making the Match," where I discussed step-by-step how I go about doing this. In that article, I used a Sony F3 and an FS700 as examples, but recently we received an interesting inquiry on how to match a Sony F55 with a Canon C500.

Apple just released Final Cut Pro 10.1.2, which has a host of new features including improved media management tools, Rec709 LUT support for Log footage (Arri, Sony, Canon, and Blackmagic cameras), 3DLUT support for the Arri AMIRA, and support for their new ProRes 4444 XQ codec.