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.

We all know the moment... when a film cuts to a close up and the depth of field is so narrow that we immediately lock onto the lead’s eyes. The character's emotions and place in their world are so clear to us, the audience, as we experience this moment with them. We are not bystanders; we are participants. The image is intimate, organic, and just like that, we get goosebumps.

AbelCine's new ARRI Applications series begins with insight from Director of Photography Lucas Cohen, exploring why he chose the ARRI ALEXA Mini LF and Signature Primes for this specific project: six shoots in three weeks, covering Major League Soccer.

Recently, I had the opportunity to sit down for a conversation with Ellen Kuras, ASC to discuss her work as the cinematographer on David Byrne's American Utopia, a concert film directed by Spike Lee.

Canon’s latest full-format Cinema EOS camera, the C500 Mark II, is a study in versatility. Join filmmaker Rubidium Wu as he describes his experiences shooting with the C500 Mark II and gives his perspective on how it fits into the equipment roster of a growing production company.

Since the release of Sony's PXW-FX9 digital cinema camera, we've gotten a lot of questions from clients about how it compares to Sony's flagship cinema camera, the VENICE. Now that Sony has released major firmware updates for both cameras (2.01 for the FX9 and 6.0 for the VENICE), we thought now would be a good opportunity to compare their capabilities, particularly in terms of each camera’s sensor.

In this video, I take a look at Sony’s latest full-format camera in their cinema line, the FX6. The FX6 slots in below the FX9 in Sony’s lineup, but don’t let that fool you — it’s got a number of headline features that make it a more than worthy contender.

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.

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.