Using Pomfort’s LiveGrade you can remotely color grade the VariCam 35. In my previous post, I explained how to set up the camera in preparation for the next step – working with the LiveGrade software. The software connects to the camera over a wired or wireless network and can work in a couple of different ways. You can set it to use the Default 3D LUT in-camera, which uses the V-709 LUT in the camera, and then applies basic CDL color correction. Or you can set LiveGrade to ‘Use 3D LUT from LiveGrade’ which allows you to both load a 3D LUT into the camera and adjust the CDL parameters. These two options give you a lot of versatility in how you work with your material in post production. In the video above I show how to set up LiveGrade and the Varicam 35 for remote color grading. Check it out and let us know what you think. To see the full post, visit our blog: http://blog.abelcine.com/2015/07/16/live-color-grading-with-the-varicam-part-2-working-with-pomfort/ Watch Part 1 on setting up the VariCam 35: https://vimeo.com/132763434+ More details
One of the great features of the Panasonic VariCam 35 is its built in color management. The camera can record in VariCam Log while applying look up tables (LUTs) to all outputs, including the viewfinder. The camera can load in both 3D LUTs for full color adjustment, as well as CDLs (Color Decision Lists) for basic Lift, Gamma, Gain and Saturation adjustments. While these LUTs and CDL files can be loaded in via an SD card, what really makes this camera unique is that it can also be live graded. To read the full post, visit our blog: http://blog.abelcine.com/2015/07/09/live-color-grading-with-the-varicam-part-1-camera-setup/ Watch Part 2 on Working with Pomfort LiveGrade: https://vimeo.com/134000460+ More details
The Sekonic SpectroMaster C-700 color temperature meter provides data to determine a light’s color temperature and compare it to other lighting instruments. In this blog, I present several lighting situations and how using different modes can determine a desired lighting setup. The C-700 is feature rich and can be used for numerous lighting tasks. I will also take a look at lighting under tungsten and LED source setups. To read the full post, visit our blog: http://blog.abelcine.com/2015/06/23/at-the-bench-sekonic-spectromaster-c-700-color-meter/+ More details
I stopped by the ARRI booth at Cine Gear to speak with Mike Wagner, Senior Product Manager, about the new SkyPanel, a fully tunable LED soft light that compliments Arri's L7-C fresnels. The user interface is easy to use with three simple knobs to adjust the intensity, color temperature and saturation. In addition to the on-board controls, these functions can also be adjusted remotely using DMX or LAN network connections. The SkyPanel was designed with versatility in mind - interchangeable diffuser panels are available now and additional accessories are planned for the future, including egg crates, honeycombs and barn doors. The SkyPanel comes in various sizes and will begin shipping late this Fall. To see the full post, visit our blog: http://blog.abelcine.com/2015/06/17/cine-gear-2015-arri-skypanel-led-light/+ More details
We have quite a few divers here at AbelCine, and we all admire the ease of operation and reliability of Gates Underwater Housings. At Cine Gear 2015, I had the opportunity to check out the upcoming ALEXA Mini housing with Pamela Mertz, Director of Sales for Gates. We had a chance to talk about some of its main features, including menu navigation, heat dissipation, and monitoring signals underwater and on land. The ALEXA Mini housing will be available this fall. Check out my video for more info. To read the full post, visit our blog: http://blog.abelcine.com/2015/06/11/cine-gear-2015-gates-underwater-housing-for-alexa-mini/+ More details
One of the biggest crowd pleasers at the AbelCine booth this year was the Freefly MIMIC, especially as attendees saw how intuitively it controlled camera framing. We previously covered the MIMIC at NAB, but when we received our beta kit, we were eager to set it up and have an in-depth look. The MIMIC ships with the sensor package mounted on MōVI crossbars, and includes a 5v USB battery and a MōVI Controller Receiver. If you already own the MōVI Controller, your existing receiver can be used with both your MōVI Controller as well as the MIMIC, although you'll have to re-bind when you switch between the two. To see the full post, visit our blog: http://blog.abelcine.com/2015/06/10/cine-gear-2015-camera-mobility-with-the-freefly-mimic/+ More details
One of the big announcements from Cine Gear 2015 was OConnor's new 2560 fluid head. The 2560 replaces the popular 2065, and joins the 2575 and 1030 as top-of-the-line fluid heads for cinema use. The advantage of the 2560 is that it's significantly smaller and lighter than the 2065 - almost seven pounds lighter in fact. Yet it still maintains the weight capacity of its predecessor, making it an excellent mid-range tripod head. The new OConnor 2560 is shipping now. Make sure to look for it in our showrooms in the near future! To see the full post, visit our blog: http://blog.abelcine.com/2015/06/11/oconnors-new-2560-fluid-head/+ More details
The new MFC-2S follow focus from Vocas incorporates some ingenious capabilities while maintaining the signature Vocas design aesthetic. The first thing that catches the eye is the wooden element below the focus handle. It is designed to act as a rest for the palm of your hand. Additionally, the swing arm can be positioned to act as a support post for the right hand while the left is used to pull focus. This is a great feature, considering that many of today's popular cameras are more-or-less cube-shaped. To read the full post visit our blog: http://blog.abelcine.com/2015/06/11/at-the-bench-vocas-mfc-2s-follow-focus-system/+ More details
The MōVI has had a huge impact on our industry. As a result, there is a lot of interest in how to build it to fit various production demands. In this video, I will take you through building a Canon C300 on an M10 and highlight some accessories and power solutions. We will start with a look at the Redrock Universal powerPack, which is a power distribution box that regulates and allows end users to set voltage output levels. I also take a look at Redrock's flexCables, which are ultra-flexible, lightweight cables for the microRemote follow focus system. These cables have little memory and offer a light weight solution to minimize drag between the MōVI and the top handle. Additionally, because weight is such a concern in this rigging situation, using a mattebox can be very challenging. That's where Bright Tangerine's Misfit Atom comes in; weighing in at only 98 grams without the shade (195 grams with it), it can also hold a single 4x5.6 filter. To read the full post, visit our blog: http://blog.abelcine.com/2015/06/05/at-the-bench-accessorizing-your-movi-rig/+ More details
You’ve selected a lens family, but choosing which focal length to use for each shot is an art in itself. A few things to consider when choosing your focal length are: proximity of the camera to the subject, whether the camera is a character in the story or purely observational, and whether you’ll be using the lens to control the subject’s perspective and their relationship to the background. Recently, I tested the Zeiss Compact Prime CP.2 35mm Super Speed in several common shooting styles. I wanted to experiment with finding the best focal length for each situation. I chose the Zeiss CP.2 35mm Super Speed for two reasons: the lens covers the 6K sensor of the RED EPIC DRAGON I paired it with, and I also wanted to use the fast speed of the T1.5 to capture shallow depth of field in certain situations. It’s also one of my favorite focal lengths, as it can achieve a variety of different looks and feels. To read the full post, visit our blog: http://blog.abelcine.com/2015/05/28/choosing-a-focal-length-with-the-zeiss-cp-2-35mm-t1-5-super-speed/+ More details
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