One of the lauded characteristics of the Canon C300 and C500 is their compact, run-and-gun nature. Combined with versatile EF or PL lenses, the two cameras are perfectly at home in a handheld configuration. However, one of the most requested features from C300/C500 owners is an accessory for easier outdoor and critical focus viewing – now Deity has released something that they think fits the bill. Many folks opt not to use an EVF on their C300/C500 due to the many placement options of the included LCD screen and to keep the camera package small. Deity’s new Mira, built and designed by C300 shooters, is a clip-on loupe that fits a 4″ LCD screen and features excellent optical quality, 3x magnification, and the ability to be mounted and unmounted in seconds. There is a small frame that you clip onto the built-in LCD screen, which serves as a secure mounting point for the viewfinder. 

We featured a Deity Mira at our NAB booth this year, and it was a big hit with everyone who saw it. Below, you can see some photos I took after mounting the Mira to one of our Canon C500s.

For even more info, check out this great video from NAB 2013 with our friend Matt Allard from NewsShooter.com interviewing filmmaker Sebastian Devaud about the Deity Mira. The Mira is now in stock at AbelCine, so make sure to come into our showrooms and check it out!

Phantom Flex4K

Since its debut at NAB this year, the Flex4K has generated a lot of excitement. This groundbreaking camera offers 4K recording up to 1,000 fps and 2K recording up to 2,000 fps. It features a 12-bit, 10 megapixel CMOS sensor with low noise and excellent dynamic range. For even greater flexibility, the Flex4K supports RAW and compressed recording formats.

Sony F55

Sony’s F55 offers vast exposure latitude and ultra-wide color gamut, with the same color filter array and bit depth technology used in Sony’s flagship F65. The F55 records 4K, 2K or HD internally, with the option to record 4K/2K RAW to an external recorder. It boasts an electronic global shutter, 8.9MP Super-35 CMOS sensor, and can shoot up to 240 fps – all this in a compact, lightweight package. The F55 camera body weighs less than 5 lbs.

Canon C500

The C500, the top of Canon’s Cinema EOS line, offers the flexibility of 4K, 2K or HD image capture in either PL or EF-mount options. With outstanding image quality, it is suitable for features, VFX and 3D applications. Featuring a Super-35, 8.85 megapixel CMOS image sensor, the C500 can output 4K raw up to 120fps as well as 2K and HD video.

We will also be showing off the 4K capacity of the C500 with the AJA Ki Pro Quad. The Ki Pro Quad can debayer the 4K raw signal from the C500 and capture it as a 4K ProRes file, as well providing 4K monitoring options and raw data passthrough via Thunderbolt.

Arri ALEXA

Arri’s ALEXA family continues to be an industry standard for high-end digital cinema production. The ALEXA Studio features a large, 4:3 Super-35 senor that allows for proper shooting with both standard and anamorphic lenses. A genuine spinning mirror optical viewfinder means you truly see what the lens sees. Like other cameras in the line, the ALEXA Studio boasts a native 800 ISO sensor, 14-stops of dynamic range, ARRIRAW recording and internal ProRes recording to SxS cards. Arri recently announced the XT (Xtended Technology) upgrade to the ALEXA line, which includes the XR ARRIRAW Module, anamorphic de-squeeze and high-speed licenses.

Of course, having the right lens is just as important as your camera choice. AbelCine specializes in optics and optical service. Here are few of the lenses and optical adapters we’ll have on display at Cine Gear. (If you can’t wait until Cine Gear, check out this Livestream of a recent AbelCine EXPO on Lightweight Cine Zooms.)

Angenieux Optimo DP Rouge 30-80mm T2.8 Zoom

The Angenieux Optimo DP (Digital Production) zooms are versatile lenses for large format digital cameras, which provide Optimo quality at an affordable price. The Optimo DP Rouge 30-80mm T2.8 Zoom is lightweight and compact, weighing 4.2 lbs, with a front diameter of 114mm and close focus at 2′. Optimo’s unique mechanical design offers precise zoom and focus, with no ramping and no breathing.

Fujinon’s Cabrio series, 19-90mm and 85-30mm, has a unique design with a quickly removable zoom handgrip, with built-in lens motors for focus, iris and zoom rocker control. It also features cine-style .08 gearing on its rings. Ideal for handheld, ENG and doc-style shooting, the Cabrio is lightweight enough for compact Super-35 cameras.

The HDx35 Mk II, designed and built by IB/E Optics for AbelCine, enables B4-mount 2/3” HD video lenses to work with most Super-35 format, large sensor cameras. It mounts between the lens and the camera, expanding the projected light to cover the larger sensor area. The relative depth of field expected for the larger sensor is achieved, while the usual field of view when the lens is mounted to a 2/3″ camera is maintained. The Mark II system has increased coverage to work with more cameras, and now includes the Universal Mount System (UMS).

Modern cameras require the highest quality optics with designs optimized for electronic sensors. Designed and built by IB/E for AbelCine, the PLx2 2x Extender is an optical extender that doubles the focal length of 35mm PL-mount lenses. The PLx2 features high-index, low-dispersion glass to ensure the highest possible resolution and contrast with minimal optical degradation. The optical design is optimized for digital cameras, which work best with highly telecentric lenses.

AbelCine has designed a line of Resolution Analysis Charts specifically for today’s high-resolution camera systems. These charts makes it easier to determine accurate, repeatable measurements for cameras and lens that resolve 2K, 4K and higher. They also provide additional camera evaluation capabilities for camera techs, camera assistants and equipment owners. Some key features of the charts are circular patterns, a symmetrical layout, multiple aspect ratios, colors and grayscale, frame-relative units of measurement, and MTF targets. The charts are available in 40″ and 20″ versions, with a 10″ Focus Bowtie Chart in development.

Regular business hours are 9am-6pm, Monday through Friday. Additionally, our NYC location is open on Saturdays from 10am-2pm (select services by appointment only). 

Note that on the diagram, the coordinates of D65 fall at x = 0.3127 and y = 0.3290. These are very important coordinates, because if your monitor does not produce white at (or close to) these numbers then you’ve got a problem. The good news is that if you have a Sony monitor, then there is a simple and relatively affordable solution to calibrate your monitor. Sony’s aptly named Automatic White Balance Software works with a variety of probes to quickly calibrate your Sony monitor. It works with the vast majority of Sony LMD, PVM and BVM monitors, only the entry level LMD 1510W, LMD 1530W and LMD 2110W are excluded. This means you can use it with the new OLED monitors, as well as the wide variety of professional LCD monitors that Sony produces.

Determining an exact white point is not something that humans can do well, which is why you’ll need a monitor probe. The software works with some really nice (and expensive!) monitor probes, but the most bang for your buck is the X-Rite i1Pro 2. For around $1000, you can get set up and calibrating quickly. Below is an outline of how to use Sony’s software with the X-Rite.

1) Install the Sony software. It is only Windows-based, so us Mac guys need to be able to dual-boot or run Windows virtually.

2) Plug in your probe via USB. You’ll need to install some basic drivers, which will be included with the probe.

3) Run the Sony software and choose your X-Rite probe from the drop-down box. Now calibrate the probe by placing it on a black surface and clicking on the calibrate button.

4) Connect to your monitor via an Ethernet cable. You can do this over an existing network, but I recommend connecting directly from your computer to the monitor. 

5) Set a local IP address on your computer’s network so that the monitor and computer can talk. Open up your Network Settings and set your IP address to 192.168.0.200 and Subnet to 255.255.255.0. This IP is in the same range as the monitor, so you can connect easily. If you aren’t sure how to set an IP, then check out this tutorial for Windows 7 users.

6) Enable remote control on your monitor by setting the Serial Remote mode to Ethernet and, because we are connecting directly, set the connection mode to Peer to Peer. These settings could be in various menus on different monitors; here is the setting I changed in the Sony PVM-2451 monitor I was calibrating.

7) In the Sony software, click on Network Adapter, and locate the adapter with the IP you specified earlier. 

8 ) Choose Connection Type Peer to Peer, and the software will start looking for the monitor. If all goes well, it should connect right away.

Your monitor should be listed in the Target area. Also in the Target area of the screen, are x and y values that are defaulted to the specs for Rec. 709, just like I mentioned above. 

9) Before calibrating you will need to feed a HD-SDI signal into your monitor – any valid signal from a camera, deck or generator will do. This is required on most Sony monitors for the process to work, but not the BVM monitors.

10) Set the Color Temp to User – this will enable the probe to adjust the color as needed. The default User should be a copy of D65. Here is what this setting looks like in the PVM-2451.

11) Place the probe on your monitor in the center of the screen. The X-rite comes with some hardware that makes it easy to hang in front of the monitor.

12) Now start the calibration process by clicking the Adjust button in the Luminance area. Note the Y (Luminance) value above is defaulted to 100; you can adjust this based on your viewing environment if required.

12) After clicking Adjust, the monitor will start to display patterns on the screen that are used to adjust the white point of the monitor at various luminance levels. Give the calibration a few minutes to complete, and watch as the white point of your monitor is adjusted as close as possible to the target.

13) You’re done!  As you can see after the calibration, my measured (current) x & y values are a very close match to the target values of a proper Rec. 709 white point. With this simple measurement you can be confident that your monitor will be in spec for the vast majority of applications.

One option that you can consider when matching different types of monitors is choosing D65 from the Set To drop-down under Set To. This will produce x & y values with different offsets based on your monitor type. LCDs and OLEDs tend to look different even at matching white point values, so these offset will help adjust for that. As you can see below, my PVM monitor has specific offsets that Sony has determined.  

If you want to learn more about monitor calibration, make sure to check out our Digital Technician: Monitor Calibration classes coming up in LA and NY! 

4K was the definitive buzzword at NAB this year, as well as CES, with a number of manufacturers releasing 4K televisions, 4K game systems, and 4K cameras. With the consumer demand for 4K content just around the corner, one of the most often asked questions is “How much is this gonna cost us?!” After polling a number of industry sources, I decided to try and break down the production costs of shooting, data management, dailies creation and archiving in 4K to show that it isn’t as intimidating as you might think.

Let’s use a typical multi-camera one-hour television drama (such as Game of Thrones) shooting six hours of footage per day with nine cameras. And let’s assume that everything is shot in ProRes 4444 at 24fps, just to make it a little easier to get some figures. Additionally, let’s say they’re using a camera that can shoot both formats, so the production equipment is the same, but the amount of media and storage will differ. This isn’t a magical camera, by the way, there are plenty of cameras that offer 4K and 1080 recording options in the same codec, as well as external recorders like AJA’s Ki Pro Quad or the new Odyssey 7Q from Convergent Design.

Shooting

An hour of ProRes 4444 1080/24p can average around 119GB; an hour of ProRes 4444 4K/24p will average 509GB. Assuming your recording media can hold 512GB, then each card will hold either 4 hours and 15 minutes of 1080 or 1 hour of 4K (I’m leaving space because a 512GB card almost never has 512GBs available to fill).  So let’s figure out how many cards we need. Nine cameras shooting six hours of footage total, means each camera is shooting 40 minutes of footage. You usually want to have at least one card per camera as a back up. So for this show, regardless of 1080 or 4K, the card count would remain the same: two cards per camera. However, you probably won’t want to clear your cards until you hear from post that everything looks ok, so for safety let’s say four cards per camera for a total of thirty-six 512GB cards.

Downloading

Using Thunderbolt to download your footage, one card at a time, it would take roughly 35 minutes per card for the 4K footage and roughly 8 minutes per card for the 1080 footage. With all cameras handing in their cards at the end of the day, it would take about 5 hours and 15 minutes to download the 4K footage and 1 hour and 12 minutes to download the 1080 footage.

The 4K footage will take up 3TB of space and the 1080 footage will take up 690GB of space (these figures are rounded up slightly for safety). For a multi-day 4K job you’ll want a 6TB housing with two 3TB modular shuttle drives (one master and one backup), while both your DIT and dailies colorist will have housings which already come with the drives, so you’ll have four drives in rotation from the start. For a multi-day 1080 job you’ll want a 2TB housing with two 1GB modular shuttle drives.

Two 6TB housings with drives will cost roughly $1,600 total and two 2TB housings with drives will cost roughly $1,000.

Dailies Creation

Typical rates for dailies will run you about $750/hour of content for 4K footage and $500/hour for 1080 footage (according to a reputable post services facility in Los Angeles). That’s $4,500/day for the 4K and $3,000/day for the 1080. This includes transcoding for offline editing as well as DVD burning services.

Archiving

Assuming that you are archiving to LTO-6, each LTO-6 tape holds 2.5TB of uncompressed data. You will need two tapes per day for the 4K footage and one tape for three days of 1080 footage. If an episode takes 8 days to shoot, that will mean sixteen tapes per 4K episode and three tapes per 1080 episode. At roughly $96/tape, the 4K episode costs $1,536 to archive and the 1080 episode costs $288 to archive.

Breakdown Per Episode: 

This is just one method of comparing your production’s costs between 4K and HD. We understand that many other factors will contribute to the overall cost differential.  But given our analysis above, we estimate that it costs about 55% more to produce 4K content over HD. Not quite the 400% you were probably expecting, is it? Hopefully, by breaking down the costs like this, I hope that I’ve managed to pull the curtain back on 4K and clear up some of the myths around its workflow. 

Special thanks to Peter Price (Director of Post Production, Revolt TV) and Lewis Rothenberg (Digital Imaging Technician, Royal Pains) for their input on typical footage count and workflow.

We’re launching the AbelCine Outlet with a limited-time special offer. The more you buy from this section, the more you save!

• Purchase $250-$500, and receive an additional 10% off each item

• Purchase $500.01-$1000, and receive an additional 15% off each item

• Purchase over $1000, and receive an additional 20% off each item

Here’s just a sample of what you’ll find in the AbelCine Outlet.

The AbelCine Outlet offers a variety of demo, display and open box products, all of which are fully functional. Specifics of an item’s condition can be found on the product page. This guide describes the system we use for grading open box and demo items, as well as the warranty and return policies for each category. If you have any questions about an item you are purchasing, please contact our sales department for details.

Open Box (OB) – Backed by manufacturer’s warranty / Standard 30-day return policy

Products that have been displayed in our retail showrooms or unused items that have been returned. These products may or may not include original packaging, accessories and manuals. Lens glass is flawless.

Like New (LN) – Backed by AbelCine 30-day warranty / Standard 30-day return policy

Products that have been used for demonstration purposes and show little to no signs of wear, or that have been returned. These products may or may not include original packaging, accessories and manuals. Lens glass is flawless.

Demo A Condition (DA) – Backed by AbelCine 30-day warranty / Demo 14-day return policy

Products that have been used for demonstration purposes and show signs of light wear or products that have been returned. These products may or may not include original packaging, accessories and manuals. Lens glass is very clean. LCDs may have slight blemishes

Demo B Condition (DB) – Backed by AbelCine 30-day warranty / Demo 14-day return policy

Products that have been used for demonstration purposes and show signs of moderate wear or products that have been returned. These products may or may not include original packaging, accessories and manuals. Lens glass may have spots that should not affect picture quality. LCDs may have light scratches.

Demo C Condition (DC) – Backed by AbelCine 30-day warranty / Demo 14-day return policy

Products that have been used for demonstration purposes and have been well used (scratched or dinged) or products that have been returned. These products may or may not include original packaging, accessories and manuals. Lens glass may have light coating scratches that will not affect picture quality. LCDs may have light scratches.

Demo D Condition (DD) – Backed by AbelCine 30-day warranty / Demo 14-day return policy

Products that have been used for demonstration purposes and have been heavily used (multiple scratches or dings) or product returns. These products may or may not include original packaging, accessories and manuals. Lens glass may have visible scratches that will not affect picture quality. LCDs may have heavy scratches.

Now that products announced at NAB 2013 are starting to ship, we thought it was time for a recap of some of the gear that made an impression at the show. I’ve put together a Post-NAB Equipment Roadmap that outlines what’s available now, and what to expect in the coming months.

Let us know in the comments what products you’re most excited about.

Some the products announced at NAB starting to ship, with others around the corner, so we’ve organized this guide around when you can expect NAB’s stars to hit the market. 

Out Now

Ki Pro Quad

Announced at NAB ’12, the Ki Pro Quad is the natural progression of the popular Ki Pro Mini. Unlike other external recorders, the Quad is capable of receiving Canon raw from the C500 and debayering the stream to 4K ProRes files via AJA data packs. The Canon raw information can be passed to a computer and external hard drive via Thunderbolt, not to mention support for capturing 4K or QFHD video from cameras like the Sony PMW-F55. As you’d expected, the Ki Pro Quad is also able to record 2K and 1080P from a myriad of cameras.

Wooden Camera Quick Base 

In the crowded world of camera support accessories, manufacturers must find ways to stand out and differ from the other options. Wooden Camera’s new line of camera accessories features a unique quick release system that makes changing setups a snap. Featuring a low profile base that can attach directly to the new baseplates or standard Arri dovetails, the Quick Base and Quick Cage are available for most camera systems. I was able to speak to Ryan Schorman of Wooden Camera and have him walk me through the system, watch as he demos some of the new accessories.

Optitek 

With over 80 million Canon EF lenses sold, its no wonder we’ve all been looking for a solution to use our Canon lenses on other camera systems. The OptiTek Canon EF to Sony FZ adaptor allows you to use your existing glass on the Sony PMW-F3, F5, and F55 and supports electronic aperture control. While the optional Optritron allows for focus and iris control, you are also able to control the lens directly from the adapter, great for those run & gun situations. Dave Kincaid’s video shows how easy it is to use this adapter on your new Sony camera.

ALEXA XT / XR

Announced right before NAB, the ALEXA family receives an update that features in-camera ARRIRAW recording up to 120fps. The ALEXA XT, ALEXA XT M, ALEXA XT Plus, and ALEXA XT Studio will replace the current crop of cameras, and all include full 4:3 sensors in addition to the internal recording capabilities. You can read more details from Mitch about the various updates to the ALEXA family, and watch his interview with Arri’s Marc-Shipman Mueller.

AbelCine HDx35 Mark II

An updated version of the popular HDx35, the Mark II allows you to mount 2/3″ B4 mount lenses to your Super-35 camera system, but now covers a larger image circle. This means you can use the HDx35 Mark II on the Canon C300 and C500, as well as the RED Epic in 5K mode with your ENG lenses. The Mark II also allows you to use the new UMS option. 

AbelCine UMS 

The AbelCine HDx2 Mark II and HDx35 Mark II adapters now feature the Universal Mount System (UMS), which allows you to use your optical adapter on multiple camera systems. Available in Nikon F, Canon EF, Sony E, Micro Four Thirds and PL, the UMS provides a plethora of options and configurations to use your existing 2/3″ lenses.

Schneider Cine-Xenar III

If you’re in the market for a set of cine prime lenses, the new Schneider Cine-Xenar III lenses are an exciting option to have. With a choice between PL and Canon EF mounts, these cine-oriented lenses are identical in size for easy on-set access and accessory configurations. With an 18-blade iris and great color matching to boot, these new primes are a great addition to any lens package. We had the entire set on display at NAB; make sure you check out Ian’s video on these great lenses. AbelCine Rental has the lenses available now, so why not try them out on your next shoot.

Metabones Speed Booster

Metabones has introduced the Speed Booster optical adapter. The unit adapts several DSLR mounts to video mounts. The unit contains optics that increase the over all exposure by one stop. The optics increase resolution by focusing the light from an APS size sensor to the Super 35 sensor size found in numerous compact camcorders. The Speed Booster is on demo in all AbelCine locations, so stop by and check it out.

Coming Soon

AbelCine PLx2 Extender

While teleconverters are certainly not a new idea, there was a void for those wanting to use an optical doubler on a digital cinema camera. The AbelCine PLx2 Extender is a optical extender that works with many S35 PL lenses and cameras and is optimized for digital acquisition. The PLx2 was a popular item at our booth this year; watch Mitch’s video tour as he gives an overview of the PLx2 and other IB/E products.

Phantom Flex4K

If the foot traffic was any indication, the highlight of our booth this year was most assuredly the Phantom Flex4K. As the name suggests, this is an update to the Phantom Flex with the capability to record 1000 frames at 4K (4096×2160) and 2000 frames at 1080 to the new CineMag IV. With a new control interface built right in the camera, it’s easy to see why the Flex4K was such a crowd pleaser. Our very own Mitch Gross was able to debut the camera at NAB and online, take a look! We’ve also created several extraordinary purchase options for the Flex4K, including a step-up program which gives you 100% credit towards your Flex4K if you purchase a 2K Flex today. Be sure to check out our specials page for more details!

Odyssey 7 / 7Q

Another big pre-NAB announcement came from Convergent Design, with a big update to their external recorder line. Both the Odyssey 7 and 7Q feature a 1280×800 7.7″ OLED capacitive touch screen in a compact 1″ thick magnesium chassis. In addition to the included monitoring features, the 7 and 7Q will record Avid DNxHD and another “industry standard” codec, but the real hat trick comes from the 7Q, which can accept quad HD inputs as well as ARRIRAW and Canon raw. Convergent Design was nice enough to drop off an Odyssey 7Q at our booth, check out my video to learn more.

Blackmagic Design 4K Production Camera

The new Blackmagic Production Camera features a Super-35 size sensor with a global shutter and shoots 4K RAW. The Production Camera has 12 native stops of dynamic range and records to SSD drives.

Blackmagic Design Compact Cinema Camera

Blackmagic has announced their New Pocket Cinema Camera that features a true Super16 size sensor and shoots fully uncompressed RAW. The Pocket cinema camera is compatible with MFT, C-mount, and PL mount lenses.

KinoFlo Celeb 400

Mitch was able to take a look at the new KinoFlo Celeb 400, which is the big brother to the versatile Celeb 200. Both units feature the soft light that KinoFlo is known for with some advanced color controls. Watch his video as he shows off some of the features of the new Celeb 400.

Mole-Richardson QuantumDot LED Fresnels

Mole-Richardson introduced some new LED Fresnels this year that utilize new Quantum Dot LED technology for powerful and efficient output with great color rendition. Available in the classic Tweenie, Baby and Junior sizes, these new lights are an exciting addition to a classic brand. Mitch has a video tour of the new lights, be sure to watch the video to see them for yourself.

Atomos Samurai Blade 

In addition to some surprise price drops, Atomos also announced the new Samurai Blade external recorder that builds upon the popular Samurai. Now available with a high-resolution 1280×720 IPS panel with additional monitoring tools, the Blade maintains many of the recording features of the Ninja2 and Samurai. I stopped by the Atomos booth to get a hands on look; check out the video to learn more.

Solid Camera Scatter Box / Sound Swivel

A popular camera on display at the AbelCine booth this year was the Sony PMW-F55 that featured some great accessories, including two new items from our friends at Solid Camera. The Sound Swivel lets you relocate your headphone jack and provides a 7-pin quick connect for an audio harness as well as a 5-pin XLR input for stereo microphones. The Scatter Box is a power distribution box that provides two PTap and two 2-pin Lemo connectors for your high draw accessories. Watch Andy’s video as he details some of the features of these great accessories.

Arri / Zeiss Anamorphic   

Announced last NAB as a concept lens, the new Arri / Zeiss Master Anamorphic lenses are a great pairing to your 4:3 sensor ALEXA or Phantom Flex4K. The 35mm, 50mm and 75mm are scheduled to start shipping in May, but the range will be extended to include a 40mm, 60mm, 100mm and 135mm as the year progresses. Mitch spent some time chatting with Thorsten Meywald to discuss these new exciting lenses, so watch the blog video to learn more.

Deity Mira C300 / C500 Loupe

The Canon C300 and C500 cameras come with a high quality LCD screen. But like most on-camera LCDs, it can be hard to see on a bright day and judging focus on can sometimes be difficult. Deity has come up with the perfect product to fix those problems and extend the functionality of this screen. The Deity Mira C300/C500 Loupe snaps on to the Canon LCD screen and quickly turns it into a functional viewfinder. The loupe is designed just for the C300 & C500 so distortion of the LCD screen is very limited. The loupe attaches to the screen, but can also be flipped up for viewing at a distance.

WCU-4 Wireless Control Unit

ARRI’s new WCU-4 Wireless Control Unit is a complete lens control system with unique camera integration. The WCU can control three lens motors (focus, iris zoom) and trigger camera record/stop either using the ARRI UMC-3A receiver or directly interacting with any ALEXA camera with a Plus module (ALEXA Plus, ALEXA Plus 4:3, ALEXA STUDIO, ALEXA M or any of the ALEXA XT models). When used with an ALEXA camera, the WCU-4 can also control camera functions such as Frame Rate, Shutter Angle, Exposure Index and White Balance, plus it can also adjust settings on the Monitor Output, such as Peaking, Surround View, False Color and Framelines. Simple backlit graphical displays with interactive features such as depth of field indicators and preset marks make the system very easy to use.

Steadicam SOLO

The new Solo from Steadicam combines the capabilities of a lightwieght monopod with a traditional Steadicam design. The rig can be quick-released from the Steadicam arm and then easily operated via its handle as a monopod. Supporting up to 10 lbs. the Solo is ideal for DSLR and and Canon C-series shooters. The Solo’s design is highly compact and folds up to 24in by 3.5 in. Watch my NAB video to learn more.

Looking Ahead

Panasonic VariCam 3

Slated for an early 2014 release, the newest addition to the very popular VariCam family is the VariCam 3. With support for the new AVC-Ultra codecs (including Class 200 and Class 4:4:4) and internal 120fps recording, the VariCam 3 will be a welcome update to those needing smaller sensor, ENG style shooting. Andy was eager to check out the newest VariCam for a sneak peak, have a look!

Sony NEX-FS700 4K RAW

When the NEX-FS700 was first released, Sony hinted at a future 4K workflow option that would be unlocked at a future date. Well, that date is fast approaching, as Sony was showing the HXR-IF5 interface box in conjunction with the AXS-R5 recorder for 4K raw recording. Sony also surprised us all with the announcement of 2K raw (up to 240fps continuous recording) and 4K video via the Convergent Design Odyssey 7Q. Watch Andy’s video to learn more.

Sony CBK-WA100

It’s no secret that cloud or internet based storage and distribution is in our near future, so there’s no surprise Sony is exploring this with the new CBK-WA100 wireless adaptor. This box encodes H.264 files on the fly and can upload to a Sony provided cloud service or your own FTP server and embraces the growing trend of “instant” deliverables. Andy breaks it down further from the Sony booth.

Angenieux Anamorphic  

The road to new anamorphic lenses doesn’t have to stop at primes, as the new Angenieux Optimo Anamorphic 56-152mm 2S T4 zoom gives you that wide screen image in a comfortable zoom range. Mitch gives a great technical break down from the Angenieux booth, make sure you check out his in-depth video!

Fujinon Cabrio 14-28mm Zoom Lens

The third lens to join the Cabrio family, this T2.9 wide angle PL zoom supports LDS and /i data connections. It has all of the same features that the Cabrio 19-90mm offers, including back focus adjustment, 31.5mm diagonal coverage, and a detachable servo handgrip. Combined with the mid range 19-90mm and telephoto range 85-300mm lenses, this wide-ranged lens perfectly rounds out the family and will be shipping in the 4th quarter. For a good look at the entire Cabrio family, check out Mitch’s NAB video on our blog.

Element Technica Wireless System

Element Technica introduced a new 3 channel (FIZ) system at NAB 2013. The  system is designed to accommodate gear you may already own to complete the system. The hand control for the system can use a Preston HU-2 with Element Technica module attached. The other option is to use Element Technica’s hand control. The hand control allows adjustment of the full range of iris, zoom and focus or you can set limits for iris and focus. Ideal for repeated camera moves. Motors for the unit are made by Element Technica and feature swivel cable mounts. Cables for the motors are industry standard 7 pin lemo.  Motors brackets available for 15 and 19mm configurations. Motors also have quick change gear design. Ian stopped by Element Technica’s booth to take a look at the system – check out the video here.

Photo Credit: Eli Tawil

A cinematographer and lighting designer by trade, Rick Siegel has worked on feature length and short films in the narrative and documentary genres. He photographs episodic television series as well – in music, comedy, fashion, home style, reality and magazine formats. In this blog, he tells us all about his Sony PMW-F3 rig.

When it comes to choosing a camera rig to purchase or to rent, what are your biggest considerations?

RS: I apply several criteria to determine and visualize my choices: what are the scripted elements to be photographed, who is going to see this project, what are the deliverables, what is the best equipment to frame the story elements, and last, but not least, what’s my budget. It’s a balance between artistic options, communication skills, dollars and sense. 

So your choice depends a lot on the audience and genre of the project you’re shooting?

RS: That’s right. When it comes to camera and lens selection, each genre has its own requirements and factors to be considered. Also, how this camera selection will fit into both single-camera as well as multiple camera setups.

Can you give us more specifics of what you look for in the camera itself?

RS: Ease of use and a built-in toolset of options is important; the camera must be able to fit into many shooting situations. I like to be able to manipulate the black, white and gamma areas of my images so a menu structure that’s simple in design, while offering a wide range of control, is ideal. Other attributes I look for include internal recording to media cards, higher bit-depth output for off-board recorders and monitors, and the ability to produce REC709 or Log style imaging.

I prefer to have a large single sensor (super 35mm or larger) that has at least 2K (1920×1080) in resolution and will permit some degree of slow motion capture. I would also choose to have a PL mount.

The camera body should have multiple mounting options for power supply, video display, recording deck, handheld and mattebox controls.

What would you say is your overall goal when together putting a camera rig?

RS: I want to have a camera kit that I’m completely facile with. My own ease with the equipment’s functionality must allow me to stay focused on creating engaging images for our audience to see.

Rick’s Camera Rig

• Sony PMW-F3
• Fujinon Cabrio 19-90 zoom, Nikon 17-35 and 28-70 zooms W/Duclos CineMod
• Alphatron EVF
• Solid Camera EVF Support
• Berkey System Cheese Plate
• Shape BP6000 Shoulder Rig w/Base Plate
• OConnor O-Box Mattebox (4×5.65)
• OConnor O-Grips (15mm)
• Anton Bauer Matrix Cheese Plate (15mm) to mount Batteries and PIX240
• Sound Devices PIX-240
• Sony OLED-1741 Video Monitor
• Marshall V-R70P HD-SDI Video Monitor

Visit Rick’s website for more examples of his wide-ranging work, and view the gallery below to see more photos of Rick’s rig in action, then visit our site to see the special Rick Siegel F3 Bundle! We’ve also teamed up with Rick to present a special How to Light & Frame the Best Interview Ever workshop, which is coming up on May 16th in New York, and it’s not too late to register.

[Show as slideshow]

[View with PicLens]

Do you have a rig you think our readers would love to hear about? If so, drop us a line. We’re considering making this an on-going series based on your feedback.

A few months ago, Andy wrote an article for HDVideoPro called Making 4K Plug & Play about how to use the Canon C500 with AJA’s Ki Pro Quad to easily record and monitor 4K video. Getting these two to play nice isn’t too difficult, but there are a few things to be aware of if you want to get the best results possible. Watch my video above as I take you through the step-by-step process of setting up the C500 and the Ki Pro Quad to record 4K ProRes, and stay tuned for a future blog about using the Thunderbolt passthrough to record the Canon RAW to your computer!

In addition to the clean HDMI output, the Mark III also gains some autofocus updates useful for those using Canon teleconverters. You can read the full release notes and download the free update directly from Canon’s site. Have you already updated your camera with the new firmware? Let us know what you think in the comments

This update also brings remote start/stop trigger via one of the 4-pin Hirose DC power outputs. We’re sure there will be numerous third party triggers available shortly, but this update means you can use the AbelCine HDx35 Mark II and HDx35-F5 cable with your 2/3″ ENG lens for full servo zoom and VTR switch functionality.

To download firmware v1.13 and view the rest of the release notes, visit the Sony Community site.

Recently, I got a chance to spend some time with a few of the newest offerings from OptiTek, including their recently announced Canon EF to Sony FZ adapter. This adapter features electronic aperture control via a simple push button interface. It can also be controlled wirelessly with the optional Optitron, which allows for wireless focusing in addition to iris control. If you’re using the F5 or F55, power can be supplied via the auxiliary Hirose 4 port from the camera, or you can supply power via PTap. For those wanting to use Nikon lenses on their F3, F5 or F55, there is a non-powered locking adaptor available. Watch my video above to learn more.

Many modern cameras offer an Exposure Index (EI) mode for changing exposure, instead of the simple gain that we had in the past. Other cameras offer both ISO and Gain adjustments that relate to one another, but exactly how is not always clear. With all of these options, I often get questions about the differences between ISO, Gain and EI and how they can affect each other. A little while ago, I wrote a help desk article for HD Video Pro magazine in which I talk about all of these modes and how they work in different cameras. You can read the full article over on HD Video Pro’s website – Help Desk: Sense & Sensitivity.

This offer can be combined with EOS C300/EOS C300 PL and EOS C100 Instant Rebates! Ask your AbelCine sales rep for details.

Promotion Period: April 8, 2013 – June 30, 2013

Eligible Models

Zeiss Compact Prime CP.2 lenses purchased in five, six or seven lens sets are eligible for this special offer. Qualifying CP.2 lenses include the PL, EF, F, MFT and E-mount versions of the following focal lengths:

CP.2 transport cases and interchangeable lens mounts are also eligible. Only new lenses qualify for this offer, and other models of Zeiss lenses are not included.

Promotion

Qualifying customers purchasing a 5, 6 or 7 lens Zeiss Compact Prime CP.2 set are eligible to finance the purchase at 0% over 12-months with no money down.

Lease Structure

• Zero down
• $1 purchase option lease
• $83.33 monthly per $1000 financed (selling price/12=monthly payment)

Equipment must be located in the United States.

Other lease financing options are also available ranging from 12-60 months. Contact AbelCine Finance Services for details.

Promotional Period

Lenses must be purchased from April 8 – July 31, 2013, and the funding must be completed by August 15, 2013.

Contact your AbelCine Sales Representative for more information, and download a lease application to get started with the 0% Financing Program today.

We’re offering an extraordinary program with three key components designed to maximize your ROI whether you’re a new or existing Phantom Flex owner.

Breakthrough Pricing

The Phantom Flex4K is due to ship in Q4 2013 and is target priced in bundles starting at 109k.* This is essentially 20% less expensive than the price of the original 2K Phantom Flex last year.

At the same time, we’ve just reduced the price of the original Phantom Flex by about 22%, so if 2K is what you need, bundle pricing now starts at 95k.

The Ultimate Equipment Refresh Program

For new owners, if you purchase a 2K Phantom Flex package now, you’ll receive 100% credit towards a new Flex4K bundle should you choose to trade-up when it ships in Q4 2013. This allows you to generate revenue from a 2K Flex for about 6 months without any caveats or any penalty whatsoever. Instead, we’re rewarding early adopters by increasing your earning potential with this low risk program.

For existing Phantom Flex owners, Vision Research is offering what may be the most generous camera trade-in offer in the industry – a trade-in credit up to 50% of the current list price on the camera body and up to 25% of the current list price on CineMag/CineStations. Trade-in credit is contingent on the age of the equipment. **

Low Lease Rates

We’re going one step further and also assisting you with special financing. Whether you’re upgrading or purchasing for the first time, we’re offering attractive 3.99% financing for low monthly payments on 2K Flex and Flex4K bundles to qualified buyers.***

What’s more, the leases on 2K Flex – to – Flex4K trade-ups will be easily transferable when you step up to Flex4K, with no equipment transfer fees, and no interruption in payments, just a straightforward change to your monthly rate.

Pricing

Trade-Up Program

The 100% credit Trade-Up Program is applicable to all Phantom Flex systems purchased through AbelCine from April 2013 until the program ends. The trade-in credit applies strictly to the bundle components of the Flex package. The credit will be applied towards the new Flex4K purchase once the customer receives their Flex4K and VRI receives back the equipment being traded in. All trade-in options must be exercised by NAB 2014.

Vision Research will provide a trade-in credit for 2K Flex cameras, as well as CineMags and CineStations, purchased before April 2013. This credit will be offered towards the purchase of a new Flex4K bundle, as follows:

Flex cameras acquired through trade-up from Phantom HD Gold cameras and cameras other than the 2K Flex will be handled according to individual history.

A pre-order will lock in the trade-in credit in force at the time of the pre-order if the serial number of the trade-in equipment is listed on the pre-order PO. Vision Research reserves the right to modify this program as needed, and to provide alternative trade-in values for cameras and accessories not identified on a pre-order.

Leasing

Customers must meet standard credit rating and approval requirements to qualify for AbelCine’s special lease rates.

The 3.99% lease rate applies strictly to all VRI manufactured bundle components of the equipment purchase. If additional, non-VRI accessories are also on the order, AbelCine will offer a competitive rate on the non-VRI items, which will be blended into the monthly lease amount.

Example monthly payments for 2K Flex and Flex4K bundles are below:

Terms and Conditions Subject to Change
Target prices are subject to change.

Answering that question can pay off! We’re giving away a combined $500 worth of AbelCine Training and Rental credit, and two lucky winners will be awarded each day of the show! 

All you need to do to enter is mention us on Twitter with what you’re most excited about seeing at NAB this year and use the hashtag #abelNAB for your chance to win.

Rules 

• Contest will run from April 8 – 11, 2013
   
• To enter, you must post a tweet that follows this format:
  “The coolest thing I saw at @abelcine’s NAB booth was ____. #abelNAB”
  
  
• You must include the #abelNAB hashtag
   
• Tweets must be posted by 6pm PST
   
• Only one entry per Twitter account per day
   
• Two winners will be randomly chosen each day (for a total of eight winners)

Prizes

• The first daily winner will receive a certificate worth up to $250 in AbelCine Rental credit.
   
• The second daily winner will receive a certificate worth up to $250 in AbelCine Training credit. 
   
• Rental credit can be used towards any rental equipment offered by AbelCine (excluding Phantom Flex). Winners must contact the AbelCine Rental Department and inform them of their credit when booking. Standard rental terms apply and recipient must provide an Insurance Certificate to cover all equipment.
   
• Training credit can be used toward any class offered by AbelCine Training and can be used for multiple classes. Credit can also be applied towards online classes. Winners must contact the AbelCine Training Department and inform them of their credit when they register for a class or workshop. 

BAM (Brooklyn Academy of Music) is the oldest performing arts space in New York City, and it might also be its most vibrant. Over the years, BAM’s opera house has introduced Philip Glass, Robert Wilson, Pina Bausch, Merce Cunningham, Laurie Anderson and many more to New York audiences. 2012 saw the opening of the Fisher Building, designed to provide an innovative space to match the artistry found in their Next Wave festival.

BAM reached out to AbelCine to help them design and install a multi-camera switching, recording and control system that was as modular and mobile as the design of the space itself. The approach to design had to adhere to the house rules: to be flexible and portable, while providing higher-end production values.

Rita K. Hillman Studio – Photo: Julieta Cervantes

Each element of the Fisher Building is designed to be as adaptable and recon- figurable as possible. This philosophy extends to the control booth, which has a minimal amount of installed gear, allowing each production to use the space as needed. BAM needed to record performances for archival purposes, but wanted to do so in a more sophisticated way than having a single tripod- mounted camera for each show. They also needed to configure the system to be completely mobile, so it could be easily moved out of the control room, or broken down into a smaller package for single camera recording.

Solution

A mix of high quality PTZ cameras and handheld cameras were chosen to give the BAM archival team the best mix of unobtrusive and intimate recordings. Panasonic’s AW-HE120 PTZ cameras fit the requirements, and these were mixed with Panasonic AG-AC160s for handheld or tripod-mounted work.

To address the requirements of portability, AbelCine designed a portable rack to house as much of the hardware as possible: AJA Ki Pro Rack file recorders, an openGear frame from Ross Video with distribution amps and audio embedders, ISO monitors from Marshall, a custom PC for Blackmagic’s UltraScope, a Blackmagic Videohub, a Mitto scan converter from Ensemble Design, and a Mac Mini running LinkColor software. The rear of the rack features I/O plates custom designed by AbelCine and manufactured by BTX Technologies.

Fishman Space – Photo: Francis Dzikowski

A portable table supported the Panasonic HS410 switcher, AW-RP50 PTZ con- troller, BT-LH1710 monitor and a Mackie analog mixer. The multi-viewer built into the switcher fed a 37” Panasonic plasma screen on a rolling stand.

The BAM control room had pre-existing equipment racks on one side of the room. These racks housed the termination points for all of the video and audio cables that were run as a part of the original construction earlier in the year. A big challenge for the project was that the designated video switching and control area was on the opposite side of the room from the racks.

To solve this issue, AbelCine used the ProBlox multicore cabling system from BTX Technologies to send 16 HD-SDI video signals, six analog audio lines and two Cat-5 lines, all in one cable assembly with a single connector plugging into the portable rack. Supplemental audio lines were run with a more commonly found 25-pin multicore audio cable. մեis technology would allow for incredibly fast setup and break down time.

BAM also wanted a “light” setup for recording from only one camera. AbelCine designed a breakout section of the rack case housed in a smaller 4RU travel case. մեis housed one Ki Pro Rack unit and used a supplemental video line without the multicore cable. The rack design was made even more flexible by creating a separate panel that would allow BAM to take the whole setup to other locations and plug camera lines directly into the rack.

Mindfile Multimedia is a NYC-based multimedia design studio, whose projects include work for Oprah Winfrey, NBC, TLC, CNN, ESPN, History Channel and IFC.

When Mindfile received a new contract to provide multi-camera production services on a weekly basis for NYC’s St. Malachy’s Church, known as “The Actor’s Chapel,” James Curry, Mindfile’s Founder and Creative Director, inquired about their options for video switchers. The contract called for Mindfile to videotape the spirited and musical masses at St. Malachy’s, which are broadcast weekly on the ABC Family Channel.

In essence, James was looking for a way to quickly set up a multi-camera studio unobtrusively within the church setting. It needed to be able to be built and struck quickly; it also needed to have a small profile and accept upgrades to newer technology as it emerged and as budgets allowed.

Solution

AbelCine’s system for Season 1 enabled five cameras to be switched to a program feed and included a multi-view display, simple intercom and the ability to use existing SD cameras and cameras that only had an analog component out.

For the next season, AbelCine built a custom tally signal box to alert camera operators when their shot was “live”. Mindfile was able to upgrade from recording on tape to a file recorder, and change cameras without having to worry about the compatibility of their mobile flypack studio.

As Mindfile began to produce more and more files instead of tapes, they needed a solid solution to archive their materials safely. AbelCine provided them with an affordable LTO-5 solution that met their needs and also installed a new Final Cut Pro editing system to assist with their growth.

AbelCine also coordinated the financing of the equipment, helping to make Mindfile’s capital investment work comfortably within the confines of their customers’ budgets. The AbelCine Finance Services team made sure that Mindfile got the best subsidized rates from the equipment manufacturers, blended with a market rate for the rest of the equipment, and combined into a manageable monthly payment.

The mobile flypack studio has since gone out on jobs for many other customers, allowing Mindfile to leverage their position in the marketplace by exemplifying their ability to artfully cover events, as part of the carefully crafted video message pieces that have become their trademark.

Lens Adapters | Lenses | Mattebox, Follow Focus and Shoulder Rigs | Power Options | Recorders 
Recording Media | Viewfinders

Lens Adapters

The EOS-1D C utilizes Canon’s EF lens mount, the same mount found on all of the Canon EOS bodies as well as the Cinema EOS line (C100, C300, C500). There are several lens adaptor options, but here are some of the more popular solutions.

Novoflex EF to Nikon F adapter

The Novoflex Canon EF to Nikon adapter allows Nikon F-mount lenses to be attached to the camera. This adapter only works with lenses with built in aperture rings, so it is not recommended for “G” series lenses. It will accommodate full frame FX lenses as well as DX (APS-C) sized lenses. It can be used with all Zeiss ZF.2 lenses, since those lenses have built in aperture rings.

Novoflex EF to Nikon F adapter with aperture ring

For those lenses without a built in aperture ring (Nikon “G” series), this version of the Novoflex adapter is able to adjust the iris on your Nikon F-Mount lens. ↑

Lenses

With the popularity of Canon’s EF mount, there are over numerous lens options to choose from. Because the 1D C can shoot in full frame (24 x 36mm), Super 35 crop, or APS-H for the 4K mode, this opens up your lens choice options.

Canon Cinema Primes & Zooms

Of course, Canon is no stranger to the Cinema lens world, as the highly-lauded 14.5-60mm and 30-300mm that were first shown at NAB ’11 and the more compact 15.5-47mm and 30-105mm have been very popular. Mitch discusses the new Canon zooms over on our blog, so be sure to watch his videos for an in-depth look at these popular lenses.

In addition to the Cinema zooms, Canon has also released a full set of EF Cinema Prime lenses. Available as a 24mm T1.5, 50mm T1.3, and 85mm T1.3, these newly designed primes will provide coverage for a full frame 4K sensor, plus an 11-blade aperture design and a 114mm front diameter for consistent mattebox compatibility.

Canon EOS lenses

The ever expanding line of Canon EOS lenses are all supported on the 1D C. From specialty lenses like the various tilt-shift options to fast f/1.2 primes, there are over 60 Canon EF lenses to choose from. For versatility, our perennial favorites include the 16-35mm f/2.8, 24-70m f/2.8, and the 70-200mm f/2.8. Of course, as the 1D C body only weighs 3.4 pounds, the 17-40mm f/4, 24-105mm f/4, and 70-200 f/4 lenses are great lightweight options for the run-&-gun shooter.

Zeiss Compact Primes

Zeiss’s popular Compact Prime (CP.2) lightweight lenses are both affordable and versatile. They are built for cinema applications with a 14-blade iris and a long focal range, plus they are available from 15mm to 135mm. They are also unique in that the lens mount can be changed between PL, Nikon, Canon EF and other mounts. With the exception of the 18mm, every lens in the CP.2 family will cover the full 24x36mm frame of the 1D C (but the 18mm will still work in Super 35 crop or 4K modes).

Additionally, Zeiss has introduced a Super Speed family of CP.2 lenses and true to the name, they all feature a T 1.5 aperture. Available in a 35mm, 50mm, and 85mm, the new Super Speed lenses feature the same 114mm front diameter and interchangeable lens mounts as the rest of the series, making these a great addition to an already robust set.

Zeiss Compact Zooms

Introduced at NAB 2012, the Zeiss Compact Zoom family is designed to complement the CP.2 range. The original lens in the series is the 70-200 T2.9, which features an 18-blade aperture. More recently, Zeiss unveiled the 28-80 T2.9. Similar to the CP.2 family, both lenses feature interchangeable mounts (including PL) and will cover full frame cameras (24mm x 36mm). This makes them versatile options for those shooting with multiple cameras, including full frame HDSLRs.

Zeiss ZE Lenses

Zeiss designed these high quality lenses for the still photography world, but they also work very well for video and are a natural fit for the 1D C. These lenses are EF mount and will fully communicate with the 1D C, so iris adjustments are made directly from the camera. The ZE lenses feature hard stops, which makes pulling focus much easier. There are many different lenses to choose from including 18mm, 21mm, 25mm, 35mm, 50mm, 50mm macro, 85mm and 100mm. The lenses vary in size and speed, but they all match in terms of color and contrast.

Other Nikon Mount Lenses

With the Novoflex Canon EF to Nikon adapter, there are a huge number of lenses to choose from. Two lenses to consider from Tokina are their 11-16mm F2.8 and 16-28m F2.8. These lenses both have manual focus modes and the aperture can be controlled with the Novoflex EOS/NIK NT adapter. Sigma has a couple of lenses to consider as well. The 50mm F1.4 is very fast, and their 24-70mm F2.8 and 70-200mm F2.8 lenses also perform quite nicely. ↑

Mattebox, Follow Focus and Shoulder Rigs

We have had many people asking how to best rig the 1D C with accessories. Below are several different setups that we’ve tested with the camera.

Arri 

Arri has just recently announced a complete shoulder support system for the 1D C. Consisting of a purpose-built baseplate, the system can utilize the LBS handgrip set, the new Universal Shoulder Pad 2, and the battery/recorder set. This set up allows you to put the weight the the system on your shoulders and can be paired with an EVF, taking advantage of  the clean output of the 1D C.

To follow up with the very popular Arri MMB-1, the new MMB-2 is a lightweight clamp or rod-mounted mattebox available in two configurations. The lighter weight variant offers a single 4×4″/4.5″ tray and a single 4×5.65″ tray ideal for clamp on use, or you can opt for the version with double 4×5.65″/4×4″ trays. Both versions have a maximum lens diameter of 114mm, and can be used with Arri’s still lens clamp rings, or with the still lens light protection rings.

Chrosziel

The venerable Chrosziel 450W Super Wide Mattebox has been improved with a wider back (130mm) and stronger fiberglass body. The kits include step-downs for different lens standards or their Chrosziel’s rubber ring for use with SLR lenses.

OConnor O-box Kit

The OConnor O-box has been a crowd favorite in our showrooms due to its extremely strong construction and unique features like a top accessory bar. The mounting bar, which OConnor calls a ‘cheese-stick,’ has threads for 1/4-20 and 3/8″ attachments. OConnor’s O-Grips system can be mounted to this top bar as well as to either side of the mattebox. The rear opening of the mattebox is 150mm, so it will work with a large variety of lenses. The mattebox comes with two 4×5.65″ horizontal filter frames, as well as two top loading or 4×4″ horizontal filter frames. OConnor also has two follow focus offerings: the double sided, swing arm CFF-1, and the equally capable O-Focus DM (double-sided is available as option, no swing arm). The O-Focus DM is available in a Photo kit (1:0.75 gear ratio) or a Cine kit (1:1.4 gear ratio), so you’ll be covered regardless of what style lenses you’re using.

Wooden Camera

The aptly named Universal Baseplate from Wooden Camera provides 15mm lightweight rod support for various cameras, including the 1D C. With height adjustments and a mounting platform that can be used with long bodies (like the Canon XF305) or wide bodies (like the Canon HDSLRs), the Universal Baseplate will also allow you to attach Arri-style bridgeplates for heavy-duty applications.

Zacuto 

Zacuto has several rigging options for HDSLRs, all built around their DSLR baseplate. With an adjustable height, the camera platform can be moved to accommodate standard bodies like the 5D Mark III or tall bodies like the 1D C. The DSLR baseplate also allows you to use the Z-Finder mounting frame without having to adhere anything to your screen. ↑

Power Options

The EOS-1D C and 1D X both use the LP-E4N battery, but can also use the older LP-E4 battery. The camera ships with one LP-E4N battery and  LC-E4N charger, which is a dual slot sequential charger.↑

Recorders

The 1D C is the first Canon HDSLR that offers a clean HDMI output, so you can take advantage of the 4:2:2 8-bit output (which includes embedded audio and timecode) with an external recorder. When shooting 4K internally, the HDMI output remains 1920×1080 4:2:2, so you can utilize a recorder for your proxy files.

Atomos

The Atomos Ninja-2 is an inexpensive ProRes and Avid DNxHD recorder that features a 4.3″ LCD touchscreen and records to 2.5″ HDD or SSDs. The Ninja-2 can be triggered from the embedded timecode, and includes features you’d find on many professional monitors, including adjustable zebras, false color, and peaking. With a compact form factor, the Ninja-2 makes for a nice pairing with the 1D C. The Ninja-2 ships complete with a carrying case, two batteries, charger, and an HDD/SSD dock, so all you need to do is add some drives and you’re ready to shoot!

Sound Devices

The popular PIX220i and PIX240i are feature-rich recorders that feature a 5″ IPS display and record ProRes or DNxHD to CF cards or SSDs. While the PIX220i lacks the SDI inputs and timecode generator of the PIX240i, the 220i still shares many of the other features. While audio can be carried in via the HDMI cable, the PIX220i also includes two XLR inputs, which is important since the 1D C only includes a 3.5″ mini jack for audio input. 

Recording Media

The 1D C includes two compact flash (CF) card slots, and due to the high bit rate of the 4K mode, you’ll need some fast cards to go with it. The Sandisk Extreme Pro cards are available in capacities of 16GB, 32GB, 64GB, or 128GB and have write speeds of 90MB/s, with the exception of the 128GB cards, which can write at 100MB/s. In 4K mode, the 1D C Motion JPEG data rate is about 500Mb/s (62.5MB/s), so these cards robust enough to handle the high data rate. ↑

Viewfinders

 Zacuto has updated their Z-Finder line to include a frame suitable for the tall body of the 1D C as well as the larger 3.2″ screen. Used in conjunction with the DSLR baseplate or DSLR Gorilla plate, the new frame allows for adhesive-free mounting for both the 2.5x and 3x Z-Finder Pro.

Electronic Viewfinders

If you’re using your 1D C in an offset shoulder rig, having an electronic viewfinder allows for comfortable operation and places the weight of the camera on your shoulder. With the ability to turn on View Assist (LUT) output via the HDMI, a viewfinder can provide a simple solution to a complex problem.

Alphatron

The Alphatron EVF-035W-3G utilizes a high resolution, 3.5″ 960×640 screen and can be mounted to the various 1/4-20 mounting points on your rig with a Noga arm or Zacuto Zamerican Arms and Zacuto ZicroMounts. If you’re looking to mount the EVF directly to the camera hot shoe, you can use the Zacuto Zotshoe with a Noga arm. The Alphatron EVF utilizes Sony “L” batteries and can accept both HDMI and SDI inputs.

Zacuto

Zacuto’s Z-Finder EVF Pro has been a popular choice for many of our clients. This electronic viewfinder has a high resolution screen, HDMI input and a loop-through for additional monitoring, as well as many of the same features found on high-end viewfinders like peaking and false color. ↑

The PLx2 2x Extender is compatible with the following cameras.

• Arri ALEXA, all models including the Studio
• Arri 35mm film cameras
• Aaton Penelope Delta
• Aaton 35mm film cameras
• Phantom High-Speed Cameras – all models
• Sony F3 / F5 / F55 / F65
• Canon C300 / C500 (PL-mount)

PLx2 2x Extender

Minimum Image Circle Projection: 32mm
Maximum Input Aperture: F1.8

HDx35 Mark II Optical Adapter

Minimum Image Circle Projection: 30.2mm

HDx2 Mark II Optical Adapter

Minimum Image Circle Projection: 25.5mm

Lens Adapters | Lenses | PL Mount Lenses | Still Lenses | Mattebox, Follow Focus and Shoulder Rigs | Power Options | Recorders | Recording Media | Electronic Viewfinders

Lens Adapters

The Sony PMW-F5 and PMW-F55 both utilize the same FZ mount found on the PMW-F3. The FZ mount has a very short flange back distance (the distance between the lens mount and the sensor). The cameras will ship with a PL-mount lens adapter, which can be used with the Sony branded PL lenses and any other PL mount lens on the market, and supports both Arri’s LDS and Cooke’s /i system.  Additionally, the FZ mount allows for the use of several different lens adapters.

FZ to Nikon Mount Adapter: MTF FZ to Nikon

The MTF Services FZ to Nikon adapter allows Nikon F mount lenses to be attached to the camera and features an iris control ring for any lens that does not have external control. Although designed for G series lenses, this adapter is compatible with all Nikon lenses including DX & FX series, so it can be used with Zeiss ZF.2 lenses, as well as any Nikon mount lens.

FZ to Canon FD: MTF FZ to Canon FD

MTF Services’ F3 to Canon FD lens adapter allows Canon FD mount lenses to be attached to the camera. However, this adapter will not work with the newer Canon EF lenses, which require power to adjust the aperture control. ↑

Lenses

While the F5 and F55 will not ship with lenses, the included PL adapter and various available FZ adapters mean that there is a wide variety of lenses you can use. Here are some models that you’ll find at AbelCine.

PL Mount Lenses

Zeiss Compact Primes

Zeiss Compact Primes (CP.2) – These lightweight lenses are both affordable and versatile. They are built for cinema applications with a 14-blade iris and a long focal range; they are available from 15mm to 135mm. They are also unique in that the lens mount can be changed between PL, Nikon, Canon EF and other mounts. The size and weight of these lenses would fit very nicely with the F5 and F55.

Zeiss Compact Zooms

Introduced at NAB 2012, the Zeiss Compact Zoom family is designed to complement the CP.2 range. The original lens in the series is the 70-200 T2.9, which features an 18-blade aperture. More recently, Zeiss unveiled the 28-80 T2.9. Similar to the CP.2 family, both lenses feature interchangeable mounts (including PL) and will cover full frame cameras (24mm x 36mm). This makes them versatile options for those shooting with multiple cameras, including full frame HDSLRs.

Arri Ultra Primes

The Arri Ultra Primes from Zeiss are universally known for their quality, color, contrast and speed. A set of these lenses would be a beautiful addition to either camera.

Zeiss Light Weight Zoom 2

The Zeiss Light Weight Zoom 2 (LWZ.2) is an incredibly high quality 15.5-45mm T 2.6 zoom lens. Like the Compact Primes, it comes in PL, Nikon, Canon and other mounts, and is lightweight at only 4.4 lbs.

Fujinon Cabrio

Answering the call for those seeking ENG style zooms, Fujinon’s Cabrio 19-90 T2.9 is a PL mounted lens with the unique addition of a zoom rocker and servo, making it easier to operate either camera in a run & gun fashion. To round off the range, Fujinon recently announced the similarly-sized 85-300 T2.9 Cabrio.

Angenieux Optimo DP Rouge Zoom Lenses

Angenieux designed the DP Rouge Zoom Lenses specifically for digital cinema cameras. There are two lenses in this series, a 16-42mm T.28 and a 30-80mm T2.8. Angenieux lenses are known for their quality, and these two lenses are no exception.

Schneider Cine Xenars

The Schneider Cine-Xenar lenses are available in PL and EF mounts. These lenses cover the Super 35mm image area of the F3, and also the 5K area of the Red Epic. Optically they have virtually no breathing and a nice gradual roll off in focus.

Sony CineAlta PL Primes

When the F3 was released, Sony launched three companion PL lenses as part of the PMW-F3K kit. With the F5 & F55 announcement, Sony will also be releasing six new PL lenses with focal lengths of 20, 25, 35, 50, 85 and 135mm, all T2.0 with nine iris blades. Additionally, the Sony 18-252mm T3.9 -T6.8 FZ servo zoom lens will be supported (although there is no zoom rocker on either body), as well as the new PL 11-16mm T3.0.↑

Still Lenses

Zeiss ZF.2 Lenses

Zeiss designed these high quality lenses for the still photography world, but they also work very well for video. These lenses have an F mount, meaning the MTF Sony FZ to Nikon adapter is required, however, since they are completely manual, no electronics are required. The ZF.2 lenses have manual aperture rings and the focus ring has hard stops, which makes pulling focus much easier. There are many different lenses to choose from including 18mm, 21mm, 25mm, 35mm, 50mm, 50mm macro, 85mm and 100mm. The lenses vary in size and speed, but they all match in terms of color and contrast.

Other Nikon Mount Lenses

With the MTF Sony FZ to Nikon adapter, there are a huge number of lenses to choose from. Two lenses to consider from Tokina are their 11-16mm F2.8 and 16-28m F2.8. These lenses both have manual focus modes and the aperture can be controlled with the adapter. Sigma has a couple of lenses to consider as well. The 50mm F1.4 is very nice and very fast, and their 24-70mm F2.8 and 70-200mm F2.8 lenses perform very well. ↑

Mattebox, Follow Focus and Shoulder Rigs

We have had many people asking how to best rig the F5 & F55 with accessories. Below are several different setups that we’ve tested with the camera.

Arri 

Arri has just recently announced an F5/F55 baseplate system that is scaleable from a lightweight shoulder system to a full blown studio configuration. Consisting of a new F5/F55 adapter plate that integrates with a low profile shoulder pad, the Arri solution can also be built to incorporate the optional top plate and replacement handle. Unsurprisingly, this setup will mate directly with a BP-8 or BP-9 bridgeplate for larger applications. 

To follow up with the very popular Arri MMB-1, the new MMB-2 is a lightweight clamp or rod-mounted mattebox available in two configurations. The lighter weight varient offers a single 4×4″ / 4.5″ tray and a single 4×5.65 tray ideal for clamp on use, or you can opt for the version with double 4×5.65″ / 4×4″ trays. Both versions have a maximum lens diameter of 114mm, and are compatible with many accessories and lens rings from the MMB-1. 

Chrosziel

The venerable Chrosziel 450W Super Wide Mattebox or 456-R2 Academy Mattebox make for great pairings with the F5 and F55. Chrosziel has done a great job improving their mattebox systems with wider backs (130mm) and stronger fiberglass bodies. Their kits include step-downs for different lens standards or their rubber ring for use with SLR lenses.

Element Technica

The Micron system from Element Technica introduces a new standardization for camera accessories and is designed to be a complete ecosystem for multiple camera platforms. Mitch spent some time detailing the various differences between the Lightweight 15mm Basic, Lightweight 15mm Deluxe, Studio 15mm Basic,Studio 15mm Deluxe, Studio 19mm Basic and Studio 19mm Deluxe sets, and he describes some of the features of the newest members of the Element Technica family.

OConnor O-box Kit

The OConnor O-box has been a crowd favorite in our showrooms due to its extremely strong construction and unique features like a top accessory bar. The mounting bar, which OConnor calls a ‘cheese-stick,’ has threads for 1/4-20 and 3/8″ attachments. OConnor’s O-Grips system can be mounted to this top bar as well as to either side of the mattebox. The rear opening of the mattebox is 150mm, so it will work with a large variety of lenses. The mattebox comes with two 4×5.65 horizontal filter frames, as well as two top loading or 4×4 horizontal filter frames, at an incredible price. OConnor also has two follow focus offerings: the double sided, swing arm CFF-1, and the equally capable O-Focus DM (double sided is available as option, no swing arm). The O-Focus DM is available in a Photo kit (1:0.75 gear ratio) or a Cine kit (1:1.4 gear ratio), so you’ll be covered regardless of what style lenses you’re using.

Shape WLB

The versatile BP7000 baseplate is a streamlined shoulder mount solution that mounts directly on to a V-Lock tripod quick release plate (like the Sony VCT-14). Putting the weight of the camera on to your shoulders, the removable shoulder pad is complimented nicely with the included double quick handle rosette. With multiple mounting options and an adjustable front rod mount, the BP7000 can be adapted to use with multiple cameras, including the F5 & F55. ↑

Power Options

The F5 / F55 uses the standard V-mount batteries found on many ENG cameras. The camera, however, does not come with any batteries or a charger, so here are some options.

Sony

Along with two new cameras and six new lenses, Sony has also introduced a new V-Mount battery that utilizes olivine-based lithium iron phosphate as the cathode material, instead of the traditional lithium ion cathodes. What this means is faster recharge time (99% full in 30 minutes) and a longer lifespan. The BP-FL75 will power your camera for 150 minutes and takes advantage of the new BC-L90 quick charger. It is shorter than most V-Mount batteries, giving your F5/F55 a streamlined look.

Switronix

Switronix makes an adapter plate, which comes in V-Mount to V-Mount or Anton Bauer Gold Mount to V-Mount versions, that sandwiches between your battery and camera body and provides two P-Tap ports for accessories. If you’re looking for additional power output options, the Gold Mount Jetpack and V-Mount Jetpack both give you two regulated 12V Fischer 3 pin, one Lemo 2 pin, and a 5V USB port. ↑

Recorders

Sony AXS-R5

To take advantage of the 2K and 4K capabilities on the F5 and the RAW capabilities on both cameras, you must use Sony’s AXS-R5. Capturing in 16-bit 4K RAW, with 2K RAW coming in a future firmware update, the R5 integrates to the back of the F5 / F55 and also allows you to record simultaneously to the internal SxS cards.

Recording Media

The F5 and F55 record to standard Sony SxS cards in the familiar XDCAM EX codec, but the cameras also introduce the new intra-frame XAVC codec. While the original SxS PRO and SxS+ cards will work in standard frame rates, the 4K XAVC mode on the F55 and high frame rate modes will require the new SxS Pro+ cards. The new SxS Pro+ cards are available in 64GB or 128GB. All SxS cards can take advantage of the new SBAC-US20, a bus powered USB 3.0 card reader.   ↑

Electronic Viewfinders

Sony

With a new dedicated digital viewfinder interface, Sony has released three new monitoring options alongside the F5 and F55. There are two viewfinder options, a 3.5″ 960×540 LCD and a .7″ 1280×720 OLED. The DVF-L350 is a 3.5″ LCD with a higher resolution panel than any previous LCD viewfinder from Sony, and it features a flip up eyepiece. The surprisingly compact DVF-EL100 is a 1280×720 OLED viewfinder that offers unparalleled 10,000:1 contrast ratio and incredible brightness. In addition to the two viewfinder options, the Sony DVF-L700 is a compact, 7″ full raster 1920×1080 monitor. While it does utilize the new digital viewfinder interface (which provides power and the video signal), the DVF-L700 also includes a 3G-SDI input for use on other cameras. ↑

This chart includes details on mount, minimun object distance, image circle coverage , weight and other information that should help you decide which might be right for you. To learn more and purchase other Canon cameras, lenses and accessories please visit our Canon Specialty Shop.

This chart includes details on lens mount, frame rates, resolution, inputs and other information that should help you decide which might be right for you. To learn more and purchase other Canon cameras, lenses and accessories please visit our Canon Specialty Shop.

Lens Adapters | Lenses | Support Systems | Viewfinders & On-board Monitors | Batteries & Power Options | Additional Accessories

Lens Adapters

Nikon F to Canon EF

The Blackmagic Cinema Camera uses the Canon EF mount, and adapters are available from NovoFlex that allow Nikon lenses to be mounted to the camera. These adapters are strictly mechanical, so all control functions are handled directly on the lens. The NovoFlex adapter for Nikon lenses features an iris control ring for Nikon “G” series lenses that does not include aperture control.

Lenses

Canon EF Cinema Prime Lenses

Canon has announced that they will be releasing three EF mount Cinema Prime Lenses. Available as a 24mm T1.5, 50mm T1.3, and 85mm T1.3, these newly designed primes will provide coverage for a full-frame 4K sensor with an 11-blade aperture design and a 114mm front diameter for consistency. The new EF Cinema Prime lenses are compatible with all Canon EOS HDSLRs, as well as the Blackmagic Cinema Camera. Pricing and availability will be announced soon.

Canon EOS Lenses

The ever-expanding line of Canon EOS lenses are all supported on the Cinema Camera. From specialty lenses like the various tilt-shift options, to fast f/1.2 primes, there are over 60 Canon EF lenses to choose from. For versatility, our perennial favorites include the 16-35mm f/2.8, 24-70m f/2.8, and the 70-200mm f/2.8. Of course, as the Cinema Camera’s body only weighs 3.75 pounds, the 17-40mm f/4, 24-105mm f/4, and 70-200 f/4 lenses are great lightweight options for the run-and-gun shooter.

Tokina

Available in Nikon F or Canon EF mount, the popular Tokina 11-16 f/2.8 is one of the widest zoom lenses available on the market. As constant aperture lenses, the 11-16 f/2.8 and the complimentary 16-28 f/2.8 are great choices for the versatility they offer.

Zeiss Compact Zoom CZ.2

Introduced at NAB 2012, the new Zeiss Compact Zoom family is designed to complement the CP.2 range. The first lens in the series is the 70-200 T2.9, an 18-blade aperture lens with interchangeable mounts (including Canon EF). The CZ.2 will cover full frame cameras (24mmx36mm), which makes it a versatile option for those shooting with multiple cameras, including full frame HDSLRs.

Zeiss ZE or ZF.2 Lenses

Zeiss designed these high quality lenses for the still photography world, but they also work very well for video and are available in Nikon F (ZF.2) or Canon EF (ZE) mount. If using the Nikon mount ZF.2 lenses, you’ll need to use the Novoflex EF to Nikon adaptor. The ZF.2 lenses have manual aperture rings and both the ZF.2 and ZE lenses have focus rings with hard stops, which makes pulling focus much easier. There are many ZF.2 different lenses to choose from, including 18mm, 21mm, 25mm, 35mm, 50mm, 50mm macro, 85mm, and 100mm. Zeiss ZE lenses are available in 18mm, 21mm, 28mm, 35mm, 50mm, 85mm, 50mm macro, and 100mm macro. The lenses vary in size and speed, but they all match in terms of color and contrast. 

Support Systems

Wooden Camera

Because of its rather unique design, the Cinema Camera cannot be hand-held in the traditional manner. Wooden Camera is one of the first to develop a system that incorporates a cage that can be used as handles suitable for hand-held work. The Wooden Camera Cage integrates with their new lightweight baseplate and various top handle options, which makes for a nice complete package.

Shape WLB

Shape WLB expands on the cage idea with several shoulder mount kits centered around their new Blackmagic Handheld Cage. The Blackmagic Shoulder Mount and Shoulder Mount Offset both utilize the popular Quick Handle system, providing a convenient and easy-to-adjust shoulder mount option. The Shape Handheld cage comes with 15mm rod mounts, which make attaching matteboxes and follow focus units a breeze.

OConnor

OConnor’s Universal Baseplate is a versatile baseplate solution that fits the Cinema Camera perfectly. In addition to the standard center tripod mounting points, the universal baseplate was designed with offset bridgeplates in mind – if you plan on using larger lenses that require 19mm support, the universal baseplate is a great starting point.

View Factor

If you’re looking for a low-profile cage, the Contineo Cage from View Factor offers a streamlined solution that doesn’t add any width to the camera profile. Consisting of multiple 1/4-20 and 3/8-16 mounting points all around, the Contineo also includes a 15mm rod mount bracket for top or bottom iris rods. 

Zacuto

There are several support kits made specifically for the Cinema Camera, but the Universal Baseplate and Mini Baseplate will also provide the platform you need for matteboxes and follow focus units. Because the camera is wider than it is long, the Mini Baseplate tends to be a better match. However, if you are interested in a pre-packaged support system, Zacuto has several kits available like the Striker Gunstock Kit, Stinger Shoulder Mounted Kit, and the simpler Tripod Kit. Many of the kits include the new Blackmagic Top Handle; the Ultra Lite Kit builds on the Top Handle and adds top iris rods. The new Horizontal Zwiss plate allows for additional battery mounting options and is included with the Tripod Kit.

Blackmagic Design

Blackmagic has optional low-profile handles for basic handheld work.  

Viewfinders & On-Board Monitors

Alphatron EVF

If you’re using the Cinema Camera on an offset shoulder rig, a nice alternative to the built-in LCD screen is the Alphatron EVF-035W-3G. The Alphatron utilizes a high resolution, 3.5″ 960×640 screen and can be mounted to the various 1/4-20 mounting points on the body with a Noga arm or Zacuto Zamerican Arms and Zacuto ZicroMounts. The Alphatron EVF utilizes Sony “L” batteries and can accept an SDI input, as well as an HDMI input.

TVLogic VFM-056WP

With a high-resolution 1280×800 screen, the TVLogic VFM-056WP 5.6″ monitor is a great tool for anyone using the Cinema Camera. Other features include a waveform monitor, vectorscope, peaking and false color.

Batteries & Power Options

Switronix

The Cinema Camera relies on a non-removable internal battery that will provide power for 90 minutes before requiring a recharge. Switronix’s PowerBase is an inexpensive 70Wh battery with a regulator module that can attach to the bottom of the camera or any female 1/4-20 mount. In addition to powering the camera, the PowerBase also provides two P-Tap ports for additional on-board accessories. If you prefer to use standard VLock style batteries, the GP-S-BMCC battery plate provides two P-Tap outputs in addition to the Cinema Camera DC connector.

View Factor

View Factor has a battery plate with integrated power cable for the Cinema Camera available in Anton Bauer gold mount or IDX V-mount configurations. Both of these battery plates can mount to various systems, including the Zacuto Zwiss Plate or horizontal Zwiss plate, and the Anton Bauer Matrix plate.

Additional Accessories

Audio

The Cinema Camera has two 1/4″ balanced audio input jacks, so to use XLR microphones you’ll need an adapter of some sort. While there are various adapters and XLR to 1/4″ cable options, Wooden Camera has a sleek solution called the A-Box, which mounts to any 19mm rod. The A-Box includes a 19mm bolt-on rod that you can attach to any mounting point via a 1/4-20 screw. Note that neither the camera or A-Box provide phantom power.

Follow Focus

If you’re looking for a straightforward follow focus, the Genus Superior and Zacuto Z-Focus follow focus units have been very popular. If you’d like to have some additional controls, the Arri MFF-2 is certainly worth considering. As an evolution to the MFF-1, the MFF-2 has inherited all its features but adds a few new ones as well. The MFF-2 is still reversible for use on lenses that may rotate “backwards,” but now gives you the ability to switch between three different focus knobs. The OConnor O-Focus Photo Set is a versatile solution with interchangeable knobs and the option for double sided operation. Both the Arri MFF-2 and OConnor O-Focus offer friction gear wheel options for photo lenses without gears.

Mattebox

If you’re using Canon “L” series lenses and want additional light control, having a lightweight mattebox like the Genus Wide Angle mattebox can be invaluable. With two 4×4 trays (single stage rotating), the Genus can be used on rods or clipped on with the various threaded adapter rings. Arri’s popular MMB-2 is available as a 4×4 and 4×4/4×5.65  or as a slightly heavier double 4×5.65 system and can accommodate 114mm lenses directly. For larger lenses, or if you’re looking for a heavy duty solution, OConnor’s popular O-Box will accommodate  lenses up to a 150mm clamping diameter and includes two 4×4 and two 4×5.65 trays.

External Controllers

The Cinema Camera utilizes a standard LANC remote port, so there are several remote trigger options available on the market. While any LANC controller will allow for remote start & stop functionality, there are several LANC controllers that also allow for remote focus and iris control as well. The Bebob ZOE-DVXL and the Manfrotto MVR901EPLA have both been tested by Blackmagic.