Proper Data Wrangling

Plus, whether to shoot 4K or 2K, and explosion-proof cameras

By Michael Guncheon

A CAUTIONARY TALE Q This really isn’t a question, but a way for me to shout from the rooftops about making sure you pay attention to how your data is handled. I recently had a project with a short time frame and a tight budget. I didn’t have real control of who was going to be on the shoot and what their responsibilities would be. That was... Read more

The FCC Has It In For Me

Røde RødeLink Wireless Filmmaker Kit, and DPA d:facto Interview Microphone

By Dan Brockett

RØDE WIRELESS MIC SOLUTION Q It seems that, in the U.S., the FCC is slowly encroaching on most, if not the entire, common spectrum used by wireless microphone systems. I had three Audio-Technica and two Lectrosonics wireless mic systems that operated in the 700 MHz spectrum. The FCC auctioned off that spectrum to digital HD broadcasters a few... Read more

Focus This On That

Lens adapters and extending the life of your lens

By Andy Shipsides

At AbelCine, we get a lot of questions on camera and lens combinations. With so many new cameras hitting the market, often with new lens mount types, it’s no surprise that people are trying to determine the best lenses for their new camera system, while others are trying to utilize lenses they already own with a new camera. We all know that lenses... Read more

Short, But Sweet: Proper Data Wrangling

Or emptying the mailbag

By Michael Guncheon

When I compile questions from the Video Assist email inbox, sometimes, I just respond via email because the question can be answered so quickly. I mentioned this to a friend. He said that just because a question has a short answer doesn’t make it any less important. He was right. It got me thinking that some questions others ask may not be ones... Read more

The Rules Of Log Exposure

Explaining the tools of the trade

By Andy Shipsides

Lately, here at AbelCine, it seems like a new camera comes in every week. Technology is evolving very quickly, and we work hard to stay on top of it all, but for a working cinematographer, this can be quite a challenge. Recently, we received the new VariCam 35 and HS cameras from Panasonic and have been doing demos for many DPs. Of course, they all... Read more

Shipping Off – Tascam’s DR-10X

Tascam DR-10X recorder and Lectrosonics LR/LMb wireless mic system

By Dan Brockett

TASCAM DR-10X RECORDER Q I’m trying to save space and weight with my location audio recording gear. I’m considering buying a small handheld digital recorder like the Zoom H4n. This will be for a documentary project where I’ll have to record a lot of ambient sound, but will also need to record lots of on-camera interviews. Because... Read more

Embedded LUTs

Plus, correcting bad fades, and final mix deliveries

By Michael Guncheon

I LOOKED IN AMIRA AND ALL I SAW WERE LUTS Q I noticed that the ARRI AMIRA allows you to embed LUTs into ProRes files. With one project, I knew there wasn’t time to do a full grade, so I thought it might be appropriate to use an embedded LUT. They’re editing using Adobe Premiere. Good idea or not? B.J. Via email A First, I think it should... Read more

Log Jam

Logging in the field, plus data wrangling

By Michael Guncheon

KENNY’S LOGGING Q I’ve been on a few independent productions trying to do whatever I can to help. Since they’ve had no real budget, they’ve welcomed my participation, but I get the feeling I need to do a better job. Recently, I was responsible for taking log notes for use in the edit, but I heard that the notes weren’t... Read more

Ride Like The Wind

The Rycote Cyclone windshield system, plus sound recording with your iPhone

By Dan Brockett

THE RYCOTE CYCLONE WINDSHIELD SYSTEM Q Most of my recording experience is in studios and on stage. I’ll be the sound mixer for an upcoming shoot that will take place in Chicago on and near Lake Michigan. From previous trips to the area, I know it will be windy, and I’m concerned about recording clean sound with a minimum of wind noise—we... Read more

Calibrating Your Display

A hue and cry about color?

By Michael Guncheon

Q I’ve been struggling with trying to get a handle on how things look in various situations. I look at something when I’m shooting and have an idea of what I’m getting, but then things seem to go south once I start editing. When I have the opportunity to use a camera that gives me RAW or some sort of flat output, I still look at the... Read more

Rear-Rejection Sound

Profiling the Sanken CSR-2 mic, plus the Sound Devices 633 mixer/recorder

By Dan Brockett

SANKEN CSR-2 MIC Q I’ve been primarily using Sennheiser microphones, including the MKH 416 and MKH 50, for the past few years as the main mics in my sound-mixing package. I recently landed a new client for whom I’ve been mixing sound on a lot of sports events shoots where we shoot interviews on the sidelines of games at large stadiums.... Read more

Stills To Motion

Translating digital cinema through Photoshop

By Andy Shipsides

We hold a lot of events at AbelCine aimed at helping still photographers move into the world of cinematography. These “Stills To Motion” events are focused on both the art of cinema, as well as the latest camera technology. During a recent event, we were discussing the RAW and Log modes in the Canon EOS C500, as well as the wide cinema gamut... Read more