Mitch Gross

Light Panels are great and there are also Rosco Litepads as well. They are only a 1/4" thick and so light they can be taped or velcroed in place. We sell lots of both.

I designed a case for the EX3 for our rental department, and we sell it as well. It fits in a Storm case with wheels and a retractable handle. Holds the camera with four batteries, two chargers, wide angle adapter, follow focus, mattebox, riser with rods, cables, cards and space for some other bits. They are very popular. Here's the webpage. http://www.abelcine.com/store/product.php?...id=1001237#tabs

Lew, I'm trying to make it as simple as possible. If you want to get a general sense of what the field of view would be using this adapter on a 1/3" camera such as the JVC, look at the image from your 25-250 on a 35mm camera and then divide the image into four: halfway left/right and halfway top/bottom. One of these quarters is about what you'll get.

It can in fact record sound if you are using the full-sized camera setup or the Mini head tethered to the full-sized camera. But in practice I find that I would generally recommend shooting double system instead. I'm not a fan of their audio interface and it just means that many more cables hanging off the camera body.

It is not that complicated. A given focal length -- say a 25mm -- will look the same on this adapter whether it is a lens designed to project to the 16mm sized image area or the 35mm sized image area. You just won't be using that extra projection. Your 25-250 zoom will look the same as it would if you stuck it onto a 16mm camera, which has a much smaller image area than a 35mm camera. On a 16mm camera, the lens that would give the similar Field of View to a 25-250 on a 35mm camera would be about a 12-120. The depth of field and field of view characteristics are not locked together on this adapter because it uses arial imaging instead of projecting onto a surface and rephotographing like a Mini35, Letus or RedRock Micro does. The field of view will be the same as 16mm, but the depth of field will be that of the camera's original 1/3" sensor. The point of this adaptor is not to affect depth of field, it is to allow the use of superior optics. There are a couple of bonuses to using a true arial imaging adaptor. The first is that the image quality is outstanding, with excellent resolving power and contrast. Another is that because in the end it is essentially a big magnifying glass, taking a large image and squeezing it down to a smaller area, it effectively brightens the image by about a stop and a half. Compare this to rephotographing devices that always consume light.

This is correct. Shooting on Aaton Penelope cameras in 2-perf, provided by Abel Cine Tech.

Vince, great posts and thanks for the shout outs. We really agree that the SI-2K offers something special and are happy to support it along with our other cameras. Your stuff looks great.

Master Primes and Angenieux Optimo zooms (various sizes).

The lenses shown in our booth were prototypes. The eventually-offered lenses will be very different indeed. And the price should be of interest to all.

The offer was pulled but will be honored to those who are still interested when the redesign eventually becomes available. If the eventual price is lower then the lesser price will be the one honored. The lenses shown were very much prototypes. I guess no one remembers what the original RED prototype primes looked like (you know, the ones that were going to be marked in F-stops not T-stops and the 85mm that also expanded when one adjusted focus). Don't discount the Rebels yet. Wait to see what is actually offered for sale.

No one has shot with it because it will not be released until the fourth quarter of '09. There are only a few hand-assembled cameras in existence and all were at NAB, like the one in our booth. It is a very impressive camera, but it so resembles a shoebox that Mike Bravin of BandPro joked that they should paint an arrow on the side stating "point this way."

Don't know much about Harry Potter, but Ironman 2 is shooting a few days here and there using SI-2K Minis from Abel Cine Tech. The SI can shoot uncompressed RAW 12-bit 2K material and the camera head is about the siz of a pack of cigarettes, which is very useful in certain situations. And I happen to think that it has a great, natural, dare-I-say FILMIC look to it. Not sure what they are using for A camera.

We have a major Hollywood feature starting next week using two of our brand-spankin' new Aaton Penelope cameras in 2-perf. As soon as I know that the studio is okay with releasing details we will but until then I can note that the industry is very interested in this format.

No, but the opposite version of this device does exist to mount B4 lenses on 16mm PL mount cameras.

That spot was shot using the Silicon Imaging SI-Mini camera (the camera head out of the SI-2K). Abel Cine Tech rents this camera out of our New York and LA offices.

Abel Cine Tech rents the Silicon Imaging SI-2K. With SI, RED and Phantom in our arsenal, Abel has more Dgital Cinema options than anyone else.

Abel Cine Tech consulted with Arri on the design of these new accessories. I made an informational video on the new Arri MMB-1 and MFF-1 and their use specifically on the EX1. Here's the link to the page on our website. http://www.abelcine.com/articles/index.php...9&Itemid=34

The original was a brilliant Christ allegory and all about peace & loving your fellow man. The trailer for the new film has lots of stuff blowin' up real good. 'nuff said.

Ted had his camera with us for a clean up and then decided to sell on his own instead of through us (that's fine and we wish him the best). The kit is in very nice condition. 4-perf camera.

They are all very hard to find used. If you wish to purchase any Arri lenses, in th US the only official dealer is Abel Cine Tech.

Yes, we could make you such a cable.

We have them for sale at Abel. I know we have them in stock in NY and probably in LA as well.

Variety's In Production as well as in the back of every issue of the ICG magazine has a breakdown list. Off the top of my head I think Gossip Girl and all of the Law & Order shows this season. Or was Gossip Girl F23?

The podium top might be big enough for a Litepanel 1x1 and if not than certainly a Rosco Litepad. This can make for an interesting uplight although it is not exactly the most natural lighting effect.

Going from 25fps to 1000fps cuts 5.25 stops of light. If you can live with the lower resolution of 800x600, the Phantom V7.3 is about 1.5 stops more sensitive than the Phantom HD. But you should really just add more light.