Update: Head to our latest Sony a6300 reviews: lowlight test done by Nino and a comprehensive lab test done by Sebastian. Grading is tricky. In fact, it is an artform in itself. In my original a6300 article, I graded the footage to my liking and although I supplied a link to an ungraded version (which was downloaded hundreds of times), I kept hearing concerns from some of our followers about the low contrast grade I did. This morning, James Miller, a friend and colleague of mine whose Deluts I used for grading my original piece stepped in. He sent me 4 LUTS which were created specifically for that project and this camera. Please feel free to download those LUTs from here and grade the footage to your liking. The above video was re-graded very quickly using one of those very LUTs. Once again, thank you to everybody who watched and commented on the original film link. Camera picture profile used in this video: S-Log 2. Shot mostly on 800 native ISO, Edited on Adobe Premiere CC latest edition. Here you can find additional LUTs by James Miller (DELUTS) Music by musicbed. Title used : Your Favorite Song by Katrina Stone A huge thank you to Katharina Almer and Cornelia Rimser for allowing me to document a day in their professional life. Please support them in finding a sponsor for their sportive activity!Read more
Here at cinema5D, we are truly big fans of the film look software FilmConvert. You have to look hard for any recent video which wasn’t graded using the plug-in or standalone software. A very easy and efficient way to get very distinct and refined film looks as well as matching different cameras with all their custom camera presets. Now, they are looking for entries to their annual Color Up Film Competition again. Your film just needs to be graded with FilmConvert (even their free trial version), and doesn’t need to be specifically created for this competition. Prizes from Sony, Atomos, RØDE, Marmoset, Story & Heart, Stillmotion and more are available for the winners – click here for more details. If you have something that fits in their categories, hurry up to enter because entries are closing on November 1. Here are all the details: Will you make the grade? FilmConvert are rolling out the red carpet for their Color Up Film Competition 2015. Showcasing the creme de la creme of films by the FC User Community with submissions open 10am (PDT) Monday 19th October. The good news is, FilmConvert are not asking entrants to make a new film. Just submit a film that is graded with FilmConvert and tell them how color has enhanced your story. If you’re not currently a FilmConvert owner, you can still submit a film using their trial version (watermark included). Head to their Downloads Page to get your free trial. This year, entrants can submit their films to one of five categories; Wedding, Documentary, Music, Corporate and Creative/Story. There’s also the chance to win the People Choice’s Award which will be selected by public vote. Once entries are closed on 1st November 2015, the FilmConvert Team will choose the Top 50 entries. On the 4th November they will announce the Top 50 and the Judges will then pick one winner for each category. The public also get to pick one winner from the Top 50 to win the People’s Choice Award. This will be chosen based on votes. All winners announced 17th November 2015. FilmConvert have enlisted the help of some top-notch companies this year and entrants won’t be disappointed to hear there are prizes to be won from Sony, Atomos, RØDE Microphones, Marmoset, Story & Heart, Stillmotion and more! Along with fantastic prizes, FilmConvert will also get help from some of the industry’s top creatives. Judges include Patrick Moreau from Emmy-Award Winning Stillmotion, Peabody Winning documentary filmmaker Emily Mc Million, successful Director and Colorist Noam Kroll, Co-Founder of Story&Heart and Emmy-Award Winner Justin DeMers plus more! For more information on the Color Up Film Competition, check out FilmConvert’s website. Links Download Page: http://www.filmconvert.com/download/default.aspx Competition Page: http://www.filmconvert.com/competition_2015/ Key Dates Entries Open: 19th October – 1st November Public + Judges Voting: 4th – 15th November Winners Announced: 17th November Click here for all the contest guidelines.Read more
Drones give us stunning new perspectives for our films, but the video look they produce is often quite unsexy. So how do you grade and perfect aerial video from a low cost drone camera to make the low-bitrate footage look awesome? This was the question I asked myself when I finished my footage from the DJI Inspire 1. I spent a week filming with an entry level drone to create a stunning drone film. After many hours figuring out how to make the best of the footage I had, I created this 3-part video tutorial on mastering drone footage. In PART I I talked about How to Shoot Aerial Video Like a Pro. In PART II I talked about Improving Aerial Video in Post. Here is PART III, where I’ll show you how I graded and perfected the film with compositing. Part I – Shoot Aerial Video Like a Pro Part II – Improve Aerial Video in Post These are the tips I would have needed when I started shooting. I wanted to get the best out of my drone footage and I didn’t find this knowledge elsewhere. As discussed in the tutorials, the footage from low-cost drones come with a lot of drawbacks, very highly compressed codecs and low bitrates that make grading very difficult. In my tutorial I’m showing you how to make aerial video look and feel cinematic, how to raise the production value of your project with a few simple steps from shooting to final grading and compositing. I hope you’ll enjoy these tutorials and they’ll help you get started. All 3 parts of the video series have some essential points I think anyone serious about aerial video can take something away from. Equipment used In part I and part II talked about why the DJI Inspire 1 for me is the best value for money low cost drone right now with the upgrade options to the new Zenmuse X5 and X5R cameras for better quality. The video above was shot without the upgrades on the normal DJI Inspire 1. I recommend this package: DJI Inspire 1 (with 2 Remotes) At least 4-5 Additonal Batteries 4-battery charging station 2 smartphones or tablets compatible with the Inspire 1 practice I do not recommend the hardcase version unless you use this for rental or a large production. The shell-case is perfect, lightweight and roomy and can hold both remotes and 9 batteries! (I got this wrong in my video, there are hidden compartments). I did not have the high capacity batteries as mentioned above. It must be awesome to have those though. How many should you get? It really depends on how much you’ll shoot in a day. I did not have the 4-battery charging station. It must be awesome to have it. It will charge one battery at a time overnight. If charging times are the same as the single chargers then it will probably take about 6 hours to charge 4 batteries. Remember, practice is part of the package. Fly safely, edit tirelessly and grade meticulously. Then let us know what you learned in the process. If you are interested in my LUT you can download it here. Helpful Links: Understanding Lumetri Color in Premiere Pro After Effects Motion Tracking Tutorial Music by musicbed.com Salomon Ligthelm – BonesRead more
Custom LUT workflows have become quite the talking point as of late. Whilst the concept is nothing new, accessibility to log shooting cameras and LUT viewable monitoring has increased and in-turn the workflow is now much more popular. In light of this, the Deluts package is perfectly timed; a collection of custom made LUTs by filmmaker James Miller designed from monitoring on set right through to the grade. A LUT (or Look Up Table) is simply a manipulation of your image. An alteration of colour and contrast to provide you with a non-destructive* view of how your image can look once adjustment is applied. This is ideal on set when working in a log (flat) profile and you simply want an easier image to exposure and focus with, or want to provide your client with a view of how the image may roughly look when completed. *Whilst the intention is usually non-destructive, (viewable, not recordable) it is possible to record an applied LUT should you prefer. The beauty of LUTs is consistency throughout the entire workflow; you can apply the same LUT to your monitor on set to your NLE editing system in the grade. This is especially useful if there are multiple people working on a project and you want the desired look of your piece to be translated right the way through the production. As an operator, one thing I’ve struggled with in the past is a good collection of LUTs. I’ve often made quick contrast adjustments directly on the Atomos Shogun, just to please the eye whilst shooting with the knowledge that it will look better once I’ve added a grade later on. I simply don’t have the time or grading experience to devote to constructing my own LUTs for different jobs. Filmmaker James Miller has just released a fantastic solution. Deluts is a package compromised of nearly 30 custom LUT profiles to use on set or in the edit/grade. Available in both .3DL and .cube Deluts is compatible with most NLE systems and LUT compatible cameras and monitors. I was out shooting yesterday, testing the new downscale function of the Atomos Shogun on the Sony a7S. I was testing whether or not the 1080 output of the 4K Shogun was any better than a direct 1080p feed from the a7S. Unfortunately it doesn’t, there’s no visible difference between the two, but I was left with some throw away footage to test out the Deluts package on. Loading LUTs in Premiere Pro CC is easy, simply create a new adjustment layer and add this on a video track over your footage. Apply Lumetri (in-built effect) effect to your adjustment layer and navigate through your finder window to the Delut of your choice. Filmmaker friend of mine Daniel Peters has put together a tutorial on adding LUTs in Premiere Pro CC and DaVinci Resolve: Tweaking your look can be done so by altering the opacity of your adjustment layer, or adding adjustments to your video layer as your would normally. Here are some examples of different Deluts looks I’ve put together quickly (as a Brit, I’m very much a fan of the England cities naming theme of the LUTs!). The footage is shot on the Sony a7S in 4K on the Atomos Shogun, scaled down to 1080 on the Premiere Pro CC timeline. I’ve simply added different LUTs on separate adjustment layers, reducing the opacity on just a couple with a tad sharpening. No other correction applied. The Deluts package is available for purchase now via deluts.com.Read more
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