by Sebastian Wöber | 10th October 2016
Do you work with a DJI Mavic Pro? Then you probably know that the footage from the DJI Mavic Pro camera is not particularly nice out of the box. In our DJI Mavic Pro review we took a closer look at the camera quality and created a DJI Mavic Pro LUT that we are giving away for free. DJI Mavic Pro LUT – cinema5D instaLUT FREE Note that this LUT is not made to be used on videos shot with the D-LOG setting. Instead this basic LUT should be applied on standard picture setting. It is ideal for people who don’t want to tamper around with the drone too much and who want to see the full colors and clarity during shooting, but still get a nice and filmic look in post. Download: Please provide your name and email address for your free download. To get our DJI Mavic Pro LUT we ask only that you subscribe to our newsletter and in turn you will get the download link sent to your e-mail. This is a double opt-in and will not work with fake e-mails. Your e-mail address stays with us. No spam or third parties and you can of course unsubscribe if you don’t like the weekly newsletter whenever you receive one. We hope you will enjoy our future content and stay on board. Here are a few shots where you can see the LUT applied to DJI Mavic Pro footage. These shots have the look applied with a 100% intensity and no other modifications. DJI Mavic Pro LUT (right) applied to original DJI Mavic Pro footage (left). instaLUT W3010 DJI Mavic Pro LUT (right) applied to original DJI Mavic Pro footage (left). instaLUT W3035 DJI Mavic Pro LUT (right) applied to original DJI Mavic Pro footage (left). instaLUT N3010 DJI Mavic Pro LUT (right) applied to original DJI Mavic Pro footage (left). instaLUT N3035 Note that this Mavic Pro LUT is optimized for landscape and aerial photography and is not ideal for skin tones. If you like this LUT, also check out our free Inspire 1 LUT. I recommend grading in Adobe Premiere Pro CC if you are familiar with it, but these .cube LUT files can also be used in any other software that supports LUTs on Windows or Mac. In my Mavic Review I applied both LUT with an intensity of 100% and did not change any other settings. You can always play with the look intensity and other basic setting to get nice look variants as desired. Note: If you don’t receive an e-mail after submitting, please contact us.Read more
by Tim Fok | 21st March 2016
Atomos has announced its next generation of monitor recorders. The Atomos Shogun Flame and Ninja Flame arrive in a more robust, dual battery form sporting 1500 nits of brightness and new 10-bit processing. Slotting inline with the existing Atomos line up, the yellow branded Atomos Shogun Flame is the flagship model supporting SDI, HDMI & raw whilst the red branded Ninja Flame is the cheaper HDMI only version. So, what’s new with the Flame line? Daylight Viewable Display Atomos has jumped on the SunHoodsAreSoLastYear trend* and produced their first daylight viewable field monitor. We’ve seen this gain popularity with other monitor manufacturers; it’s nice to see this feature pop up in a field recorder also. Both Flame monitors will feature 1500 nits of brightness. Before you all grab your nit meters, for reference the SmallHD 702 is 1000 nits and the SmallHD DP7-PRO High Bright is 1500 nits. *A daylight viewable feature is not something that should replace the conventional sun hoods,, just another tool to add to the box, particularly where sun hoods are impractical (when using a gimbal for example) 10bit processing is also now supported. This is an upgrade from the previous 8 bit panels used on the Atomos Shogun/Ninja Assassin and will help with a more accurate display and less banding. Please note, this does not increase the bit depth of your 8-bit camera to a 10 bit one. AtomHDR for Log Recording Announcement of the Flame monitor/recorders brings a brand new feature from Atomos. AtomHDR offers a new a way of viewing log footage. “Activate AtomHDR to resolve the brightness detail of Log camera signals with the color accuracy of HDR images mastered in post production. This means that the usual complications of exposing Log signals on a washed out image (i.e. LUTs for LOOK management but compromise on detail or complicated calibration card and “rule of thumb” calculations) are eliminated – you simply frame, expose, focus and shoot.” This sounds like a new viewing platform for log recording that operates in a similar way to a conventional LUT, using the benefits of the high dynamic range capture of log and the 10 bit processing of the panel to produce polished looking images on-set, rather than simply converting the image to an existing standard like rec 709. Sounds like this could be a very handy feature for client viewing and, if you learn how this translates to the finished look in post would also be a very good tool for gauging exposure & focus. Nino had an exclusive presentation of the Atomos Shogun Flame and Ninja Flame at BVE and this does indeed look like an interesting feature: “The AtomHDR feature looks brilliant – it seems a perfect way of displaying the full latitude of LOG footage while actually recording, and this is something I haven’t seen before. It’s a very smart way of using the potential of a high brightness display other than simply being able to have a brighter image when shooting in bright sunshine. You basically see all the detail that is recorded in a LOG image while not having to look at a very grayish image any more, it looks like a properly finished image if you want it to, applying the LUT you want.” S-log 2, S-log 3, C-log and V-log are listed immediately as supported as well, expect a few more regulars to be added to that list too. Footnote: It looks like AtomHDR and 1500 nits of brightness will be available as separate features (e.g you won’t be able to view AtomHDR at full, daylight viewable brightness). Enhanced Powering Solutions The Atomos Shogun and Atomos Ninja Assassin both had a single Sony NP-F battery slot on the back. Speaking from experience of shooting with these monitors it was a little disconcerting to say the least (The Atomos Shogun is thirsty beast). The new Atomos Shogun Flame and Ninja Flame now support two battery slots and you’ll be able to hot-swap allowing continuous battery power. What’s more, included in monitor packages is a “coiled DC to D-Tap cable for connection to larger battery systems” as a self confessed cable nerd I love the sound of this. More Robust Form The Atomos Shogun Flame and Ninja Flame will feature a built in bumper design. This offers more protection over the previous naked 7″ panels. An add-on bumper kit was added to the Atomos Shogun and Ninja Assassin, but I felt these were a little clumsy in design; it’s great to see a more robust in-built clad that will no doubt increase the lifespan of the Flame duo in the field. DC in for both Flame models has been relocated to the rear in a much safer, recessed location. The Shogun Flame BNC ports (SDI in/out and sync) are arguable more recessed also. What’s Not New There are many key features that translate from the older Shogun and Ninja Assassin recorders that aren’t classified as new, but if you’re not familiar with Atomos products then may be of great interest to you. 10 bit Apple ProRes (422,LT,HQ) and Avid DNxHD (36,145,220,220x) 1920X1080 up to 50/60p 4K up to 30p Records to approved, universal SSD drives via cheap caddies. Customisable focus aids – Peaking, Focus Assist, False Color Customisable exposure aids – Waveform, Zebras, RGB Waveform Image Flip, Crop/Centre/Safe Margin Overlays, Anamorphic De-Squeeze Metadata tagging for editor notes (favorite/reject etc..) LUT support including custom load and send downstream SDI/HDMI cross conversion (Shogun Flame only) As an operator, I have vast experience in Atomos recorders having owned the Atomos Shogun and Ninja Blade for years and tried out all others within the line up. I think the new Flame line looks great. One of the big drawbacks for me with the original Atomos Shogun was the power solution – it was far too thirsty, the charger was exceptionally slow and a single battery slot meant you couldn’t hot swap batteries. The dual battery slots was a much needed upgrade, you can now get continuous power even if they don’t improve the consumption, what’s more the new Flame recorders will ship with a x3 faster battery charger, nice. I’m not a huge fan of completely migrating to a 7″ panel across the line. My feelings were the same when the Ninja Assassin was announced. The Ninja Blade is a fantastic on-camera form factor with its 5″ display; it’s a shame to not see this with the Ninja Flame, especially as it’s marketed at DSLR and mirrorless systems. I can only assume the costs for designing two completely separate panels were not worth it. I’ll warmly welcome the daylight viewable display; this was a feature I’ve been looking for a while (particularly gimbal work where a hood is not practical) as well as AtomHDR, which I think will be fantastic for client viewing at the very least.Read more
by Sebastian Wöber | 8th May 2011
I just got off the phone with BBC freelance cameraman and HDSLR expert Johnnie Behiri who recently did some tests on the CineStyle picture profile. I told him I had already had a hard time understanding the whole log, lut, linear stuff with the Arri in Januar and he said something like: “What? Come on, it’s very simple.” Ok, I was good in maths but this stuff took some time to settle in my brain. If you’re like me and all this is a bit confusing I’ll try to sum it up once more and real quick: LOG (logarhitmic) capture modes, such as the new CineStyle by Technicolor for the Canon 5D mark 2 (also works for other DSLR cameras) are designed to preserve image information rather than look good as is. In other words a LOG capture mode uses the whole dynamic range of your sensor and stores the info in the most efficient way (which is logarhitmic), no matter how ugly that result might be. We DSLR filmmakers don’t care about that “flat” look as long as we get as much as possible out of (or into) the 40mbits of H.264 compression of our cameras. In professional filmmaking on so called digital cinema cameras they have been using these LOG modes from the start in order to get best results. Also analogue film captures logarhitmically if you care to know, so it seems to make sense to go through all this. To make our lives easier in post production we apply a LUT curve to our unnaturally flat looking “raw” material. Basically it’s an inverted curve to your CineStyle curve, to make the curve linear again. So this converts our logarhitmically recorded footage into a more natural looking linear image again. Histograms: histograms via unem.de If I still got something wrong, you’re welcome to correct me in the comments. Test by Johnnie: Many members of this board have tested, compared and evaluated the new Technicolor picture style. The best way to sum it it up is probably: It works. You can follow the discussion here. Here’s another test Johnnie Behiri did this week. We had very nice weather in Vienna so he had bright sunlight which was good for the test. “The idea was to see first hand how the new picture profile is helping the camera to cope with highlights/shadow + how skin tones look before and after utilizing the LUT.” Plain CineStyle without LUT (logarhitmic image): CineStyle with LUT (linear image): Side by Side: You can DOWNLOAD THE TECHNICOLOR CINESTYLE HERE Here are more C5D articles on the Technicolor Picture Syle: New: CineStyle LUT now compatible with Apple Color First tests: Technicolor CineStyle Technicolor Picture Profile / StyleRead more
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