by Nino Leitner | 23rd August 2015
Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes! In this new episode of ON THE COUCH, recorded in Las Vegas at the B&H booth of NAB 2015, I interviewed Philip Bloom and Dale Backus from SmallHD. We talked about the camera announcements from Blackmagic Design, e.g. the URSA Mini (which still aren’t shipping, by the way) and many other topics. Our talk quickly shifted to on-set monitoring and color grading and consistency. SmallHD announced the 502 and 501 5″ field monitors with 1080p resolution and SDI/HDMI (502 version) as well as many custom LUT functions that allow you to apply looks to your logarithmic images from your cameras. In this day and age where cameras are so ubiquitous that most of us end up using various different cameras at the same time and sometimes on the same shoot, color consistency and matching the look of these cameras become essential. But it is notoriously hard matching cameras from various manufacturers unless you invest a lot of time in color grading or having a colorist on the job. Philip and I are using FilmConvert to match camera looks easily – the plugin (and standalone version) feature looks packs for specific camera models, which have been analyzed by the FilmConvert team to make the look settings for those camera models as precise as possible. So for example, when mixing C300 and F5 footage in one timeline, you can select the camera model in FilmConvert settings, the LOG version or picture profile you used while shooting, and then select the film stock you want to mimic with FilmConvert. If everything is exposed similarly and with the same Kelvin settings (however those can be adjusted afterwards too), the footage will immediately look the same as FilmConvert irons out each particular camera’s quirks. Please visit our sponsors’ websites to keep new episodes of ON THE COUCH coming! Thanks to B&H, Røde Microphones & FilmConvert.Read more
by Sebastian Wöber | 4th February 2015
Most filmmakers are familiar with the popular Red Giant Magic Bullet Suite, that offers powerful colour correction, filmic looks and image enhancements in a complete bundle of plugins. Today Red Giant released Magic Bullet Suite 12, introducing many new features and improvements to the toolset. Not only is this a major upgrade to an important colour grading software for cinematic looks and image enhancement, but for the first time Red Giant decided to include real film emulation, built from research and analysis of original organic film stock. We’ve come to love this kind of colour processing in the very popular Filmconvert app that is entirely based on said technique. Aside from film stock emulation, Red Giant Magic Bullet Suite 12 offers a number of other very useful image enhancement tools. Here’s the complete list: • Magic Bullet Looks 3 (color correction app with many preset looks) • Magic Bullet Colorista 3 (color correction plugin for your NLE) • Maguc Bullet Film 1 (Introducing film stock emulation) • Magic Bullet Mojo 2 (Isolates skin tones & tints rest of image – very handy this one) • Magic Bullet Cosmo 2 (Enhances skin, “digital makeup”) • Denoiser 2 (What could I add?) • Lut Buddy (Let’s you make custom LUT’s to take your grades on set) Academic Licenses start at $99. For more information visit: www.redgiant.comRead more
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