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Film Looks the Easy Way: FilmConvert Now Supports Canon C300 and Arri Alexa, BMCC Coming Soon. By Joe Marine

Film Looks the Easy Way: FilmConvert Now Supports Canon C300 and Arri Alexa, BMCC Coming Soon. By Joe Marine | Gear in Motion | Scoop.it

Posted by Joe Marine on February 2, 2013 • 


"A solid color grade can very quickly take the edge off an image that looks “too digital.” If you don’t have much time to spend on said color grade, but you’d like to get a great look very easily, a film LUT that attempts to recreate some of the magic we get from Kodak and Fuji stocks could serve you well. We’ve discussed FilmConvert a bit before, but basically it’s either a standalone program or a plugin for the major Apple and Adobe products that uses the color science of the specific camera you’re using in order to precisely match the film stocks they have in their system. Now they’ve introduced another update, this time including support for the Canon C300 and the Arri Alexa."

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NoFilmSchool.com via cinema5D


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On Set with the BBC and ARRI ALEXA (+ 5DmkIII)

On Set with the BBC and ARRI ALEXA (+ 5DmkIII) | Gear in Motion | Scoop.it

Posted by ARRI on November 13, 2012

 

British cinematographer Tony Coldwell recently used ARRI ALEXA cameras and ARRI/ZEISS Ultra Prime lenses on the BBC children's series WOLFBLOOD. Here below is his report:

 

(...) "One attribute the transformed Wolfbloods had in the show was an ability to run at superfast speeds. The producer didn't want this to be a CGI solution, so we worked through combinations of shutter angles and frame rates to achieve the effect in-camera. With the right foregrounds and various methods of transport, we worked out some very impressive solutions - sometimes shooting from the back of quad bikes, cars and rickshaws, and sometimes running with the ALEXA. By the end of the shoot my grip, Dan Inman, had designed and constructed a ZipCam style rig on wires between the trees for my Canon 5D Mark III, to get great swooping aerial shots. His next version of the rig will take an ALEXA so we can get even better pictures.

 

Throughout the shoot we collected frame grabs on nearly every scene and the DIT and I would explore looks with the ARRI Look Creator - sometimes for use on set but mainly to bank ideas for the grade. We generally shot in ProRes 422 (HQ), but sequences that were going to have CGI content we shot ProRes 4444."

 

 

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