On-Set Postproduction
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What’s All the Hubbub around the Fujifilm IS-Mini 3D LUT Box? | Austin Color Correction and Grading Services for Film/Video Post Production

What’s All the Hubbub around the Fujifilm IS-Mini 3D LUT Box? | Austin Color Correction and Grading Services for Film/Video Post Production | On-Set Postproduction | Scoop.it
MP3 Download of interview 22:40 minutes If you haven’t heard, lots of folks are talking about a new SDI-based LUT box that sorta breaks the mold with regards to how LUT boxes have worked in the past.  Here’s why. The Fujifilm engineers designed a physically small SDI-based LUT box to hold a 3D LUT for display profiling and calibration, but this is not your ordinary single-purpose LUT box. Fujifilm wrote their own PC and Apple display calibration software that can be used to quickly calibrate and install LUTs for a variety of purposes. Think about using DaVinci Resolve to create a test look while on set and installing that LUT into the IS-mini for preview purposes. What about networking a number of LUT boxes together on a big multi-camera shoot to manage LUTs for onsite previewing, monitor matching, and look previewing at a  live event?  During the interview, we also talk about the Fujifilm IS-100 Processing System that does all this. The key point is the included Fujifilm software ma
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What’s All the Hubbub around the Fujifilm IS-Mini 3D LUT Box? | Austin Color Correction and Grading Services for Film/Video Post Production

What’s All the Hubbub around the Fujifilm IS-Mini 3D LUT Box? | Austin Color Correction and Grading Services for Film/Video Post Production | On-Set Postproduction | Scoop.it
 

MP3 Download of interview 22:40 minutes
If you haven’t heard, lots of folks are talking about a new SDI-based LUT box that sorta breaks the mold with regards to how LUT boxes have worked in the past.
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IKONOSKOP Workflow: Creating Real Value - First notes on working with cinemaDNG, by Jesse Borkowski

IKONOSKOP Workflow: Creating Real Value - First notes on working with cinemaDNG, by Jesse Borkowski | On-Set Postproduction | Scoop.it

Posted by Jesse Borkowski on January 24, 2014 • 

 

... "One of the main reasons I was interesting in varying the lenses as an effect was because in my experience the image you get out of the Ikonoskop A-Cam dII is highly-dependent on the glass you put in front of it. The image quality of some cameras seems to be limited by the sensor, with the Ikonoskop it is really only limited by the lens. So, I approached using different lenses as using different brushes. Some were sharper, some were softer, some vignette - with vintage lenses it’s all about controlled variation.

 

The difficulty came when it came time to grade the film. Each lens has its own unique characteristics, and responds differently under different lighting conditions. While this was my original intent, restricting the variation to an acceptable level in post-production was incredibly time consuming. I essentially had to grade the film shot, by shot, adjusting for each lenses specific quarks. I couldn’t just create a look, apply it universally to the film, and get a good result."

...

 

NothingUnderground.com


Via Thierry Saint-Paul
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Jibra'el Jb's curator insight, January 26, 2014 10:23 PM

my classmate's step-aunt makes $72 /hour on the computer . She has been without work for eight months but last month her check was $21514 just working on the computer for a few hours. pop over here..

www.yujobs.com

Laura Galindo's curator insight, May 13, 3:29 AM
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What is a LUT (Look-Up Table)?

What is a LUT (Look-Up Table)? | On-Set Postproduction | Scoop.it
The simplest explanation of what a LUT (Look-up table) is, and how it should be used for color correction or grading.
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CAMERAS: Rough Guide to Color Grading with the new DSC Labs OneShot Pt.01

CAMERAS: Rough Guide to Color Grading  with the new DSC Labs OneShot Pt.01 | On-Set Postproduction | Scoop.it
In the old days we shot an 18% gray card to tell a film dailies timer where we wanted our exposure placed and what color we wanted dailies to be.
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Canon develops new Picture Style for EOS DSLRs

Canon develops new Picture Style for EOS DSLRs | On-Set Postproduction | Scoop.it

Posted by Canon Europe on May 14, 2013 • 

 

London, UK, 14 May 2013 – "Canon today announces the release of a new in-camera Picture Style pre-set for its range of EOS DSLRs. Created following direct feedback from video enthusiasts, the new Picture Style, called Video Camera X–series-look, enables users to capture EOS Movie footage with lower contrast levels, allowing for easier colour grading during post production processes.

 

Similar to that available in Canon’s range of X-series camcorders, the new Picture Style works by lowering colour saturation levels and contrast during filming. This makes it ideal for videographers during post production grading processes, especially if complementing with pre-existing footage shot with Canon’s X-series models, or alternatively for those who instantly want to add atmosphere to Full HD movies. In addition, the new Picture Style can also be applied to still images captured in RAW or JPEG formats.

 

The new Picture Style can be downloaded now from:

http://web.canon.jp/imaging/picturestyle/index.html"

...

 

Canon-Europe.com


Via Thierry Saint-Paul, Martí Matute Solà
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Martí Matute Solà's curator insight, May 14, 2013 12:29 PM

Ja no saven que inventar

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Color Correction - NegativeSpaces - Ben Cain

Color Correction - NegativeSpaces - Ben Cain | On-Set Postproduction | Scoop.it
This short article began with the rather dry title, "Tracking CDL Through Post." As I be...
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Building a DIT cart...

Building a DIT cart... | On-Set Postproduction | Scoop.it
I'm looking to build a DIT cart, as I want to have a bit more horsepower than a 2010 MacBook Pro. The only thing I can do right now is data manage. I'd like to build a DIT cart where I can slowly add more and more feature into it.
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Supported LUT formats for export

Supported LUT formats for export | On-Set Postproduction | Scoop.it
Currently LiveGrade can export looks (independent of grade mode) to the following formats: DaVinci Resolve (33x33x33 3D LUT, .dat file) Speedgrade (32x32x
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The Complete ARRIRAWConverter 3.0 Tutorials by Arri | wolfcrow

The Complete ARRIRAWConverter 3.0 Tutorials by Arri
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News: New Pomfort Silverstack 3.3 Update With ARRIRAW And Transcoding

News: New Pomfort Silverstack 3.3 Update With ARRIRAW And Transcoding | On-Set Postproduction | Scoop.it
The latest Silverstack 3.3 update includes real-time playback and metadata support of ARRI Alexa RAW sequences and comes with a brand new “First Look Transcoding” functionality that enables the efficient conversion of e.g.
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XAVC: Advanced Video Coding Technology - YouTube

Hugo Gaggioni, CTO of Sony Professional Solutions of America presents the technical information covering the attributes and benefits of the new XAVC video co...
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From Dailies to Finish in Assimilate Scratch 7

From Dailies to Finish in Assimilate Scratch 7 | On-Set Postproduction | Scoop.it
Post Production Workflows - Assimilate Scratch 7 http://vimeo.com/63351449 Assimilate Scratch 7 is a high end 4K 'Creative DI' tool designed to cover every aspect of your post production workflow. ...
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Using the BlackMagic HDLink to provide LUT's and c... - Sony Community

Using the BlackMagic HDLink to provide LUT's and c... - Sony Community | On-Set Postproduction | Scoop.it
This was originaly published over on my blog:  http://www.xdcam-user.com/alisters-blog/ but it was suggested that it might help a few people out over
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CAMERAS: Rough Guide to Color Grading with the new DSC Labs OneShot Pt.02

CAMERAS: Rough Guide to Color Grading with the new DSC Labs OneShot Pt.02 | On-Set Postproduction | Scoop.it
In the old days we shot an 18% gray card to tell a film dailies timer where we wanted our exposure placed and what color we wanted dailies to be.
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Paul Cameron, how is the role of the DIT evolving?

"The idea of Digital Imaging Technicians started out as a guy who could handle the cable." PAUL CAMERON Dead Man Down (2013) Total Recall (2012) Henry's Crim...
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Over 6 Hours of Free Colour Grading & VFX Training

Over 6 Hours of Free Colour Grading & VFX Training | On-Set Postproduction | Scoop.it
6 Hours of Free Assimilate Scratch Training If you want over 6 hours of free training on professional color grading and compositing techniques and generally how to make the most Assimilate Scratch'...
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Rec.ommendations for Display Gamma - NegativeSpaces

Rec.ommendations for Display Gamma - NegativeSpaces | On-Set Postproduction | Scoop.it
Old news really as this white paper from the International Telecommunications Union (ITU) stan...
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Generations, a problem or not? | Niwa

Generations, a problem or not? | Niwa | On-Set Postproduction | Scoop.it
When grading I sometimes get the whole film as one clip which I then split up in pieces, but I always ask my clients if they can provide me with the original files so I can conform from them.
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Digital HD Video Assist on a Mac

Digital HD Video Assist on a Mac | On-Set Postproduction | Scoop.it
We took the power of Apple hardware and years of filmmaking experience to build the most advanced video assist system.
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