In this post, we look at how to deal with overly bright highlights. Whatever speed limit you decide on for your project, pay close attention to how rolling off highlights affects the texture, detail and vividness of the image. Download the original clips here. https://youtu.be/BuyX4s-rsUE The strongest highlights are 638 nits and the laptop display... Continue Reading →
Increase Saturation Like a Pro
Ever notice how increasing the saturation of your footage just makes it look more video-ish? Instead of using the saturation knob to increase saturation, how about trying out this method instead: 1. Add a node, right click > Color Space > HSV. 2. Right click again, > Channels > Channel 1 (uncheck). Right click again... Continue Reading →
Tip for Acquiring the Cinematic Look
One effortless step toward the cinematic look is to place an HSL curve at the very beginning of your grading workflow (after applying Leeming LUT Pro) and desaturating shadows. No desaturation With desaturation
Leeming LUT Pro ‘Athena’
Alongside the newly released Pro II LUTs, Paul Leeming has also given us Athena LUTs, which he says "are a brighter version of Pro II, designed around placing middle grey (also known as 18% grey) at the 50% IRE level after the LUT has been applied, while retaining the same perfect colorimetry". Both Athena and... Continue Reading →
Get Stunning Color From Your a7 III
https://youtu.be/be8DDa-1aq8 If the audio sounds a little better in this tutorial, it's thanks to Serge M's wonderful guide to using the Audio Compressor effect in Final Cut Pro.
Leeming LUT Pro Sony S-Log2
I almost always shoot Cine2, but a question from a forum member over at DPReview about noisy footage at ISO 3200 inspired me to whip out my a7 III and try out S-Log2 for only the second time in two years. I dragged the clip into the Final Cut Pro timeline, threw on Paul Leeming's... Continue Reading →
Is An I/O Interface Really Necessary?
Update 23.01.2020: I have confirmed that the Asus PA32UCX, UltraStudio 4K Mini and Final Cut Pro do indeed work with HDR PQ. The reason to use a dedicated IO card (like the UltraStudio 4K) is that it gives you a properly managed colour pipeline that by-passes the operating system’s GPU and colour profile settings and gets... Continue Reading →
Ninja Inferno Saga Continues
In spite of my messages to them, Mystery Box, without so much as verifying their claims, still insist that the Ninja Inferno, coupled with the BlackMagic Design Ultrastudio Mini Monitor, will work as a grading monitor with any computer: And since you’re working with a 1080 display and are managing the HDR interpretation yourself, you can... Continue Reading →
Ninja Inferno as Run ‘n Gun/Portable Grading Monitor Solution?
Atomos markets the Ninja Inferno as a professional tool for cinematographers, with a gloriously bright, 1,500 nit display, heaps of exposure and focusing aids, touch screen interface, a variety of codecs, XLR inputs, Atom HDR for obtaining perfect exposure with Log footage for HDR delivery, 4K 60p recording, as well as for use as a... Continue Reading →
How to Work with the Leeming LUT for Panasonic HLG in FCP X 10.4
Update: See new workflow with Leeming Fixie LUT here. For those looking to work with Sony's HLG, here's the workflow. Apple has gone ahead and and released what can only be described as a humungous update for Final Cut Pro, including the ability to edit 360° video, advanced color grading tools like curves and wheels, look up... Continue Reading →
The Daejeon Chronicles 