In the fourth part of my Sony F3 S-log series, I explain how to create Look Up Tables (LUTs) to be used in the camera. When shooting in S-Log, the F3 allows you to apply a LUT to an output of the camera, letting the operator visualize how the image will look after post-production correction. In Part 1 of the series, I covered the in-camera Look Up Tables that come with the camera, and now I go over how to make your own. In the video, I show how to use the Sony CVP File Editor; click the link to download the Mac version. Watch the video above and check out our upcoming Understanding Log class to learn more.
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You can findthe rest of Andy’s S-Log and F3 series here:

Part 1: On the Charts
Part 2: Exposure Index Mode
Part 3: Application
Part 5: 3D Look Up Tables

Blackmagic Design has just released the latest version of the DaVinci Resolve color correction program, version 8.2. The full-featured DaVinci Resolve color grading application has been an industry standard for many years. After Blackmagic Design acquired DaVinci in 2009, they released a free version of the software called Resolve Lite.

This free software has a huge number of applications, which now include importing, grading and exporting F65 footage. Sony’s F65 camera shoots in F65RAW and SR Codec (SStP) formats. Fortunately, Resolve now works with both. Resolve is made to be a finishing tool, but can also be used to import footage and then export it back out with a LUT applied. Although programs like SCRATCH Lab are much more suited for dailies applications, Resolve Lite could also be used for some dailies generation. Version 8.2 of the software also adds support for Canon C300 footage and the latest FCP X XML format.

You can download the latest version of Resolve on Blackmagic’s Support site.

With the Sony F65 and the SR-R1 recorder come a new set of workflow processes. At AbelCine, we are always trying to stay ahead of the curve, even as technologies such as these are evolving. Sony’s F65 and the SR-R1 both record to SRMemory cards, which are high-speed memory that enables recording of F65RAW video at up to 120 fps. To work with these cards, Sony has released the SR-PC4 and SRPC-5 transfer stations, which present a unique way of playing back and downloading content.

Like any new technology these devices can be a bit tricky to get started with, so I’ve put together these two videos to show how to work with SRMemory. The video above shows how to connect to the PC4 and its basic functions, and the video below shows how to mount drives to it for downloading.

…continue reading F65 Workflow Part 1 & 2: Working with the SR-R1 & PC-4

With the popularity of HDSLR cameras, as well as digital cinema cameras like the ALEXA, more digital productions are using 2nd-system audio recording than ever before. External recording offers improved quality and flexibility, but it does require some extra steps in post to sync things up.

PluralEyes from Singular Software uses audio waveforms to sync clips. Popular with HDSLR-based productions, the software now has versions for Final Cut Pro, AVID Media Composer, Premiere, Vegas and Edius. It creates a sequence in a given NLE with audio and video synced up. For a quick look at PluralEyes in action, check out this article by Jem Schofield of theC47.

Singular Software also has a standalone application called DualEyes, which will replace audio in clips with external audio recordings, allowing it to be used with any non-linear editing system. Both Plural Eyes and Dual Eyes use audio waveforms to sync audio, so no timecode is required. They are excellent tools and well worth purchasing.

For digital cinema cameras like the ALEXA, it’s fairly common to have timecode matched external audio, and no internal audio recording at all. So, Plural Eyes isn’t the best solution for working with these clips. DIT Ben Cain outlined a new solution called JamSync by Light Illusion on his blog negativespaces. Light Illusion’s software allows you to batch sync audio and video via timecode. It will quickly output new files (either MOV or MXF) with the audio already in sync. This is a great low cost application, which can speed up many different workflows. Check out Ben’s article on JamSync here, and learn more about the application here.

With every new camera, comes many new questions about workflow. The term ‘workflow’ can be fairly broad, but today I am looking at importing C300 footage into various non-linear editing systems (NLE). The C300 uses the same workflow as the Canon XF series of cameras (which includes the XF305, XF300, XF105 and XF100), because it records in the same format. However, the tools for importing the footage have been updated by Canon. Below, I outline how to ingest footage onto a hard drive, and how to import into Avid Media Composer, Final Cut Pro 7, Premiere 5.5 and Final Cut Pro X. Keep reading for a brief how-to on each process.

Downloading C300 Footage

Canon provides a piece of software called the Canon XF utility, which is used to playback and download clips off their original media. It also has the ability to view clip metadata, mark timecode, and even apply a LUT to Canon Log footage for viewing. The XF Utility is available for download here on Canon’s site. The C300 records to Compact Flash cards, so a simple CF card reader is all that is needed to attach C300 media to your computer. Launching the XF Utility gives you the window below:

(Click for full size)

…continue reading How to Import C300 Footage in Avid, FCP X and Premiere

When Arri released the SUP 4.0 firmware for the ALEXA, they also added the ability to create color ‘Looks’ to load into the camera. These Look files are similar to scene files found in other cameras, but they aren’t burned into the Log C recording of the camera. Instead, they can be used in post by converting them to LUTs using Arri’s LUT Generator. These looks then travel as metadata with the clips recorded (through the XML file). Look files can be created by saving a still from the camera and loading it into the Arri Look Creator, which can then modify the still and output a look. A company called Pomfort, based out of Munich, was actually the first to work with Arri Looks. Their software, Silverstack SET, manages data on set and allows the manipulating of Arri Looks before sending them into a NLE or Color Grading suite. Silverstack SET is a fantastic tool for working with ALEXA material in general, and now Pomfort has come up with a new piece of software to take the process of Look creation a step further.

Until now, the missing piece in the generation of Arri Look files was the ability to preview the look before loading it into the camera. The Arri Look Generator allows you to see the corrected image on your computer screen, but the ability to manipulate the image on a production monitor was missing. However, Pomfort has put together their LiveGrade application to tackle that problem. The software uses the Blackmagic Design HDLinkPro box to take the ALEXA’s output (in Log C) and manipulate it with the same tool found in the Look Generator. The corrections can be done with a mouse/keyboard or with the Avid Artist Panel (aka Euphonix MC Color). The corrections can be saved as Arri Looks and then imported back into the camera, or exported into a 3D LUT directly. This really improves the Alexa workflow on set and through post. LiveGrade is still in beta, so you can download it now for a test run.

Learn more about working with Looks and LUTs in our upcoming ARRI ALEXA Workshops.

Arri recently released their new Mini Mattebox, the MMB-2, which has all the quality that Arri’s products are known for in a lightweight package. The MMB-2 has a single 4×4 filter stage and a 4×5.6 filter stage, and is so lightweight that it easily clips on to just about any lens. It also has a 114mm back, which fits exactly onto the Zeiss Compact Prime.2 lenses. If you have still lenses, like Canon EF glass, Arri also make a series of rings that thread onto your lens so the mattebox fits perfectly. Arri also has a dual 4×5.6 filter stage model that gives more flexibility to anyone with a lot of 4×5.6″ filters. Both models are a great fit for cameras like the Sony F3 and the Canon C300. Watch my video above to learn more.