After many requests, we’ve finally put together several custom profiles for the C300 Mark II. We’ve created seven different files that closely match the files we created for the original C300. It’s important to note that the Mark II offers different gammas and preset matrices, many that don’t exactly match those in the previous model. Creating looks that matched exactly was impossible, but I did manage to get them very close. The main differences you’ll see are in yellow to yellow-ish green hues, which tend to be slightly de-saturated in the Mark II.
You can download all the files at once, or download them individually below. To load them all to the camera, copy the private folder to an SD card, and then load that into the camera. You may want to write a generic profile from your camera to your SD card in order to get the folder structure correct. If you are pulling individual files, copy the .CPF files to the Private → C_PICT Folder, and then load into the camera.
…continue reading Canon C300 Mark II Scene Files from AbelCine
The Sony FS5 has become quite popular, and we’ve had a lot of requests for our custom scene files lately, so we’ve created looks for this camera to match our previous looks. As scene files cannot be loaded directly into the camera, we have provided the parameters for each look. If Sony adds a feature to enable looks to be loaded onto a card, we will provide those files in an update.
…continue reading Sony FS5 Scene Files
Engineers at Arizona State University have developed lasers that can output white light, covering the full visible spectrum. This technology (while in its infancy) could pave the way for a future of large gamut (P3, Rec. 2020, etc.) monitors, as current display technology is mostly constrained to Rec. 709 due to the limitations of the light source. Additionally, the laser could be useful in future solid-state lighting applications, and a laser-based version of Wi-Fi called Li-Fi, which is estimated to be 10x faster than Wi-Fi.
Read more about the technology here: http://spectrum.ieee.org/tech-talk/semiconductors/devices/the-first-white-laser
A 180˚ shutter is pretty standard for most film and TV shows. But how can you find the equivalent when shooting with a DSLR, which represents the shutter as a fraction of a second? Here’s a quick little formula you can use to figure it out.
To get the 180˚ equivalent in fractions of a second, multiply your frame rate (x) by 2, and make that the denominator, with 1 as the numerator.
1/(2x) = 180˚
For example, if you are shooting 30 fps, your formula would be the following:
1/(2*30) = 1/60th of a second
Try the formula yourself next time you are shooting with a DSLR, and if you have any questions, leave them in the comments section!
I want to share a quick tip for FS7 owners who are updating their cameras with the version 2.0 firmware and need to record to ProRes.
When updating your FS7 with this firmware, you should make sure to also update your extension unit. The extension unit offers multi-camera support for the FS7 and Apple ProRes 422 encoding. However, if your extension unit is running older firmware, the ProRes option will remain grayed out in your menus.
Check out the Sony Community website for the firmware for both the camera and the extension unit, plus an updated version of the manual.
Intel unveiled Thunderbolt 3.0 today, piggy-backing on the USB group’s new USB-C technology, which is reversible, supplies power, and allows other I/O besides USB to run on it. Thunderbolt 3.0 can provide power, support two 4K displays, and supports up to 40 Gbps data speeds.
…continue reading Intel Unveils Thunderbolt 3.0
Dust and debris on your sensor can be a real problem when shooting with a closed down iris, particularly in bright environments, like a snowy exterior scene, or when shooting tabletop elements. Dust often shows up as soft dark spots in the image. In the video above, I show you one simple way to clear your image of dust, debris and smudges.
…continue reading Service Tips: How to Clean a Dirty Sensor