The Panasonic VariCam LT offers a legendary look in a compact digital cinema camera. Combining the VariCam LT with the Convergent Design Odyssey 7Q+ recorder opens up the ability to capture Raw files. In this blog, I explore how to set up both the VariCam and the Odyssey in order to capture in Raw. The VariCam outputs Raw files in either 12 bit or 10 bit, requiring single and dual-link SDI connections, so I step through both of these scenarios. After setting up the camera, I went out and shot some test footage in both 10 and 12 bit. I then took the footage into DaVinci Resolve for finishing. Check out the video above to learn more.
As the year officially draws to a close, it’s time for our annual round-up of the most popular CineTechnica blog posts over the last 12 months. It’s been a busy 2016, and as usual a wide range of topics was represented – including new product announcements, comparison charts, workflow how-tos, custom scene files, and more.
Our Top 15 blogs are listed below in no particular order. Make sure to check them out, and let us know in the comments what you’d like to see us cover in 2017!
…continue reading Top Blogs of 2016
The Panasonic VariCam 35 has been called the “workflow camera,” as it offers multiple internal recording formats that can really speed up your workflow. The camera can capture a 4K or HD V-Log master, while at the same time recording both HD and proxy for instant dailies. The VariCam LT has the same function, but with just a 4K or HD master and a proxy recording. In the latest firmware updates for both of these cameras, Panasonic has greatly improved the file naming conventions, allowing both the main (master) recording and sub (HD/Proxy) recording to have the same file name. This greatly simplifies the whole process and truly makes these cameras unique and powerful.
Below is an outline of how to set up both cameras for action, and steps for importing footage into Avid, Final Cut Pro X, and Premiere. I’ll also outline a basic finishing workflow with DaVinci Resolve and 4K V-log content.
…continue reading How To: Step-by-Step Workflow for Panasonic Varicam 35 & LT
In addition to manufacturer Tech Talks at our NAB booth this year, we also presented short AbelCine training sessions every day. In the first session, Andy discussed creating 3D LUTs with Pomfort Livegrade. In the second session, Jeff did a short presentation on RED cameras and DSMC2 updates.
For our third session, we had guest instructor Warren Eagles (who has taught some of the ICA classes in our LA office) show off some of his favorite tips and tricks in the newest version of DaVinci Resolve. Make sure to watch all three sessions above and check out all our upcoming AbelCine Training workshops!
…continue reading NAB 2016: AbelCine Training Presentations
Just over three years ago, I wrote up an article on how to import Canon C300 footage into various NLEs. The C300 Mark II has been out for some time now, but it’s just recently that all the major software applications have supported it. Apple’s FCP X has just been updated to support the new XF-AVC 10-bit format found in the C300 Mark II. This is great news for anyone wanting to work with the camera and FCP. Previously, Canon had been giving away an Adobe Premiere subscription with the camera to make sure everyone was up and running.
Below is a brief breakdown of how to use the new footage in both Canon’s own software, as well as FCP X (v 10.2.3), Premiere Pro (2015.2), AVID Media Composer (v 8.4.5), and DaVinci Resolve 12. Note the versions of the software, if you are running earlier versions then compatibility cannot be guaranteed.
…continue reading How to Import C300 Mark II Footage in Avid, FCP X, Premiere & Resolve
Blackmagic Design has released a public beta version of DaVinci Resolve 12 with significant changes and upgrades to the application’s user interface, features and capabilities. The most notable additions are in the area of non-linear editing. Blackmagic Design is clearly looking to make Resolve a competent and competitive NLE capable of running with the likes of Adobe’s Premiere Pro, Avid’s Media Composer and Apple’s Final Cut Pro X.
…continue reading DaVinci Resolve 12 Public Beta Released
Using Pomfort’s LiveGrade you can remotely color grade the VariCam 35. In my previous post, I explained how to set up the camera in preparation for the next step – working with the LiveGrade software. The software connects to the camera over a wired or wireless network and can work in a couple of different ways. You can set it to use the Default 3D LUT in-camera, which uses the V-709 LUT in the camera, and then applies basic CDL color correction. Or you can set LiveGrade to ‘Use 3D LUT from LiveGrade’ which allows you to both load a 3D LUT into the camera and adjust the CDL parameters. These two options give you a lot of versatility in how you work with your material in post production. In the video above I show how to set up LiveGrade and the Varicam 35 for remote color grading. Check it out and let us know what you think.
Make sure to watch Part 1 here: Live Color Grading with the VariCam: Part 1 – Camera Setup