The Atomos Shogun has become a top choice for off-camera monitoring and recording. Its lightweight and feature-rich design make it ideal for acquisition from HD up to 4K. In this blog, I take a look at some of the newer features made available through recent firmware updates, including working with LUTs, audio recording, recording HD & 4K simultaneously, and how to record a clean video signal from the Shogun.
…continue reading At the Bench: Atomos Shogun Features & Configurations
As a busy 2014 comes to a close, it’s time for our annual wrap-up of the most popular posts of the year. This year’s list covers a broad range of topics – from new product announcements to how-to’s on creating and applying LUTs and our ever-popular lens and accessory guides.
Check out our Top 11 blogs below and let us know in the comments what you’d like to see us cover in 2015!
…continue reading Top Blogs of 2014
Our scene file blogs have always been some of our most popular posts, and our specialists get many questions regarding how to create matching scene files for different cameras. Last year I actually wrote an article for HDVideoPro called Making the Match, where I discussed step-by-step how I go about doing this. In that article, I used a Sony F3 and an FS700 as examples, but recently we received an interesting inquiry on how to match a Sony F55 with a Canon C500.
While the process I outlined in my previous column works just fine in this situation, a more accurate solution needs to take into account one of the F55’s newest features: the ability to load in 3D Lookup Tables (LUTs) for viewing on set. Until now, 3D LUTs have mostly been used in post-production applications, but with this new function, they can now be used on set with no additional hardware. In fact, this feature is so popular it’s showing up in more and more cameras, such as the Arri AMIRA and Panasonic Varicam 35/HS.
For more details on 3D LUT support and the the newly-released tools to make working with them even easier (such as Arri’s AMIRA Color Tool) – as well as how I finally got the F55 and the C500 to match – read my newest Help Desk article over at HDVideoPro.
One of the most important features of the new Arri AMIRA is its ability to load 3D LUTs (Look Up Tables), which really allows you to modify the way the camera looks. The ALEXA allows for basic LUTs with ASC CDL adjustments, but the AMIRA goes a step beyond that to allow for full customization of the image.
…continue reading Arri’s New AMIRA Color Tool
In the latest firmware version 4.0 for the F5/F55, Sony added the ability to load custom 3D LUTs. This enables you to see the look you want on set while recording in Raw or Log. Many have been asking about this feature for some time now, and Sony has now made it available. In the video above, I show how to create both 1D and 3D LUTs in Sony’s Raw Viewer software and then import them into the camera. It’s a tricky process, so make sure to follow all the steps. In addition, many people like to work in DaVinci Resolve, so in the video below I show how you can create LUTs in Resolve and edit them to work properly in the F5/F55.
…continue reading Creating and Importing LUTs for the Sony F5/F55
At AJA’s booth, I got a chance to take a look at their new LUT-box, which, true to its name, allows you to load 3D LUTs and output to HDMI and SDI monitors. Approximately the same size as one of AJA’s mini-converters, the LUT-box supports multiple LUT formats and can be easily controlled via the free MiniConfig software. The LUT-box should be available starting next month, so watch my video above for more details.
One of the most popular blog posts I’ve written was a guide to Applying LUTs to Log Footage in various NLEs. Since I posted it, a lot has changed in the popular NLEs; the tools used to apply Look Up Tables are now included in many of them, and they are generally better than ever. Here is a break down of how to apply LUTs to Log footage (or any footage) in Final Cut Pro X, Adobe Premiere Pro CC, Avid Media Composer 7, and Resolve 10.
…continue reading An Updated Guide to Applying LUTs to Log Footage