I had the chance to drop by the Flanders Scientific booth, where Flanders CEO Bram Desmet showed off their new BoxIO LUT boxes, as well as the 17″ version of their popular DM250 display, the DM170. The BoxIO comes in two versions: the top-of-the-line version, which features two inputs, two clean loop-throughs and two outputs, and the BoxIO Lite, which has a single input and two outputs and which will retail for under $1000. On both, the two outputs show up in LiveGrade, Pomfort’s popular on-set color grading application, as separate devices meaning that each can receive a distinct LUT, essentially providing two LUT boxes in one. This means up to eight cameras could be independently colored using only four BoxIOs, all of which would fit in only 1U of rack space. The clean loop-throughs solve one of the age-old problems in on-set signal distribution, allowing the clean signal from the camera to travel beyond the LUT box, which has generally been an “end-of-chain” device requiring other hardware prior to it to loop out of cleanly. BoxIO can also save full-res frame grabs to LiveGrade and generate test patches internally, allowing it to be used directly with SpectraCal’s CalMan software and LightSpace CMS without a test signal generator.
…continue reading NAB 2016: Flanders Scientific Updates
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
After using Zacuto’s Gratical EVF on a few shoots recently, I wanted to take a more in-depth look at the exposure tools and LUT functions that can be extremely valuable on set. I already knew I liked the versatility of the viewfinder and the user-friendly interface, but I wanted to see how these advanced tools could benefit my image and my set. In my first video, I use the Zacuto Gratical HD with a Sony FS7, connected via HD-SDI, and then to a TVLogic 5.6″ monitor. I show how to calibrate the viewfinder and how to best use the waveform and vectorscope tools. I also demonstrate to use the false color and zebra overlays to ensure a properly exposed image whether sending a Log or Rec. 709 signal. In addition, I explain how to set up user buttons to maximize the use of these exposure tools in order to judge exposure based on a post-LUT and Log image.
…continue reading Zacuto Gratical: A Closer Look at Exposure Tools & LUTs
At IBC this year, Teradek released their new COLR wireless LUT box. This compact system can take in HD-SDI or HDMI and output a video signal with a Look Up Table (LUT) applied. COLR can work both wired (via Ethernet) and wirelessly, as it has a built in Wi-Fi access point. Once connected you can control the system via a web user interface. This interface allows you to load in LUTs, including 1D LUTs, CDLs, and 3D LUTs with up to 33-point accuracy.
…continue reading At the Bench: Teradek COLR
Canon recently released two packages of 3D LUTs for use with Canon Log and Canon Log 2 on the C300 Mark II. The LUTs are being made available by Canon in .cube format, which is suitable for use in Blackmagic Design’s DaVinci Resolve and many other programs. The .zip file packages, in 17x and 33x size cubes, are currently available for download on Canon’s new website. However, to make things easier – especially for Mac users – we’ve taken the liberty of making Canon’s two .zip files available here without modification. Use the links below to download the two LUT packages directly:
…continue reading Canon Releases New 3D LUTs for the C300 Mark II
In a previous blog, Andy showed us how to create LUTs using Sony’s RAW Viewer software and then import them into the Sony F5 & F55. You can use the same workflow in Sony RAW Viewer to create and import LUTs to the FS7 — but what about when you want to use a LUT that was not created by Sony software?
In this blog, I will create a 3D LUT in DaVinci Resolve and then import it into the FS7. Using the steps outlined in the above video, any .cube LUT can be held in the FS7’s memory. Having the ability to use 3D .cube LUTs expands the capabilities of the camera and allows users to draw on an infinite range of looks for footage recorded in Log or RAW.