LUTs can be very helpful in production and in post LUT there be Light by Charles Amponsah LOOK-UP-TABLES, or LUTs, can be a life-saver when you’re trying to navigate the often unfamiliar world of in-camera LOG footage at the production stage or colour grading in post. The whole point of shooting logarithmically is to get as much dynamic range out of a camera’s sensor as possible. Sony already provides in-camera Gamma Display Assist for S-Log2, […]
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DaVinci Resolve Fairlight. Should it be unbundled and left as a stand-alone audio editor?
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The Netflix Effect, as I call it, means you can now shoot a series, or a stand-alone feature for the streaming service, on a camera that costs less than £2,000 ($2,080 USD or 2,065 €) – cinema tech is at the top of its game. Sony’s FX3 (pictured above and below), became the latest acquisition tool to be added to the Netflix approved list, at the time of the writing of this article. At £4,000 ($3,898 […]
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