![]() This could be somewhat exasperating if you had to change the look slightly, then re-render, or if you had to apply the look across multiple clips, then wait a while for it to render. Not too long ago, you had to render FilmConvert’s effects every time you applied them. The folks behind FilmConvert are pretty quick to release new camera packs as new cameras hit the market. I saw a trend emerging: a lot of folks were using FilmConvert.įilmConvert uses custom color science based on the camera you use.Īt the time of this writing, there are camera packs available for everything from the humble Canon Rebel up to the professional ARRI. I began looking around on YouTube and Vimeo to see what fellow filmmakers were using. Imagine my surprise when I ran smack-dab into color wheels, vectorscopes, and RGB parades! Having to deal with what was somewhat like a JPEG file in its flexibility was a bit jarring.Īfter all, I came from the world of Lightroom, Capture One, and Photoshop, which made image manipulation almost ridiculously easy. In RAW, white balance and exposure (among other things) can be adjusted to a pretty wide degree. ![]() When I first started shooting video, I was surprised by the limitations of codec, bit rate, depth, and resolution. It has become one of my favorite color grading tools. We’ll be looking at FilmConvert in particular. Other software packages like Red Giant’s Magic Bullet Suite and FilmConvert can act as plugins for applications like Premiere, After Effects, and Davinci Resolve. LUTs, or LookUp Tables, are looks that can be applied to your footage. ![]()
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