James Miller’s DELUTS Releases DELUTS Blackmagic Pocket Cinema Camera 4K Creative Looks

https://sellfy.com/p/gg0m/

“DELUTS BMPCC4K Creative Looks, Base transforms for use with Blackmagic ‘Film’ profile for use with BRAW and ProRes.

75 Luts designed for the Blackmagic Pocket Cinema Camera 4K (This set is also compatable with Blackmagic Ursa Mini 4.6k & Blackmagic Ursa Mini 4.6k Pro using ‘Film’ profile)

• 4 Base Tranforms when working with the Blackmagic Film profile.
• 9 Monotone Creative Looks
• 62 Colour Creative Looks

Davinci Resolve Legacy .cube format Luts. For use in FCPx (Version 4 or Higher), Adobe Premiere Pro CC, Adobe Photoshop, Davinci Resolve and many more supporting applications.

Luts supplied in x64, x33 and x17 resolution. Use x64 for Davinci Resolve, x33 for FCPx and limited adjustment layers with Adobe Premiere CC, x17 for Adobe Premiere CC general use….”

James Miller’s DELUTS Blackmagic Pocket Cinema Camera 4K Creative LUTs for use with Blackmagic raw aka BRAW and Blackmagic camera film profiles.

Commentary

Director/cinematographer James Miller creates and sells creative looks LUTs under the DELUTS brand, and supplies to moviemakers looking for fast, efficient ways of adding strong, emotive looks to their footage.

Mr Miller’s latest DELUTS release is aimed at users of Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K, as well as other cameras using Blackmagic Design’s Blackmagic RAW raw video codec such as the Blackmagic URSA Mini Pro.

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Blackmagic Design: Blackmagic Pocket Cinema Camera 4K ‘Balloons’ [Extreme outdoors lighting test, by Andreas Neumann]

“Andreas Neumann talks about using the new Blackmagic Pocket Cinema Camera 4K for the first time. ‘Balloons’ is Andreas’ extreme lighting test as he constantly shoots directly into the sun, wide open. ‘Balloons’ documents the camera’s performance from 5am in the morning into the height of the midday sun.

“I shot this test at Temecula in California, shooting from dawn until midday. This was a challenging environment for any camera, because I was constantly shooting into the light, or with the sun directly behind people’s faces. The detail I got was incredible. You can see everything reflecting in my wife’s Chanel glasses. You can actually see reflections off the ground, the balloon above, and the sky in the background. The camera really did capture everything I was seeing. I love shooting directly into the light wide open, and with this camera you could safely do that. I was totally amazed at what the micro four thirds sensor could handle. It seemed like the same quality as the URSA Mini Pro with the full sensor. I was also very surprised at how well the back-screen performed in bright sunlight, where I could truly see every detail.”

blackmagic_pocket_cinema_camera_4k_bmpcc4k_04_1024px_60pc
Blackmagic Pocket Cinema Camera 4K with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens and mini-XLR-to-XLR audio cable for attaching XLR microphones, mounted on Benro Aero 4 Video Travel Angel Tripod Kit. Mini-XLR cable is made by Blackmagic Design for their Video Assist monitor/recorder but is also great for connecting XLR microphones to the BMPCC 4K, product code HYPERD/AXLRMINI2.

Commentary

The footage keeps on coming as US moviemaker Andreas Neumann shows off the low-angle, low-level lighting capability of the Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K with this video shot with Rokinon 24, 50 and 80mm cinema prime lenses.

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Header image concept and hack by Carmel D. Morris.

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Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro professional prime lenses with manual clutch focusing, brilliant for shooting video or stills where accurate focus is absolutely critical.

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  • Breakthrough PhotographyB&H – the finest brass traction-framed ND, UV and CPL filters as well as the best step-up rings (sadly only sold direct on the company’s own website at present).
  • Chiaro Premium UV Protection FiltersB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 300mm f/4 IS PRO LensB&H
  • Rokinon Cinema Prime LensesB&H

Blackmagic Pocket Cinema Camera 4K ‘Models Walking at Night’ [Second clip from the BMPCC 4K with skin tones, by John Brawley]

“John Brawley shares his experiences with the Blackmagic Pocket Cinema Camera 4K. ‘Models Walking at Night’ is his second camera test where he was checking out the camera’s higher dynamic range and color accuracy.

“What I wanted to achieve was to test the dynamic range, but to still come up with some really great looking images. Having that higher dynamic range and a high bit depth file, means you have a lot of wriggle-room to correct anything that needs to be balanced. This extra range lets you manage and massage the image to get you into a really nice place. You’re not fighting the codec or the dynamic range of the camera.”

“The Blackmagic Pocket Cinema Camera 4K gives you a ton of options. If you want to take it warmer, darker or cooler, you now have so much latitude in terms of dynamic range and depth of color. With this camera you just have so much extra choice, because you can take the image whereever you want. And that’s the truly great thing about having such a vibrant and high precision image!”

blackmagic_pocket_cinema_camera_4k_bmpcc4k_04_1024px_60pc
Blackmagic Pocket Cinema Camera 4K with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens and mini-XLR-to-XLR audio cable for attaching XLR microphones, mounted on Benro Aero 4 Video Travel Angel Tripod Kit. Mini-XLR cable is made by Blackmagic Design for their Video Assist monitor/recorder but is also great for connecting XLR microphones to the BMPCC 4K, product code HYPERD/AXLRMINI2.

Commentary

This is the second in a series of three videos by Australian Director of Photography John Brawley that explore some of the capabilities of Australian-based Blackmagic Design’s Blackmagic Pockets Cinema Camera 4K, due for release sometime later this year.

Mr Brawley is an exponent of the benefits of shooting video in Micro Four Thirds, and has an extensive collection of Olympus M43 lenses.

In this series of videos, he is using various lenses from the Olympus M.Zuiko Pro collection to great effect, not so hard to do given the manual clutch focus mechanism on these lenses for easier focus pulling and pinpoint manual focus accuracy.

Links

Image Credits

Header image concept and hack by Carmel D. Morris.

Help support ‘Untitled’

Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro professional prime lenses with manual clutch focusing, brilliant for shooting video or stills where accurate focus is absolutely critical.

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • Blackmagic Design Pocket Cinema Camera 4KB&H
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  • Breakthrough PhotographyB&H – the finest brass traction-framed ND, UV and CPL filters as well as the best step-up rings (sadly only sold direct on the company’s own website at present).
  • Chiaro Premium UV Protection FiltersB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
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  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
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  • Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 300mm f/4 IS PRO LensB&H

Blackmagic Design: Blackmagic Pocket Cinema Camera 4K ‘Models Walking in Daylight’ [First footage from the BMPCC 4K with skin tones, by John Brawley]

“John Brawley talks about the Blackmagic Pocket Cinema Camera 4K for the first time. ‘Models Walking in Daylight’ is his first camera test where he checked out the camera’s ability to handle different skin tones.

“The whole point to this daylight test was to see how the camera handled skin tones. We were shooting these scenes later in the afternoon, so I was at ISO1000 or 1250, so it was at the lower ISO for this camera. I understand this gives more in dynamic range, so you have a little bit more highlight-headroom there. When I look at those shots now, I am really impressed at how good the dynamic range is. It is great to see all of that detail I was seeing was actually captured in those shots.”

“I don’t think people realize how easy it is to make things look cinematic with Micro Four Thirds! I know that there are a lot of people who like that 35mm full frame look, but it’s still very easy to get images with an out of focus background with the Micro Four Thirds sensor. I found it a great 4K sensor and really good compromise for a small camera that still gets really, really good looking pictures.”

blackmagic_pocket_cinema_camera_4k_bmpcc4k_04_1024px_60pc
Blackmagic Pocket Cinema Camera 4K with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens and mini-XLR-to-XLR audio cable for attaching XLR microphones, mounted on Benro Aero 4 Video Travel Angel Tripod Kit. Mini-XLR cable is made by Blackmagic Design for their Video Assist monitor/recorder but is also great for connecting XLR microphones to the BMPCC 4K, product code HYPERD/AXLRMINI2.

Commentary

This is the first in a series of three videos by Australian Director of Photography John Brawley that explore some of the capabilities of Australian-based Blackmagic Design’s Blackmagic Pockets Cinema Camera 4K, due for release sometime later this year.

Mr Brawley is an exponent of the benefits of shooting video in Micro Four Thirds, and has an extensive collection of Olympus M43 lenses.

In this series of videos, he is using various lenses from the Olympus M.Zuiko Pro collection to great effect, not so hard to do given the manual clutch focus mechanism on these lenses for easier focus pulling and pinpoint manual focus accuracy.

Links

Image Credits

Header image concept and hack by Carmel D. Morris.

Help support ‘Untitled’

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Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro professional prime lenses with manual clutch focusing, brilliant for shooting video or stills where accurate focus is absolutely critical.

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Blackmagic Design Pocket Cinema Camera 4KB&H
  • Blackmagic Design Mini XLR Cable for Video Assist/4K (Set of 2, 19.5″)B&H
  • Breakthrough PhotographyB&H – the finest brass traction-framed ND, UV and CPL filters as well as the best step-up rings (sadly only sold direct on the company’s own website at present).
  • Chiaro Premium UV Protection FiltersB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 300mm f/4 IS PRO LensB&H

Blackmagic Design: Blackmagic Pocket Cinema Camera 4K ‘Nature’ [First footage from the BMPCC 4K, by Mark Wyatt]

“Mark Wyatt talks about using the Blackmagic Pocket Cinema Camera 4K. ‘Nature’ is Mark’s test of the camera’s 4K performance in the extreme lighting conditions of rainforests and ravines.

“The camera tests I wanted to do were in the forests and waterfalls on the outer West Coast of Canada. I was really interested in seeing how the new sensor would handle these harsh lighting conditions. By increasing the ISO to an impressive 1250 and 2500, it allowed me to capture the dark moss-lined walls and unique emerald color, yet also hold onto the highlight detail of the top of the waterfall and sky. I feel most cameras would likely struggle with this scene.”

“I had the Blackmagic Pocket Cinema Camera 4K for only a few days, but overall I was really impressed by it. The weight of the camera is very liberating, especially when you are used to using larger camera systems. The screen is big and bright enough to use in daylight, which I found great for judging focus and exposure. And, the colors too on the screen, were also nicely represented. In fact, I would argue it is Blackmagic’s best screen yet.”…”

8sinn_bmpcc4k_preview_03_1024px_80pc
Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K in 8Sinn camera cage with Canon 24mm cinema prime lens.

Commentary

It is terrific to see the first footage from Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K finally begin to appear.

Now we need some footage containing skin tones in order to really begin to understand what the camera is capable of!

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Image Credits

Header image concept and hack by Carmel D. Morris.

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blackmagic_pocket_cinema_camera_4k_bmpcc4k_06_1024px_60pc
Blackmagic Pocket Cinema Camera 4K with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro lens with manual clutch focussing.

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Blackmagic Design Pocket Cinema Camera 4KB&H
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  • Canon CN-E 24mm T1.5 L F Cinema Prime Lens (EF Mount)B&H
  • Metabones Micro Four Thirds adaptersB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Rokinon 50mm T1.5 AS UMC Cine DS Lens for Canon EF MountB&H
  • Sigma 18-35mm f/1.8 DC HSM Art LensB&H

B&H Explora: How to Assemble a Video Camera Shoulder Rig

https://www.bhphotovideo.com/explora/video/tips-and-solutions/camera-rig-building-101/bi/19115/kbid/10779

DSLRs and mirrorless cameras are small, light, and can get into spaces traditional cinema and ENG cameras just can’t. However, DSLRs and mirrorless cameras are not meant to work on a film set all day long—it just isn’t in their ergonomics. This is especially true if you are planning on handholding a camera all day, or working with accessories such as follow focus units, zoom motors, or external monitors….”

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CharleneWinfred.com: The Fujifilm X-E3, small but mighty

http://charlenewinfred.com/2017/09/07/fujifilm-x-e3/

“…The X-E3 is, in a nutshell, all my favourite things, in an even smaller package than its predecessor. It’s like Yoda. You think it’s a small frog, then it turns out to be a Jedi Master….

… I’ve been using the X-Pro2 since November 2015, and I still love everything about it, so I’m stoked to have that same image quality and high ISO capability… in a smaller body. And it is really tiny…

… The X-E3 is a tiny machine that packs a punch. If you’re a Pro2 shooter looking for a smaller, stripped down body to throw in your bag, this is it. If you’re a beginner looking for something rangefinder-like that will help you along with your learning curve, this is it. Me? I just love it.”

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FujiRumors: Major Fujifilm X-Pro2 Kaizen Firmware Update Will Add 4K Video and More – with COMMENTARY

http://www.fujirumors.com/major-fujifilm-x-pro2-kaizen-firmware-update-will-add-4k-video/

“… I hear from trusted sources, that Fujifilm is working on a major firmware update for the Fujifilm X-Pro2, which will, among the others, give X-Pro2 owners 4K video and more.

Here on FujiRumors, the community asked for 4K on X-Pro2 multiple times, in dedicated articles and comments, and finally also Fuji Guy Billy joined Fujirumors critics on February 2017, when he said here he is also “fighting with Japan” to implement 4K on X-Pro2.

Well… it seemed all this pressure helped ;)…”

Commentary:

News of a really big kaizen update coming for the Fujifilm X-Pro2 is welcome indeed and may turn around my current thoughts about purchasing a second X-Pro2 as a back-up for my current lone X-Pro2 for documentary photography and video projects.

I grew up on rangefinder analog cameras in all film formats and the unique rangefinder aka OVF (optical viewfinder) vision for stills photography. I used and still own analog OVF movie cameras and they also helped shape my cinematography. Applying a similar vision to still images and moving images was uniquely liberating.

The appearance of the groundbreaking Fujifilm Finepix X100 rangefinder camera liberated me in my use of digital photography after finding the DSLRS of the day stultifying by comparison, despite Canon’s EOS 5D Mark II being such a liberation when it came to HD video.

My X-Pro2 is my only rangefinder camera at the moment though I also use and love EVF cameras constructed in rangefinder-style and DSLR-style configurations. I may well add a Fujifilm X100F rangefinder camera with the WCL-X100 II Wide Conversion and TCL-X100 II Teleconversion lenses should the need for a small, fast and discrete documentary stills camera arise.

I am holding out hopes that the 4K video functionality that some Fujifilm staff members were convinced would appear on the X-Pro2 after the arrival of the 4K-capable X-T2 will finally make its appearance even if it must be implemented via a similar line-skipping technology to the one found in Fujifilm’s X-T20.

There are distinct advantages to shooting and editing in 4K UHD and 4K DCI compared to the 1080p HD and 720p HD currently available on the X-Pro2, not least being better quality from downsizing to smaller release formats and the ability to apply software-based stabilization via firmware or NLE plug-ins like CoreMelt’s Lock & Load without losing too much of the frame.

There is more to useful video capability than 4K though, and Fujifilm needs to add other video-centric features to its X-Pro2 and X-T2. I might add that I am not the only video and stills shooter saying this.

Here is my current full-length X-Pro2 firmware wishlist, not in order of importance:

  • 4K video – even if it must be implemented via line-skipping as in the X-T20. Every camera I own must be capable of acceptable, professional-quality stills and video. You never know when a situation demands one or the other or both and I cannot always carry a stills kit and a video kit.
  • Highlight tone, shadow tone, color and noise reduction adjustments – all absolutely necessary for serious, professional video.
  • Ability to easily choose, set and lock 1/48th or 1/50th of a second for video.
  • Improved autofocus in low light aka available darkness – I bought the Fujinon XF 23mm f/1.4 R and Fujinon 56mm f/1.2 R lenses after seeing how documentary event photographer Kevin Mullins uses them so effectively in his work. The latter lens is much slower to manually focus than the former, and faster autofocus on both would help compensate for their optical configurations and slow focussing motors.
  • Changeable focus point for video – same as when shooting stills.
  • Electronic Viewfinder (EVF) – has a distinct colour cast that changing the settings does not affect well enough. I understand that a great deal of the X-Pro2’s hardware development effort went into the Hybrid Multi-Viewfinder, an advanced OVF, but not all lenses work best in OVF mode. I wish to see the EVF improved as much as firmware permits.
  • Live exposure zebras – are crucial to obtaining and maintaining optimal exposure when shooting video and stills, especially when using ETTR – exposing to the right.
  • Tethering – I bought the X-Pro2 primarily as a handheld documentary stills and video camera, but I also use it for studio and on-location portraiture and increasingly still-life photography due to the X-Trans sensor’s remarkable colour rendition. Tethering would be an asset especially given the X-Pro2 lacks a fully-articulated or even partly-articulated LCD monitor.
  • Full range of ISO adjustments with a Command Dial – I often use the X-Pro2 in fast-moving documentary situations where fiddling about with its combined ISO/shutter speed dial is out of the question. Although I often rely on the camera’s AutoISO function in those situations, there are many others where quickly setting ISO manually is optimal.
  • Color Chrome – having briefly tried out the Fujifilm GFX 50S and later studying the results other photographers have obtained from that camera’s JPEGs with the Color Chrome setting, I would love to have it on the X-Pro2 and other Fujifilm cameras. I have been using custom JPEG settings more lately after some photographers published their own but there is something still lacking especially in the Velvia (Vivid) analog film simulation of one of my favourite films of all time.
  • HDMI port live view – crucial when using external monitors and recorders.
  • Focus points for portrait and landscape mode – just like the X-T2, especially invaluable when shooting portraits.
  • Panorama mode – brilliant when regular photographs will not do the job.
  • Improved face detection – especially when the subject is anything but full face frontal to the camera.
  • 4:3 aspect ratio – Fujifilm cameras currently offer three aspect ratio choices – 3:2, 16:9 and 1:1. Panasonic adds 4:3 on its Lumix cameras which  have micro four thirds sensors and I use that aspect ratio a great deal, whether vertically as 3:4 or horizontally as 4:3. Either way, the 4:3 aspect ratio is excellent for portraiture of all types and is close to the 5:4 aspect ratio of the 4″x5″ sheet film, 6cm x 4.5cm and 6cm x 7cm 120 roll film analog cameras. I find 2:3 too narrow for vertical portraits. Granted, one can crop in post-processing but years of experience show it is better to design the image perfectly in-camera without leaning on later cropping for tightly-designed images. Also, magazine page aspect ratios are closer to 3:4 than 2:3.
  • 1:1 pixel-level image review – critical applications such as portraiture and product photography demand accurate viewing of shots in-camera at the pixel level, at a 1:1 magnification. I can check if eye highlights are razor sharp on my Panasonic Lumix cameras so why can I not do this on my Fujifilm cameras? This feature is even more crucial given the lack of tethering on the X-Pro2. We need all our mirrorless cameras to have a full set of professional features.

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Creative Planet Network: A Cinematic Solution at a Sensible Price: How JVC’s GY-LS300 Expands Production Capabilities

http://www.creativeplanetnetwork.com/news/shoot/cinematic-solution-sensible-price-how-jvc-s-gy-ls300-expands-production-capabilities/611665

The GY-LS300 comes with a Micro Four Thirds (MFT) universal lens mount, and adapters are available for PL, EF, Nikon, C and other lenses….

Besides resolution, one figure that stands out about the GY-LS300 is its suggested price of $4,395—and the street price, which is about $1,000 less.

JVC GY-LS300 4K camcorder with Veydra Mini Prime Micro Four Thirds geared cinema lenses

I really appreciate the flexibility the GY-LS300 gives you to adopt any kind of lens,” he says. “I like both Canon and [Duclos] Veydra lenses, and the JVC mounting system handled them very well.” … Sanjeev Chatterjee

Can he recommend any improvements? “Sure. The camera would benefit from an additional threaded tie-down,” Herrlin says. “Also, it comes with a small viewfinder, probably to save cost. I’d like a higher resolution one, and a viewscreen that can stand up to bright outdoor sun.” … Steve Herrlin