PauL Leeming’s Leeming LUT Pro Now Released for Fujifilm F-Log, LUTs for Eterna Cinema, Pro Neg Std and HLG for Rec709 Coming Soon

Cinematographer/director Paul Leeming of Leeming LUT Pro and Visceral Psyche. Photograph made by Karin Gottschalk with Fujifilm X-T3 and Fujinon XF 56mm f/1.2 R then processed in Alien Skin Exposure X4 using Summer Blockbuster cinematic preset.

Australian feature film cinematographer/director Paul Leeming has released the first camera profile correction look-up table in his Leeming LUT Pro set for Fujifilm X-Trans sensor-equipped cameras, for Fujifilm’s F-Log logarithmic shooting profile, with Eterna Cinema, Pro Neg Std and HLG for Rec709 LUTs to come. 

This is a significant and long-awaited event given that Fujifilm has finally delivered on its longtime promise to radically improve its cameras’ video capabilities with the Fujifilm X-T3 and X-H1, with the coming X-H2 hopefully improving on the X-T3 as a moviemaking hybrid mirrorless camera in Super 35 format. 

Super 35 has long been the feature film format of choice for narrative and documentary production, and the arrival of improved video capabilities on Fujifilm’s X-T2 cameras was a relief after the disappointment of the X-Pro2’s video support. 

Leeming LUT Pro for F-Log on Fujifilm cameras with X-Trans sensors

LeemingLUTPro_Fujifilm_F-Log_Sample_2019-10-29
Still frame from sample footage of Leeming LUT Pro for Fujifilm F-Log in use with video from Fujifilm X-T3.

Even the recently announced X-Pro3 appears to have 4K Super 35 video features that may prove good enough in a pinch when more video-oriented cameras are unavailable.

The Leeming LUT Pro expose and correction methodology is based on exposing to the right aka ETTR followed by correction via camera-specific look-up-table files in one’s nonlinear editing suite or colour grading software of choice.

The ETTR method’s most vocal proponent was the late Michael Reichmann who was in favour for its use in photography and videography, and although he and many other photographers constantly lobbied camera makers for auto-ETTR in their Live View-capable cameras, to no effect so far.

Why camera makers continue to ignore the necessity of optimal exposure is anyone’s guess.

For that reason I am grateful that Paul Leeming has applied himself to solving the problem of correct exposure followed by correcting colour via Leeming LUT Pro, with the added benefit of making footage shot on a variety of affordable cameras usable in the same timeline without excessive shot matching work.

The ideal, maximum possible dynamic range and realistic colours, using Leeming LUT Pro and Expose-To-The-Right (ETTR)

leeminglutpro_corrected_2048px
Footage with Leeming LUT Pro applied in nonlinear editing suite.

Uncorrected camera maker luma and colorimetry

leeminglutpro_outofcamera-uncorrected_02_1129px
“Uncorrected manufacturer luma curve and colorimetry. Notice how the X shape is all distorted and not straight, and how it artificially lifts the mids to make them much brighter (a favourite trick of the manufacturers to make their images appear brighter than the sensor is recording them).”

Luma curve and colorimetry levels corrected with Leeming LUT Pro

leeminglutpro_outofcamera-to-corrected_02_1129px
“Corrected luma curve. Notice how straight the X shape is. As an aside, you can also see the fixed colorimetry levels.”

In the light of camera makers’ tendency to fudge their camera’s video output as illustrated above, exposing to the right appears to make footage appear darker than one may be accustomed to, but Mr Leeming has made available other, secondary, LUTs to quickly and easily raise footage low values, as explained below.

As usual, the LUT will “darken” the footage, which really just means it will make the curve perfectly LINEAR. Examine the attached image using your waveform scope in your favourite editing software, and you’ll see what that means, with the exposure steps forming a perfect “X” shape in linear fashion. This is of course ETTR, so if you under-expose your image, it will look darker.

The LUT(s) don’t make the image darker. The LUT(s) correct the manufacturer luma curves to be linear. In most (but not all) cases, this results in the image “appearing” to be darker, but it’s not affecting anything, nor clipping anything, nor adding additional noise that wasn’t in the shot to begin with.

Don’t forget, you also have the Apollo Pro Quickies to use after the corrective LUT in case you want to brighten the image without clipping the highlights or adding any more shot noise. But when you can, please ETTR and save yourself the problems (and give yourself the cleanest possible log image to begin with).

If your shot after LUT application has its highlights not reaching 100% IRE, then you underexposed it. Use the zebras as per the guide to see where the clipping point is. Expose just shy of that and you’ll maximise sensor dynamic range and minimise shot noise.

If you HAVE underexposed or simply want a brighter image post-corrective LUT, try following it with one or more of my Apollo Pro Quickies, which are expressly designed to lift the shadows in a natural way without clipping the highlights.

Stills frames from feature film shot by Paul Leeming, ungraded then graded with Leeming LUT Pro

Settings for shooting video Fujifilm cameras for processing with Leeming LUT Pro

  • Pro Neg Std, Eterna Cinema, F-log or HLG
  • H265 recording format
  • DR100 for all profiles
  • Highlight tone 0
  • Shadow tone 0
  • Color 0
  • Sharpness -4
  • Noise Reduction -4
  • Zebra level 100%

Quick and dirty Leeming LUT Pro for Fujifilm F-Log tryout with Fujifilm X-H1 F-Log footage

I shoot documentary stills and video rather than make narrative feature movies, so often work alone under challenging conditions as in this example.

The Fujifilm X-H1 had a vintage Zeiss Jena Pentacon 50mm f/1.8 MC Auto prime lens attached to it via a Gobe M42-to-X-mount adapter with no neutral density filter, and I fudged on setting a custom white balance as I was more concerned with understanding the creative possibilities of this lens for video than in getting technicalities perfect.

An adapted 50mm lens on an APS-C/Super 35 camera equates to 75mm in the 35mm sensor format, which is one of my favourite focal lengths for documentary photography and video.

I have been throughly enjoying trying out this lens and its companion, a Panagor PMC 28mm f/2.8 wide-angle prime lens that Paul Leeming kindly gave us.

These sorts of vintage prime lenses are rare and overpriced here in Sydney, at least ever since camera stores like Foto Reisel with their secondhand gear cabinets closed down.

Fujifilm Super 35/APS-C hybrid cameras capable of shooting 4K and Cinema 4K F-Log video as well as in other picture profiles: X-T3, X-H1 and X-Pro3

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  • Fujifilm XF and GFX CamerasB&H
  • FUJIFILM X-Pro3 Mirrorless Digital Camera B&H
  • Fujifilm XF LensesB&H

Paul Leeming Releases Leeming LUT Pro for Panasonic, Sony and Other Cameras, Now Working on LUTs and Settings for Fujifilm Cameras

Cinematographer/director Paul Leeming of Leeming LUT Pro and Visceral Psyche. Photograph made by Karin Gottschalk with Fujifilm X-T3 and Fujinon XF 56mm f/1.2 R then processed in Alien Skin Exposure X4 using Summer Blockbuster cinematic preset.

Leeming LUT Pro has been released for a range of popular mirrorless, drone and action cameras, so Paul Leeming is working on his Leeming LUT Pro Fujifilm combo pack.

Mr Leeming has just purchased a Fujifilm X-T3 Super 35/APS-C hybrid camera in order to dig deep into Fujifilm cameras’ video settings and capabilities.

Cameras currently supported by Leeming LUT Pro include those made by Blackmagic Design, DJI, GoPro, Panasonic and Sony, with a list of which camera models are included now available at the Leeming LUT Pro web page.

The use of LUTs aka look-up tables for camera-matching profiles, dynamic range curve correction and creative looks is supported by a number modern nonlinear editing and colour grading applications including Adobe Photoshop, Adobe Premiere Pro, Apple Final Cut Pro, Avid Media Composer, Cyberlink PowerDirector, DaVince Resolve and Resolve Studio, Grass Valley Edius, HitFilm, Magix Vegas and a number of third-party colour grading plug-ins.

Several external recorders and monitor/recorders connected via SDI or HDMI are also supported by Leeming LUT Pro including those made by Atomos, BlackMagic Design, Convergent Design and Video Devices.

The news that Leeming LUT Pro will soon be supporting Fujifilm cameras is particularly welcome given that the Fujifilm X-T3 and X-T30 are proving to be excellent and affordable Super 35 video production cameras whether used standalone or connected via HDMI to external monitor/recorders.

Using Leeming LUT Pro

There appears to be persistent and widespread confusion about how best to expose video with no end of theories flying about and pundits purporting to know which theory is currently the best or the trendiest.

Mr Leeming has throughly researched the technical aspects and limitations of a range of current and recent hybrid camera sensors and has delved deep into each manufacturer’s colour science in this longtime RED camera owner’s quest to derive the best and most photorealistic colour from every camera.

I have watched him test cameras at the Unititled studio and have noted the thoroughness with which he does it, well-qualifying him to issue PDF manuals on how to best set-up each camera, how to best expose and how best to use LUTs in NLEs and colour grading software.

Correct exposure is achieved via exposing-to-the-right aka ETTR, a principle originally promoted by the late Michael Reichmann of The Luminous Landscape aka LuLa for digital stills photography but equally applicable to digital video.

The aim of ETTR is to adjust “the exposure of an image as high as possible at base ISO (without causing unwanted saturation) to collect the maximum amount of light and thus get the optimum performance out of the digital image sensor” according to Wikipedia’s entry on the technique.

I am currently awaiting before and after samples and other supporting images for current Leeming LUT Pro combo packs and when received will be publishing articles on each and how they work, so please come back to Unititled soon!

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DPReview: EXCLUSIVE: Hands-on with upcoming Fujifilm XF and GF lenses [Including Fujifilm’s Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens] – UPDATED

https://www.dpreview.com/articles/9472614833/exclusive-hands-on-with-upcoming-fujifilm-xf-and-gf-lenses

“…We’re in Dubai, where Fujifilm is showing off pre-production and prototype samples of three upcoming lenses – the GF 50mm F3.5 – a compact, lightweight standard lens for medium format – the XF 16mm F2.8, and the XF 16-80mm F4 – both of which [were] designed for the company’s range of APS-C format X-series cameras.

Click through for an exclusive first look at all three, including detailed specifications….”

Staffers at the Amazon-owned photography hardware review site DPReview got their hands on three upcoming lenses for Fujifilm’s G and X series cameras at Gulf Photo Plus aka GPP’s GPP Photo Week 2019 in Dubai. Here is the Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.

Commentary

As time is inching towards the release sometime in the first half of 2019 of Fujifilm’s Fujinon XF 16-80mm f/4.0 “travel” zoom lens it is terrific to get some idea of its size and features and other it may provide a solution for own needs as a documentary photographer and videographer.

I am self-funded, only able to carry a small amount of hardware on each project, and must work within ongoing limitations – thanks for nothing, Australian banksters, for blowing our refinancing out of the water after you were found out for your crimes by the Royal Commission into banking.

I must be able to get the most out of the hardware I carry and it must be able to help me create good enough movies and videos without the benefit of cases full of equipment, assistants and crews, and the big budgets that I never had anyway when working as a magazine editorial and corporate photographer during the analog era.

Gaps in their offerings

As two relatively new camera and lens systems, Fujifilm’s APS-C sensor format X system and medium format G system  still have gaps in their offerings, especially for documentary types like me who prefer to rely on fast prime lenses with all the manual controls that can be had.

Not to say that I do not appreciate zoom lenses now that their optical, mechanical and image quality are so good nowadays.

I also use and love Panasonic’s Micro Four Thirds cameras and Olympus’ M.Zuiko Pro lenses, with my most-used lens being the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens and, had it been released at the time I bought my first Panasonic camera, I may well have chosen the Olympus M.Zuiko Digital ED 12-100mm f/4.0 OIS Pro zoom lens instead.

Slower zoom lenses are fine so long as you supplement them with moderately wide and moderately long fast aperture prime lenses for available darkness documentary work and portraiture, and Olympus offers three of  them in its M.Zuiko Pro range at the moment, with more to come I hope.

Going fast to begin with

At the time I bought my first interchangeable lens Fujifilm camera, the company did not offer a standard zoom lens like those above made by Olympus or their Panasonic equivalents, so I invested in a Fujinon XF 23mm f/1.4 R and Fujinon XF 56mm f/1.2 R, well answering my fast aperture moderate long and wide needs.

Another longstanding need has been for a professional quality 18mm prime lens equivalent to 28mm in the 35mm sensor format and 14mm in the Macro Four Thirds sensor format.

With little sign of Fujifilm offering such a lens any time soon, I have had to consider other possibilities including adapting an EF-mount Sigma 18-35mm f/1.8 DC HSM Art zoom lens to X-mount, but this solution is best suited to DSLR-style cameras like the X-T3 rather than the rangefinder-style X-Pro2 that is much more effective for hardcore immersive documentary photography.

Interest piqued

My interest in the coming  Fujinon XF 16-80mm f/4.0 R OIS zoom was piqued when I borrowed a Fujinon XF 18-55mm f/2.8-4.0 kit zoom lens for my first tryout of the X-T3.

I loved its 18mm widest focal length, rarely used the lens at 23mm and 55mm as I was also carrying my X-Pro2 equipped with either of those two lenses, and would have loved access to longer focal lengths than 56mm for those times I could not get close enough.

DPReview’s hands-on with the Fujinon XF 16-80mm f/4.0 R OIS WR zoom provides a reasonably reliable impression of the lens in its shipping form and confirms it has a marked, clicking aperture ring and weather resistance, though no manual clutch focus or, probably, no clickless option.

The X-T3’s firmware offers the ability to switch focus-by-wire from non-linear to linear so I will be giving that feature a tryout during my current X-T3 loan period over the coming days.

Two out of three

Two out of three ain’t bad for the Fujinon XF 16-80mm f/4.0 R OIS WR zoom.

As I am not a fan of the neither fish-nor-fowl 16mm focal length, equivalent to 24mm in the 35mm sensor format, the Fujinon XF 16mm f/2.8 R WR “Fujicron” lens is not on my wishlist which is topped by the Fujinon XF 14mm f/2.8 R annual clutch focus prime lens to tackle the ultra wide end of things and has a 58mm filter diameter, meaning I can easily add a knurled brass Breakthrough Photography step-up ring for my neutral density filters when shooting video.

Although I would prefer to have a set of wide-aperture manual-clutch-focus primes for all my documentary moviemaking and photography, the Fujinon XF 16-80mm f/4.0 R OIS WR zoom would provide a range of my most-needed focal lengths – 18mm, 23mm, 27mm, 56mm and 70mm.

In 35mm sensor format terms, that is 28mm, 35mm, 40mm, 85mm and 105mm, and a limit of 120mm at the long end will account for those rare times my feet are unable to do the zooming.

Postscript

Fuji Rumors has republished images and information about the northern hemisphere fall aka autumn 2019 (southern hemisphere spring 2019) release of the XF 16-80mm f/4.0 R OIS WR including these from Japanese website capa.getnavi.

Many thanks to Fuji Rumors for the slide translation:

Fujinon XF 10-24mm R OIS, Samyang 12mm f/2.0 NCS CS X-Mount, Fujinon XF 14mm R and Venus Optics Laowa 9mm f/2.8 Zero-D for architecture and documentary

I have a longterm project coming up where I need to document the construction of a house from greenfield to completion, and I need to expand my stills photography kit for that and a number of other upcoming stills and video projects.

Right now I have no idea what my budget will be, given the economy-wrecking predations of the Australian banks and real estate agencies over the past couple of years, but there are at least two options.

Minimalist:

  • Fujinon XF 14mm f/2.8 R with Fujifilm VF-X21 external optical viewfinder for my X-Pro2.

Maximalist:

  • Fujifilm X-T3
  • Fujifilm MHG-XT3 Metal Hand Grip
  • Fujifilm VG-XT3 Vertical Battery Grip
  • Fujinon XF 10-24mm f/4.0 R OIS
  • Fujinon XF 16-80mm f/4.0 R OIS WR
  • Breakthrough Photography 72-82mm knurled brass step-up ring x 2
  • Breakthrough Photography lens cap, 82mm x 2
  • Breakthrough Photography X4 UV filter x 2
  • Fixed or variable neutral density filters, 82mm diameter

There are other lenses available that receive good reviews and are suitable for architectural photography though they are too ultra-wide for documentary photography, the Samyang 12mm f/2.0 NCS CS X-Mount at 18mm equivalence and Venus Optics Laowa 9mm f/2.8 Zero-D at 13.5mm equivalence in the 35mm sensor format.

If only one lens it is to be, then the minimalist option makes sense as I rather like the Fujinon XF 14mm f/2.8 R’s 21mm equivalence for figures in landscapes, emotive close-up documentary shots, and architectural and cityscape work.

This lens will need Fujifilm’s VF-X21 viewfinder sitting on top of my X-Pro2 as a 14mm field of view falls outside the X-Pro2’s 18-56mm optical viewfinder bright frames and the X-Pro2’s EVF is not what I would like it to be.

Will the X-Pro3 improve upon that and other weak points?

If there is budget enough, then of course I would prefer the maximalist option camera and lens plus upgrading my ageing post-production facility.

The X-T3 plus grips and two zoom lenses, with the addition of my three current 23mm, 27mm and 56mm Fujinon prime lenses, makes a good Super 35mm video set-up combined with Fujifilm’s X-Trans 120-rollfilm quality stills.

The Fujinon XF 10-24mm f/4.0 R OIS is an ageing lens design, however, and lacks weather resistance and appears to be at its best optically speaking from f/8.0 rather than closer to f/4.0.

I want to see Fujifilm bring it up to current standards with a Fujinon XF 10-24mm f/4.0 R OIS WR zoom that will make a great match with the coming Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens, giving the equivalent of 15mm through to 120mm in the 35mm sensor format.

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Help support ‘Untitled’

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’.

  • Breakthrough PhotographyB&H
  • FUJIFILM VF-X21 External Optical ViewfinderB&H
  • FUJIFILM X-Pro2 Mirrorless Digital CameraB&H
  • FUJIFILM X-T3 Mirrorless Digital CameraB&H
  • FUJIFILM MHG-XT3 Metal Hand GripB&H
  • FUJIFILM VG-XT3 Vertical Battery GripB&H
  • FUJIFILM XF 10-24mm f/4 R OIS LensB&H
  • FUJIFILM XF 14mm f/2.8 R LensB&H
  • FUJIFILM XF 18-55mm f/2.8-4 R LM OIS LensB&H
  • FUJIFILM XF 23mm f/1.4 R LensB&H
  • FUJIFILM XF 56mm f/1.2 R LensB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO LensB&H
  • Samyang 12mm f/2.0 NCS CS Lens for Fujifilm X-MountB&H
  • Venus Optics Laowa 9mm f/2.8 Zero-D Lens for Fujifilm XB&H

Bounce-Back and Sore Eyes: Why to Choose Black-Bodied Cameras Over Half-Silvered Ones

I have been trying out a Fujifilm X-T3 loaded up with the latest firmware in order to shoot some HLG video footage and further try out the camera’s radically improved autofocus functionality which will reportedly be getting better again in a future firmware update, possibly in April this year. 

The first X-T3 I borrowed was half silver and half black while the current loaner is all black, and what an unexpected and pleasant difference that has made.

I made great use of the silver X-T3 in a two-day documentary photography project and shot quite a bit of footage with its Eterna and F-Log picture profiles, on location in available darkness and the brightest of high UV sunlight.

Each time, halfway through the day I would notice my eyes becoming sore and by day’s end the soreness would be unbearable, especially in my right eye.

_5780135_1024px_80pc
Plenty of reflective silver. Fujifilm X-T3 minimally rigged for video with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens, 58-77mm step-up ring, variable ND filter and lens cap for protection in your camera bag when out walking about.

I am ambidextrous and tend towards right eye dominance though that is not exclusive, and with DSLR-style cameras always use my right eye to view through their electronic viewfinders.

I had attributed the unaccustomed soreness to the slowly worsening eyesight of my ageing myopic eyes, and had feared the worst for my eyesight despite recent eye tests showing expected slow, steady but not marked deterioration in vision.

I wondered whether using an EVF camera might be the cause of the soreness given I own two Fujifilm viewfinder cameras, an X100 and an X-Pro2, and use their optical viewfinders in preference to their EVFs.

But then I also have two Panasonic Lumix EVF cameras, one viewfinder-style and the other DSLR-style, and have never experienced problems like this with either of them.

This week, after extensive use of the black X-T3 for shooting video and stills, I am reluctantly coming to the conclusion that the silver X-T3 and its highly reflective silver-coloured magnesium upper body might be the reason for my previous and constant eye soreness.

I have had no eye soreness with the black X-T3 at all.

Of course, this observation about the difference between the two versions of the X-T3 is a deduction and not the result of any form of scientific test, but it is something worth thinking about when I am in a position to invest in my own X-T3 and the coming  Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.

I had been wondering whether my eye soreness was the product of the EVF in the X-T3, and was worried the problem might rule out investing in an X-T3 or any other DSLR-style Fujifilm camera, but the electronic viewfinder clearly is not the source of that problem.

Postscript

I used the black X-T3 in a wide range of lighting conditions throughout the weekend, in bright high-UV sunlight, deep shade and in poorly-lit train stations and experienced none of the eye soreness that I had when using the silver X-T3.

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  • FUJIFILM X-Pro2 Mirrorless Digital CameraB&H
  • FUJIFILM X-T3 Mirrorless Digital CameraB&H
  • Fujinon XF 16-80mm f/4.0 R OIS WR – to be released later in 2019.

The Joy of Documentary Photography

Documentary photography is, in my opinion, one of the noblest, most socially useful and most personally rewarding pursuits one can engage in with camera in hand.

Photograph by David Turn from ‘Wales 1970s’ published by Café Royal Books.

It is regrettable that fashion and the death of magazines that relied upon documentary photography and its subgenre photojournalism have conspired to assign the genre into the waste bin of history only to be revived and celebrates by the likes of Café Royal Books, but that should not put off contemporary would-be documentary photographers.

Documentary photography at its best frames a mirror before the events, people and places of its time and is even more important in an age where entertainment is preferred to information, fantasy is preferred to fact and religion is preferred to science.

Against this background, documentary photography is an act of resistance born of seeing the world and all within it with supreme clarity.

Even if documentary photography’s current lack of fashionability and respectability, sees the genre absent from galleries, away from museums, off the television and out of print, I encourage all who may be so inclined to take on its mantle and practise it each and every day, where you live, where you work and in the streets of your city, town and country.

Do so especially if you are one of those whom the gatekeepers reject, whose experiences and views of the world are traditionally denied and ignored.

Do so especially when the gatekeepers may appear to accept your right to exist and be a documentary photographer but dictate rules and regulations at you that are designed to keep you, your vision and your work under control, compliant and conforming.

Do so because your right to to be you, to see as you do, to depict as you do and to tell your stories in your own way is unassailable no matter what lies you are told and what power games and punishments are enacted against you.

Above all, documentary photography is fun, demanding as it does a deep and constant engagement with this world and all that is in it to the point where it is possible to enter a flow state, also known as being in the zone.

Documentary photography is, in my experience, the surest way to achieve flow state that I know, a gateway into sheer joy.

Ways and means of production

The hardware and software of digital photography have come a long way since it began replacing analog film-based photography to the point where most cameras, lenses and processing software will do the job well enough now.

While most of the wide range of the analog era’s cameras, lenses and types of films, processing and printing materials no longer exist, contemporary digital cameras offer analogies of some of those upon which documentary photographers once relied:

  • Rangefinder cameras in 120 rollfilm and 35mm formats.
  • Single lens reflexes aka SLR.
  • Twin lens reflexes aka TLR.
  • View cameras in field camera and studio versions.

The mirrorless cameras of the analog era and now the digital age offer the advantage of silent operation and the lack of mirror slap and shutter shake, especially when shooting in electronic shutter mode.

Without the ongoing punitive financial burden of film, processing, proofing, printing and archival storage, digital photography is more affordable than analog so consider future-proofing and capability-expanding yourself through wise investment.

Hybrid digital mirrorless cameras open up the world of documentary moviemaking in ways that never existed for analog just with a little extra expenditure on video production accessories.

With DSLR giants Canon and Nikon finally seeing the light and slowly coming up with viable soon-to-be-released mirrorless alternatives, and mirrorless pioneers Fujifilm, Olympus and Panasonic already well established with a wide range of mirrorless cameras and lenses at several price points, there has never been a better range of choices in equipment.

Hybrid mirrorless cameras open up the world of documentary moviemaking in ways that never existed during the analog era and, with a little extra expenditure on video accessories, allow you to create professional-quality productions.

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I will add to this section soon, so please come back again if it is useful.

Rangefinder and Rangefinder-Style Cameras

Fujifilm
  • Fujifilm MHG-XPRO2 Metal Hand Grip for X-Pro2B&H
  • Fujifilm X-Pro2 Mirrorless Digital CameraB&H
  • Fujifilm X-Pro2 Mirrorless Digital Camera with 23mm f/2 Lens (Graphite)B&H
  • Match Technical EP-XP2 Thumbs Up Grip for Fujifilm X-Pro2 (Black)B&H

The Guardian: University guide 2019: league table for film production & photography [Coventry University #1]

https://www.theguardian.com/education/ng-interactive/2018/may/29/university-guide-2019-league-table-for-film-production-photography?CMP=Share_iOSApp_Other

“If you dream of spending hours mulling over snaps in a dark room, or are incapable of sitting through a film without boring your friends with comments about the special effects, a degree in either film production or photography could be for you….”

fujifilm_x-e3_1080087_luminar_1024px_60%

Commentary

Congratulations to the film and photography teaching team at Coventry University for being placed at number 1 with a score of 100 for 2019, and especially to its photography teaching team which includes a number of Australians including Anthony Luvera and Gemma-Rose Turnbull.

Coventry University very much sounds like the sort of institution I was so hoping that the university I attended might be but most certainly was not, with film and photography teachers of a calibre that simply did not exist back then in Western Australia.

Links

Leeming LUT Pro Coming Soon to Level the Hybrid Camera Video Playing Field with Radically Improved Colour Accuracy for Easy Colour Matching

While we have been stunned and amazed by Australian company Blackmagic Design’s coming revolutionary Blackmagic Pocket Cinema Camera 4k aka BMPCC 4K aka P4K, a a quiet revolution in hybrid camera video post-production has been brewing. 

Australian cinematographer/director of photography/director/writer Paul Leeming of Visceral Psyche Films has been radically overhauling his Leeming LUT suite of camera profile colour matching 3D LUTs whilst grading Kodokushi, the very first full-length feature film to be shot on the affordable, award-winning Panasonic Lumix GH5S high-end compact video camera. 

paul_leeming_panasonic_lumix_gh5s_zoom_h4n_rig_01_1024px_60pc
The Panasonic Lumix DC-GH5S plus 8Sinn GH5/GH5S cage-based rig used by Paul Leeming to shoot ‘Kodokushi’, the first full-length feature film to be shot with the GH5S.
During his first visit to ‘Untitled’ Paul Leeming tested several cameras for possible Leeming LUT One custom 3D LUTs.

As we learned earlier this year when Mr Leeming dropped by our home studio after wrapping production on the Kodokushi shoot in Osaka, the Leeming LUT camera profile testing and production process has evolved courtesy of now basing it on 3D LUT Creator combined with a new footage creation methodology.

We tested an early beta of Leeming LUT Pro, successor to Leeming LUT One, against earlier versions of Leeming LUT One and were suitably impressed.

Leeming LUT Pro has delivered on its predecessors’ promise of enabling easier, faster and more accurate correction of video footage from a range of hybrid cameras and camcorders affordable for self-funded, low-budget, independent documentary and narrative moviemakers.

Leeming LUT Pro makes that possible regardless of whether video acquisition is via Rec. 709, Rec. 2020, log, flat or regular picture profile footage, and with whichever brand camera so long as Mr Leeming has tested its footage for creation of his custom camera profile 3D LUTs.

Still frame from ‘Kodokushi’, the very first feature film to be shot with the Panasonic Lumix DC-GH5S video camera by Director of Photography Paul Leeming.
Still frame from ‘Kodokushi’, the very first feature film to be shot with the Panasonic Lumix DC-GH5S video camera by Director of Photography Paul Leeming.
Still frame from ‘Kodokushi’, the very first feature film to be shot with the Panasonic Lumix DC-GH5S video camera by Director of Photography Paul Leeming.
Australian director/cinematographer Paul Leeming with his Panasonic Lumix DMC-GH4 rig during his first visit to the ‘Untitled’ home studio..

Contemporary moviemakers often use a range of cameras on any given production, presenting a costly, time-consuming colour-matching headache during the postproduction process.

With Leeming LUT Pro, a timeline of footage from several different cameras can be colour-matched by dropping the relevant Leeming LUT Pro camera profile custom LUT onto each clip, evening their colour up for faster subsequent colour correction then colour grading for looks and emotion.

Consequently, footage from, say, a Canon EOS DSLR or Cinema EOS camcorder, a Panasonic Lumix DMC-GX8, GH5, GH5S, any of the Sony hybrid cameras, a JVC GY-LS300, GoPro or DJI X5 Series on the same timeline will no longer be screaming out their colour science differences and will play nice together.

Application of the ETTR – exposing to the right – principle as taught by Mr Leeming on his Leeming LUT Pro website aids in exposure-matching and enhances Leeming LUT Pro’s colour-matching benefits even more.

Colour-matching footage shot on a range of cameras over time is the bane of longterm documentary moviemaking and Leeming LUT Pro makes the process more accurate, easier and faster when using profiled cameras.

For example, my current documentary production gear kit includes the Fujifilm X-Pro2, Panasonic Lumix DMC-GX8 and Panasonic Lumix DMC-GH4, and I may be adding a GH5 or GH5S along with a second Fujifilm camera to backup and extend my X-Pro2.

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Paul Leeming’s Panasonic Lumix DC-GH5 in 8Sinn cage with Scorpio handle.

That represents a range of picture profiles, film simulations, Rec. types and specific Rec. 709 profiles as well as HLG and V-Log without adding footage from very different cameras such as GoPro, DJI, Canon, Nikon, Blackmagic Design and more.

Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K aka P4K gives self-funded indie moviemakers like me an eminently affordable 4K UHD and 1080p HD cinema camera option as well and Mr Leeming will no doubt be creating a custom Leeming LUT Pro 3D LUT for it when he can obtain a production-ready version of the camera.

Blackmagic Design’s Grant Petty once shared his vision for the rest of us who need to be storytellers in moving pictures but don’t come from traditional storytelling class and ethnic backgrounds:

“My big thing is, if you don’t have any money, it doesn’t mean to say your brain is turned off, or you’re stupid or you don’t have ambition. From my point of view, you want to move up, you want to do great things. If you want to do that, you should be able to buy products that let you do that. That’s how you get rid of class structure. I’m trying to remove it, and just let people be creative.”

With the coming release of Leeming LUT Pro, Paul Leeming is also assisting independent moviemakers in dismantling the moviemaking class system and more power to his arm, as the saying goes.

Links

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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
  • Panasonic DMW-BGGH5 Battery GripB&H
  • Panasonic DMW-XLR1 XLR Microphone Adapter – B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H

Atomos: Atomos introduces Ninja V – a stealthy 5.2″ 4Kp60 HDR daylight- viewable 1000nit monitor/recorder

https://s3.amazonaws.com/atomos-web-uploads/press/AtomosNinjaVPressRelease.pdf

The latest incarnation of the famous Atomos Ninja line is here. Seven years after the world’s most popular portable Apple ProRes recorders burst onto the scene, Atomos is delighted to introduce Ninja V – an all new compact 5.2″ 1000nit high bright HDR monitor/recorder with unrivalled advanced features. It has a sleek modern design and weighs just over 11oz…”

atomos_ninja_v_panasonic_lumix_gh5s_01_1024px_60pc
Atomos Ninja V 5-inch monitor/recorder

Links

Help support ‘Untitled’

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

  • Atomos Ninja V 5″ 4K HDMI Recording MonitorB&H

fcp.co: If High School Kids Can Do It, So Can You… The Apple Short Film Project Workflow Pt. 1

http://www.fcp.co/final-cut-pro/articles/2052-if-high-school-kids-can-do-it-so-can-you-the-apple-short-film-project-workflow-part-1

“Sam here. I’ve been waiting to write this article for a very long time, and it signals the beginning of something… and that is the beginning of complexity finally getting out of the way of high end filmmaking and truly making it accessible to everyone. We’re talking turning high end filmmaking into a teachable, repeatable process….

… There is a new world of content that is emerging and the paradigm shift from an ivory tower post production mentality where everything is complicated and no one knows how to communicate with each other is shifting to a model where anyone can make something that looks amazing if they take the time to become good at their craft. All you need is the right workflow, some affordable tools, a basic understand of storytelling and filmmaking fundamentals, and a willingness to learn….”

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RED Raven camera with Sigma 18-35mm f/1.8 DC HSM Art Lens for Canon EF mount.

Commentary

I laboured under the ivory tower postproduction mentality mentioned in the quote above as well as the cap-in-hand production finance paradigm that has ruled documentary moviemaking for what seems like an eternity and I can think of no systems in the creative sphere that can be as punitive and as brutal to storytellers.

I have experienced the worst of the system with the lowest of low points being the time when then Australian Prime Minister John Howard personally demanded my human rights documentary movie project that was about to be commissioned by the Australian Broadcasting Commission under its New Directors scheme be cancelled resulting in being blacklisted as a moviemaker.

I sincerely hope Australian expatriate Sam Mestman is correct about a coming major paradigm shift in the nature of independent documentary moviemaking, and I look forward to the rest of his four-part series of articles about the methods used by LA high school students and their advisers and assistants in the Apple Short Film Project.

Although the Apple Short Film Project was based around using RED Raven raw cinema cameras equipped with EF-mount Sigma 18-35mm f/1.8 DC HSM Art lenses, I hope that the workflow used in these short documentary projects will be adaptable to using more affordable cameras such as Panasonic’s Lumix DC-GH5 and GH5S hybrid Micro Four Thirds and media storage systems other than LumaForge’s reportedly excellent Jellyfish Tower.

I will post links to each article in the series as they appear.

Links

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sigma_18-35mm_f1.8_dc_hsm_a_02_1024px
Sigma 18-35mm f/1.8 DC HSM Art fast zoom lens for APS-C sensors and for adapting to M43 with Metabones SpeedBoosters, lens available in Canon EF or Nikon mounts. Also available in a geared cinema version.

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

  • iZotope RX 6 Standard Audio Restoration and Enhancement Software (Download)B&H
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  • Metabones Canon EF Lens to Micro Four Thirds Camera T CINE Speed Booster ULTRA 0.71x (Fifth Generation)B&H
  • Metabones T Speed Booster Ultra 0.71x Adapter for Canon Full-Frame EF-Mount Lens to Micro Four Thirds-Mount CameraB&H
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  • Panasonic DMW-BGGH5 Battery GripB&H
  • Panasonic DMW-XLR1 XLR Microphone Adapter – B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H
  • RED RavenB&H
  • Sigma 18-35mm f/1.8 DC HSM Art Lens for CanonB&H
  • Sigma 18-35mm T2 High-Speed Zoom LensB&H