Cinematographer/Director Paul Leeming Shoots Fujifilm X-T3 and X-Pro2 Footage for Custom Leeming LUT Pro in Our Home Studio

_DSF0072_aurorahdr2019_luminar2018_1920px
Australian cinematographer/director Paul Leeming with his Blackmagic Design Blackmagic Pocket Cinema Camera 4K, 8Sinn cage and Sigma 18-35mm f/1.8 Art zoom lens attached with Metabones Speed Booster EF-to-MFT adapter.

Australian cinematographer cum director cum LUTmaker Paul Leeming took advantage of a break away from the Australian bushfires, torrential rains and floods to drop by our Sydney home studio and shoot some footage on our Fujifilm X-Pro2 and a loaner Fujifilm X-T3, courtesy of Fujifilm Australia.

Mr Leeming was on his annual Australian jaunt after completing photography for a feature film set in Osaka, to eventually return to his domicile in the Netherlands where he will get back to working on Leeming LUT Pro custom look-up tables for the Blackmagic Pocket Cinema Camera 4K, Fujifilm X-T3, Fujifilm X-Pro2 and Panasonic cameras including the GH5 and GH5S, amongst others.

He shot the feature on two fundamentally different cameras, Panasonic’s Lumix DC-GH5S and the Blackmagic Pocket Cinema Camera 4K, and Leeming LUT Pro will play a crucial role in ensuring easy editing and colour grading of HLG and raw video footage.

According to Mr Leeming:

Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.

Multi-camera shoots are now much easier, because you are starting with a common, colour-matched baseline, meaning much less time trying to match cameras in post before starting your creative grading.

Once all your cameras have been corrected, you can optionally use the specially matched Leeming LUT Pro Quickies™ for a one-touch creative grade designed to work seamlessly with the common baseline of Leeming LUT Pro™ corrected footage.

Save hours of frustration and give your footage the best possible quality right out the gate. It’s as easy as Shoot – Apply Leeming LUT Pro™ – Done!

Leeming LUT Pro custom LUTs coming for Fujifilm X-Pro2 and X-T3

Mr Leeming shot colour chart footage using the ProNeg Standard film simulation on the Fujifilm X-Pro2 camera, and in the Eterna, F-log and HLG picture profiles on the X-T3.

His preferred profile when shooting with Panasonic cameras is HLG and it is likely that Fujifilm’s HLG will prove to have the same benefits when shooting for high dynamic range aka HDR and standard dynamic range aka SDR output.

I recently shot some HLG footage on the X-T3 in available darkness and the results were impressive to say the least.

Always carry a grey card for white balancing video

Mr Leeming showed me this Struan Grey paint sample card made by Taubmans and told me it is the most accurate grey card for white balancing that he has found available for free.

I have been guilty of forgetting to carry a grey card when out with my camera each day due to the ones I have being a little too large for my daily carry camera bag, so it is good to know there are smaller and cheaper – free! – alternatives available at your local hardware store so long as it stocks Taubmans paint.

Paul Leeming Shooting Footage for Leeming LUT Pro for Fujifilm X-T3 and X-Pro2

Mr Leeming travelled light, carrying a stripped-down Blackmagic Pocket Cinema Camera 4K rig in this Think Tank Photo backpack.
This stripped-down rig for the BMPCC 4K includes the 8Sinn full cage and once of Mr Leeming’s favourite lenses, the legendary Sigma 18-35mm f/1.8 DC HSM  Art lens for Canon EF-mount. He has preferred 8Sinn cages and accessories since buying one for his Panasonic Lumix DC-GH5. He also relies on Xume filter adapters and Formatt Hitech Firecrest Ultra fixed neutral density filters.
Shooting color checker footage at our home studio. The camera is mounted on a 3 Legged Thing tripod.
Mr Leeming relies on DSC Labs ChromaDuMonde CamAlign Chip charts for their high colour accuracy.
Photographing the Fujifilm X-T3’s monitor for use in writing the manual on the best settings for the camera and how to use Leeming LUT Pro.

Links

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’.

  • 3 Legged Thing tripods and accessoriesB&H
  • 8Sinn cages and accessoriesB&H
  • Blackmagic Design Pocket Cinema Camera 4KB&H
  • DSC Labs chartsB&H
  • Formatt Hitech Firecrest Ultra filtersB&H
  • FUJIFILM X-Pro2 Mirrorless Digital CameraB&H
  • FUJIFILM X-T3 Mirrorless Digital CameraB&H
  • Fujifilm XF lensesB&H
  • Metabones EF to Micro Four Thirds AdaptersB&H
  • Sigma 18-35mm f/1.8 DC HSM Art Lens for Canon EFB&H
  • Think Tank Photo camera bagsB&H
  • Xume filter adaptersB&H
Advertisements

Sigma Fills the Gap with 28mm f/1.4 and 40mm f/1.4 Art Lenses, Two of the Most Currently Neglected Prime Lens Focal Lengths

With almost every new camera coming with a kit zoom lens and the popular image of newspaper photographers stalking the streets with three DSLRs and the usual wide, standard and telephoto zoom lens trio, prime lenses have taken a back seat and most lens makers seem to have forgotten some of the most useful, most classic prime lenses upon which documentary photographers and moviemakers once depended upon to earn their living. 

I am referring to the 28mm and 40mm focal lengths with the former documentary photographer’s go-to wide angle lens and the latter a favourite focal length of many of the great Hollywood feature film cinematographers and directors. 

While I remain hopeful that other camera and lens makers will soon release professional-quality 28mm and 40mm lenses for 35mm sensor cameras and their equivalents in other sensor formats, Sigma Corporation has led the way in creating the Sigma 28mm f/1.4 DG HSM | Art and Sigma 28mm f/1.4 DG HSM | Art prime lenses for 35mm sensor cameras.

In the Micro Four Thirds sensor format, their equivalents would be 14mm and 20mm, and in the APS-C sensor format they would be 18mm and 27mm.

While all of those focal lengths are catered for with pancake or near-pancake lenses in APS-C by Fujifilm and in M43 by Panasonic, none are suitable for the rigours of professional-level documentary photography and photojournalism, or feature film and documentary moviemaking.

The 28mm focal length, superb for documenting people in places without optical distortions detracting from the story

_dsf9616_iridientxtransformer_cameraraw_auto_1920px_80pc
Photograph made by Karin Gottschalk with Fujifilm X-Pro2 and Fujinon XF 18-55mm f/2.8-4.0 OIS kit zoom lens at 18mm setting, equivalent to 28mm in 35mm sensor format.
Photograph made by Karin Gottschalk with Fujifilm X-T3 and Fujinon XF 18-55mm f/2.8-4.0 OIS kit zoom lens at 18mm setting, equivalent to 28mm in 35mm sensor format. If only Fujifilm made a professional quality 18mm prime lens!

Prime lenses in 24mm equivalent focal lengths such as 16mm in APS-C and 12mm in M43 appear to be touted these days as the “replacement” for 28mm and its equivalents, but 24mm super wide angle lenses have inherent optical distortions and volume deformations that must be corrected in software in-camera and on-computer.

I rarely use 24mm, preferring instead 21mm for establishing shots and tiny-figure-in-landscape images as well as architecture, but when I am not carrying the wider lens and only have a zoom lens with 24mm at its widest find I must apply DxO ViewPoint after processing the raw file.

The other big difference between 28mm and 24mm?

Photographs made with the 28mm draw attention to the contents of the image itself whereas photographs made with the 24mm often draw attention to the lens that was applied.

I know which one I prefer for immersive documentary photography that respects the subject and enhances the story.

The most famous 40mm lenses were introduced with the Leica CL and Minolta CLE

The 40mm focal length is often characterized as “perfect normal” as opposed to the “standard normal” of the 50mm focal length that was introduced as standard with the first Leica cameras in the early 20th century.

Stop press: Zeiss announces Zeiss Batis 40mm f/2.0 prime lens for Sony E-Mount cameras

As I was writing this article news arrived of Zeiss’ announcement at photokina 2018 of its new Zeiss Batis 40mm f/2.0 prime lens, characterized as “the versatile lens”.

Some 35mm DSLR camera and lens makers still produce 40mm lenses as low-price options such as Canon while Voigtlaender has several 40mm lenses for DSLR and rangefinder cameras.

The 40mm focal length is also available in some high end cinema prime lens brands.

Leica and Minolta’s 40mm lenses were discontinued at the same time as the cameras for which they were designed, but remain popular purchases on the second-hand market.

Now that Sigma is a member of the L-Mount Alliance, let’s hope that the company comes up with a wide range of L-mount Art prime and zoom lenses including 28mm and 40mm.

Links

Help support ‘Untitled’

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled’.

  • Sigma lensesB&H