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Why do you want the best acquisition media money can buy

If you ever paid more (out of your own pocket) than you make in two months, just because you cheapskated on acquisition media, lost all of your data and now re-shoot a whole day, maybe it’s time to think about the quality and reliability of SSD drives.  And don’t ask me how I know that. …

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Chinese Raw – Hands on the Kinefinity KineRAW S35

A Chinese s35 raw camera – really? Despite the fact that about every electronic gear and gadget – from iPhoes to SSD – is made in China these days – I was skeptical. Reading the specs like, 4k s35 chip, uncompressed CinemaDNG and CineformRaw on top of it, 13 stops of DR, andwhatnot – sounds too…

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What’s new?

Our documentary “Snow Wars”, that I shot together with Frank Mirbach of Mineworks Film, just got nominated for a REMI-Award at the Worldfest in Huston/Texas. And we actually won the REMI GOLD AWARD Our shortfilm “Omul” just got awarded with the prestigous “Prädikat besonders wertvoll”, and was accepted at Raindance and Hofer Filmtage.

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Everything looks better on KODACHROME – K-Tone LUT

Many moons ago, I made a Profile for the FS100, that mimics (as good as possible) the look of vintage Kodachrome film. Now I made a LUT that does the same. I kind of “re-engineered” the KODACHROME 828, daylight & Type A material, that was made from 1936 to 1962. This is the film that came out before the K-11 processing. It has a very nice “Vintage-Sweet-Home-Alabama-Look” to it, and gives you some very special red, yellow and blue tones. It also has a certain elegance and poetry to it that I really love. The K-TONE is a 3D cube LUT that plays nice wit most NLEs and color grading programs. The K-Tone LUT is expecting Log footage as input.