Shooting a feature film on BMC, with Samyang glass and Dedolights – am I nuts?

  Yeah, I could have had a Dragon, Leica lenses and all the lights I want - so it was definitely not a budget thing. Though I opted for BMCs, Samyang and Dedolights. I must be out of my mind - right?  No, I did what any responsible DP should do, choosing the right tool... Continue Reading →

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.

Blackmagic Cinema Camera vs. Red Scarlet – Zeiss vs. Samyang Part 2

In part 2 of our comparison, Felix Patzke of Heimspiel and I, looked at the differences of famous Zeiss cineglass and pretty affordable Samyang (Rokinon/Walimex) cineprimes. As in our first article, we where quite surprised, that the differences are not as huge as we thought. Felix just got his hands on a set of wonderful... Continue Reading →

Blackmagic Cinema Camera vs. Red Scarlet – Zeiss vs. Samyang Part 1 Always wondered, how a Scarlet and expensive cineglass holds up against a BMC and pretty affordable lenses? Is the difference - that is almost as huge as the price for a new car - really that big? Felix Patzke of Heimspiel and I where also curious, so we did a little shootout. Here comes... Continue Reading →

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