Canon C100 Grading Test with SpeedLooks

The video below is a grading test of the Canon C100 using it’s internal codec (which is a 4:2:0 color space at 24Mbps AVCHD) so how far can that codec be pushed? I shot this clip with the Rokinon 14mm Cine lens, in Canon LOG and graded it in SpeedGrade, I balanced the shot then applied the SpeedLooks C300 Camera Patch and the then SpeedLooks Clean F.cube LUT. I pulled a quick secondary on the blue in the sky and added some saturation. Nothing terribly complex and I didn’t touch the blacks which could be lifted a bit as there is still information in there. The additional compression on Vimeo doesn’t really do the clip justice. But I do think it shows that just because on paper the C100 looks

Shipping Cases – Super important but usually a hassle…

Protecting your equipment in transit, or even while sitting around the office or your house waiting for the next shoot is really important. We all invest in our equipment, all to varying degree’s of monetary expenditure, but for everyone on every budget it’s important to us all to ensure the investment we made is protected and not only good for our equipment, but also good for our wallets. Normally finding a shipping case, like a Pelican Case is a massive pain in the ass. The reason for that is that most camera stores, or other retail outlets don’t really stock them and the ones they have in house are rarely what we are looking for so it’s virtually impossible to handle the case and see if t

SpeedLooks by LookLabs – Making the Grade

Color is so important, yet so few place the emphasis it deserves on it, much in the same way that sound is often neglected or an afterthought in many productions. And it’s not that color grading or color correction are things that should be thought of as another line item on the clients bill, it should be thought of from the beginning, in pre-production and just be part of the overall production period. And I am firmly of the belief that everything needs some level of color enhancement or correction, whether it’s a $5000 corporate video or a $100,000 commercial or anything else above or below those price points. Whether dramatic or cinema verite, feature or documentary, color is critical to

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