I've had a lot of fun shooting some extreme close-up stock footage of various things. All was shot on my BMPC4K + old edelkrone slider + target module. I've also put a trailer with an epic soundtrack from Peter Milinkovic together. Check it out!
DaVinci Resolve 12.5 Studio
Blackmagic Production Camera 4K with Yashica ML Macro 55mm
For a local company I shot a corporate video from pre-production to finishing in just 96 hours on my BMPC4K. For the overall lighting I used my trusted DIY KinoFlo's and for the interviews some of my old dedolights. Editing and grading were done directly in DaVinci Resolve. I was pretty amazed how smooth everything worked in version 11.2.1. Seems like the BMD guys have done some huge improvements. Here are a couple of BTS shots from the set. I also attached my BMPC4K to a Zeiss microscope to shoot some POV of the specimen. I'm afraid I can't share the video because it's used in-house only.
BMPC4K attached to a Zeiss microscope!
How to remove 100s of hot pixels at once from DSLR or any other footage!
This method works best if the hot pixels are only 1pixel wide and 1 pixel tall. Should work with any software that supports an Alpha or Luma Matte. Remove the bigger ones with the "CC Simple Wire Removal" from After Effects.
It's a pretty simple method you just use the adjacent pixels from the same clip but shifted by 1 pixel. The same procedure is done when a sensor is pixel mapped but here we do it in software.
- Open a still frame in Photoshop that contains the hot pixels.
- On a new layer paint with the pencil tool (Hardness 100% / Size 1 Pixel) over the hot pixels. Zoom in to catch 'em all. Paint only over the brightest part.
- Delete the still frame layer. Save the Pixelmap as a new file. The mapped pixels should be white and the background black.
- In After Effects put the Pixelmap on Layer 1 and the footage containing the hot pixels on Layer 2. Duplicate the hot pixel footage to create Layer 3. Create a Luma Matte for Layer 2 and select the Pixelmap. Move Layer 2 by 1 Pixel to the right. Thats it!
You can use the Pixelmap on all your clips if they're stuck always on the same position. This method should work with DaVinci Resolve too because it supports alpha channels and external mattes. Though I didn't tested it myself yet.
I just replaced my old Eizo display with a new and cheap 32" Samsung LED TV (Model UE32H6470). I use it for video editing and color grading my stock footage clips. It is connected to my Blackmagic Design UltraStudio Mini Monitor that works with Adobe Premiere, After Effects & DaVinci Resolve. Of course it can't be compared to a Flanders Scientific but man this cheap TV is really amazing and they have a myriad of image controls nowadays! Out of the box it has really good colors and contrast once set to movie mode. I used the AVS HD 709 mp4 clips on the Adobe Premiere timeline to fine tune Brightness, Contrast, Color, Tint & Sharpness. Further fine tuning and RGB balance was done with CalMAN Studio, DaVinci Resolve as pattern generator and a X-Rite i1 Display PRO probe.
I was playing around with the BlackMagic Pocket Cinema Camera from a friend and decided to adapt it to my 1500mm Schmidt-Cassegrain telescope.
The Moon was shot with the Canon EOS 5D Mark 3 + MagicLantern RAW & BMPCC through a Celestron NexStar 6SE. More technical info at the end of the video. Editing and Color Correction done in DaVinci Resolve Lite.
Music Space and Time by ScoreStudio (Pond5.com)
Composer Jonathan Glenville Wright
Licensee Daniel Schweinert
We made a music video for my pal Mark Tarmonea in our studio. For lighting the background and models I used the 4ft / 4bank DIY KinoFlo's that I've built especially for this purpose - and they were great! Editing was done by Michael Ronge and Color Grading by me. Now Im doing some beauty retouching using a combination of Mocha AE, Beauty Box Video Plugin and Box Blur in After Effects. Here are a couple of snapshots I took with my phone from our shoot: Read More...
The new version of DaVinci Resolve 10 is finally out there and it works now very good with the „Magic Lantern RAW“ footage from a Canon 5D Mark III. No more fringing or aliasing in the footage! The quality is just amazing!
Some great footage from Andre Meyer can be seen here: Beauty in Nature (5D MK3 RAW)
If you want to learn DaVinci Resolve I can highly recommend the video tutorial „DaVinci Resolve 9 Core Training“ by Alexis Hurkman found on rippletraining.com
Blackmagic Design announced DaVinci Resolve 8.2 for Microsoft Windows™ public beta is now available for download. DaVinci Resolve for Windows public beta is available in both the full featured DaVinci Resolve 8.2 and free DaVinci Resolve Lite versions. The DaVinci Resolve 8.2 for Windows license is included with the Mac OS X version, so all current Mac OS X customers automatically get a license for the Windows version, and can download it now to use in their facility.
This new DaVinci Resolve for Windows beta will allow customers to use a wide range of hardware for building color correction systems with the advantage of a wider selection of GPU processing options with support for up to 4 GPU’s per system.
From left to right (Panasonic HVX200, Canon EOS 1D Mark IV, Panasonic HDC-TM900)
Amazing results from the small consumer camera Panasonic HDC-TM900.On my last trip to Romania I had full faith in the new TM900 and shot hundreds of stock footage clips in 1080/50p at 28 Mbits/s. This little camera is great if you have to travel light because you can shoot in high quality anywhere without drawing unnecessary attention. After reviewing my clips on the computer I’ve started to color grade them in DaVinci Resolve Lite and was positively surprised how far I can push the colors without them falling apart too much. I admit before importing the clips into DaVinci I’ve upconverted them through Cineform Neo HD to CF422 to make them editable - that’s an important part of my workflow. The newer version 8.1.1 of DaVinci Lite now includes unlimited CC nodes. With them you can throw in a bunch of PowerWindows, Layer Nodes and Qualifiers to make the picture really pop. Can’t wait to put my hands on a control surface.
These are my TM900 camera „Picture Adjust“ settings:
Sharpness -1 (depending on the scene content -3 or -1)
Colour 0 (don’t be fooled it looks vivid on the LCD)
Exposure -2 (the camera tends to overexpose too much)
WB Adjust 0 (I always do manual white balance)