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Hey folks, I developed a free director's viewfinder app for iPhones / iPad (poor man's Artemis? 😏 ) The suported cameras are ARRI, Red, Blackmagic, Sony, etc. It lets you see exact framing for your favorite camera just where you stand with an iPhone in your hand. So you can plan your next shoot on location even if you don't have a camera or a lens with you. The app features support for: - optical adapters (boosters) - anamorphic lenses - LUTs (M31, Teal+Orange, etc) - frame guides The app has ads but I tried to make them non-intrusive. Besides, you can turn them off. Feel free to check it out and let me know what you think.

Recently created a new (one-off) LUT for the Panasonic GH2 because like me, I know there are people out there who still use (or would love to get back into using) this soon to be forgotten gem of a camera for video. Though it's not free, it's still cheaper than a Golden Arches Meal and worth checking out the page even if it's just out of curiosity. Thank you. Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bozgh2pana-gt-film-lut/

Interesting if you have not seen or used it. https://cameramanben.github.io/LUTCalc/LUTCalc/index.html

The buskers around Shinjuku station, Tokyo, shot on an E-M5. On the wide shots the codec craps out completely, but the medium shots with some subject separation it looks OK. Terrific fun to shoot with. I might trade it in for an E-M1 regardless of what happens with rumoured firmware, just for the extra mbps. I finally worked out how to set the IS focal length correctly when using a focal reducer. I still can't get film grain to look any good after it's gone through the vimeo upload process though. This was a large prores proxy file, and in most of the shots it looks like mud.

Hi, Experimenting with the D5300 before I take it on a little trip to Mexico. Trying to get something close to a decent look before I leave, and with minimal gear. Have decided that the 18-200mm VR lens, while not perfect, is close enough to my manual glass to sacrifice some shallow DOF for the benefits of the VR stabilization. The trade-offs are worth having a wide range, macro, AF for stills, VR for handheld, etc. So, now I'm trying to get the in camera settings where I want them to be for grading in FCP X. I've been playing with the LUT Utility with test footage I shot using the Flaat 10 profile, and a modified Standard profile. I didn't think I really needed the LUT Utility or any LUTs to start with... however, I just graded the same footage the best I could by eye and several different shots. Then used the Fuji 3513 to Rec709 at about 50% and miner tweaks to the exposure, etc. Added a little bit of grain and sharpened. Consistently, despite my best efforts, the footage using the LUTs comes out better and closer to natural film stock. I can get close starting with the Teal + Orange Look built-in to FCP X, but it's always better using the LUT. I'm sure a good colorist wouldn't need the LUTs but it's just so much quicker to get it right if you're a relative noob like me. ;) Anyway, what I've figured out is that I get better results with a tweaked Standard file than I do the Flaat 10 one. I don't think the LUTS that come with LUT Utility are the best for the Nikon, but they're not bad. I've seen really nice stuff from Brandon Li using Osiris, but it's mostly been from cameras like the Sony RX10, 5D3 & BMPCC which I think that LUT is particularly tuned to. Can anyone using Nikon here, recommend some LUTs that you find most appealing? Not going for Film Convert at the moment. Sticking with LUTS and tweaking my own profile.

My first few shots from my Dubai trip. Used the EOSHD 5D raw LUT in Resolve and it worked like a charm. I love how it lifts shadows without sacrificing black levels. I exported the clips from resolve with the LUT and then did additional grading on top of that in FCP X.