Real Value

Please check out this Kickstarter Project by Jesse Borkowski. It’s for funding a documentary about small businesses creating sustainable value and social change by giving equal weight to people, planet and profit. With two weeks to go, it’s 25% funded and needs our help.

It’s filmed on the Ikonoskop A-Cam dII. Jesse Borkowski is a valued member of the Ikonoskop community and especially known for his great tutorials on post workflows. 

Find his YouTube channel here: http://www.youtube.com/user/jesseborkowski

And see an example of his work on the dII:

"Bird" by Gulley - Official Music Video - Directed by Jesse Borkowski from Jesse Borkowski on Vimeo.

Resolve 9.1 - Are we there yet?

The latest version of DaVinci Resolve, 9.1, now includes CinemaDNG Input Device Transform (IDT) for grading Raw images in the ACES colour space.

This gives in my opinion, out of the box, the most accurate colour rendition of the Ikonoskop footage. Or as Jesse Borkowski said on Twitter: "I know! It’s like I got a new camera!"

To set it up in your Resolve projects, here’s a nice tutorial by Jesse:

If you were using the IkonoVinci.lut, be sure to deactivate it when using ACES.

Starting Point for Grading in DaVinci Resolve

In a prior post about Resolve, I wrote about my quick fix to get rid of magenta in the shadows and I mentioned it’s only one of several ways to get rid of it. All you want is a good starting point for your grading.

It’s in the grading that lies the power of the uncompressed raw CinemaDNG of course. That’s why you bought or use the camera in the first place.  As Ikonoskop has always mentioned: the dII does the capturing, your computer does the processing afterwards. There’s no processing of the image in camera. No curves, no rolloff, no LUT. There are many things you have to be aware of to get the most out of your Ikonoskop footage. After all, it’s all about luminance and chrominance. And with the dII, it’s you who’s in control, not the camera. You not only need to be maybe the director, DP, editor and colorist, you’re also the guy or girl in the lab developing your film.

That doesn’t make it easy to get quick results at first of course. It needs studying and a lot of trial and error. But after a while you get better at it, you’ll make your own presets and LUT’s you can trust and most of all, you will have control over your images like you’ve never had before.

So if you see footage out there with whites that aren’t really white, with harsh highlights, with a magenta or green or blue or whatever cast in the shadows, and it’s difficult to assume it was an artistic choice, don’t go blaming the camera or the sensor. They’re quite alright actually. It’s all in the hands of the one who’s responsible for the grading.

Just watch this to see how nice Ikonoskop footage can look:

But anyhow, I started out by mentioning those other ways to get a good starting point in Resolve, in addition to my IkonoVinci.lut. Apparently not everyone finds it so easy to install this LUT. And I really suck at making tutorials.

So I’ll leave the making of tutorials to people more capable and this leads me, quite seamlessly, to another way to get a good starting point without magenta in the shadows. It’s written buy a new Ikonoskop owner, Jesse Borkowski, and it’s a great tutorial. I’m not quite sure about using the Linear Gamma setting, but that’s just my opinion. 

The third possibility I’d like to share with you is something you might like if you’re used to working with LOG style footage. Like ARRI’s LOG C or Sony’s S-Log. Set the color space, in the Camera Raw settings (see video above) to BMD Film and be amazed by the details you’ll see in highlights and shadows without any strange color casts, but with the all familiar washed out LOG type ‘look’. Now drop your familiar LUT’s on your footage, and I’m guessing you’ll find that the result will be pretty close to what you’re getting with other LOG footage.