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Consulting and custom LUT’s, workflow’s, for Filmout, DCP etc…


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#1 Evangelos Achillopoulos

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Posted 29 April 2011 - 02:42 PM

After a long time of collecting and preparing I’m very happy to announce our new web site has today finally launched… even though few things are missing…

It’s designed to educate about workflows and LUT’s, what is Log and what is Linear, what are the differences, how you can get a DCP XYZ conversion LUT, what’s the differences between Film recorders etc…

How with one Color Grading session you can deliver on anything like, Film, DCP, HD, internet etc.

What is the Digital Delimma and why your Digital movie is in danger if it’s not stored in a medium that can withstand 60 years in store and ignore state and be there for the next generations…

There is an array of services we offer for all the actors of Cinematography… Post facilities, Producers, Cinematographers, DIT’s and Students can get a helping hand from us…

Also generic LUT’s for typical Apple MAC setups running Color, DaVinci, Iridas, Scratch, 3cp etc… Also LUT’s for cameras like Alexa, RED, F3, F35 etc…

And lastly lots of awarded movies we have done with our clients around the world with high res images, info and articles…

For the first three clients of the consulting packages I will give a refund of 40%...

Hope its interesting… awaiting your comments…

http://www.motionfx....m-overview.html
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#2 Paul Korver

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Posted 04 May 2011 - 02:05 AM

Very cool Evangelos! Have you ever seen a film-out on an Aaton-K? Do you know any that are being used on the market?

-Paul
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#3 Evangelos Achillopoulos

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Posted 04 May 2011 - 03:44 AM

Hello Paul, thanks...

It seems that I must add an LCoS tech in film recorders area, to explain...

A VERY demanding European partner has done the test... 4K scope in LaserGraphics with Vision 3 5201 Cam Neg. against 4K scope in Aaton K Kodak 2242 internegative... winner was Lasergraphics and the camera negative... Its like comparing a lamp audio amplifier with a digital one... Nothing beats the lamp... The sound from a Lamp amplifier is sweet because its analogue... Camera negative has character that is missing from internegative stocks... also the natural anti-aliasing of phosphor along with the natural flare of the lamp, are rounding things and make them more appealing, while you can still count 4K in the microscope on neg...

The only reason that I don't do many Filmouts is just because politics and price dumping... There isn't a single blind comparison that we have done all over the world, the last three years, that not come out as a winner...

Aaton K is working with a "Sony style" 4K LCoS panel... if you see from close up in a projection screen a gray card, you will notice the individual pixels... you can't shoot pixels and print pixels and expect to get it good...

Pixels can only be printed analogue... and analogue can be printed in both pixels and analogue...

Google: "Lcos mirror photo" and see the pixels...
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#4 Steve Shaw

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Posted 06 October 2011 - 09:49 AM

Additional information on LUTs, Digital Film Workflows, Calibration, and more can be found on the Light Illusion website:

www.lightillusion.com

Demo versions of all Light Illusion LUT and calibrations software can also be downloaded from the website, as well as an array of White Papers dealing with Digital Film workflows from Scene to Screen, as well as Digital Intermediate operation.

With the calibration tools provide users can also avoid the pitfalls and problems associated with attempting to use generic LUTs for accurate calibration.

Full calibration services are also provided.

Please feel free to ask questions.

Cheers,

Steve
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#5 K Borowski

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Posted 06 October 2011 - 11:25 AM

I'm not sure if I agree on your analogy.


If I were going for a film-out, I'd want the closest to my original as possible, therefore I'd opt for a recorder that is fast enough for IN film.

Since I'm likely to originate anything I can possibly get away with on film anyway, I already have that look built into my files. Seems as though you are catering to "Digital Movies" as in shot on HD though?



For better or for worse, almost every movie ends up as a digital one at some point in the process.
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CineTape

Metropolis Post

Wooden Camera

Paralinx LLC

Willys Widgets

Rig Wheels Passport

The Slider

Gamma Ray Digital Inc

Tai Audio

Abel Cine

Technodolly

FJS International, LLC

Ritter Battery

Glidecam

Opal

Visual Products

rebotnix Technologies