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How to Run DaVinci Resolve in Rosetta Mode

FilmConvert Nitrate & CineMatch Critical Update: Premiere Pro 2022 Update

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March 30, 2023April 3, 2023Henessey Griffiths

FilmConvert Nitrate and CineMatch now support the DJI Mini 3 Pro! 📸 To get the new packs: FilmConvert users: download the new camera Read more

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We’re so excited to head to this year’s NAB Show in Las Vegas! It’s a bit of a commute from New Zealand, but Read more

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FUJ FilmConvert Nitrate and CineMatch now support the FUJIFILM X-T5! 📸 To get the new packs: FilmConvert users: download the new camera pack from our Camera Packs Read more

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How to Run DaVinci Resolve in Rosetta Mode

November 16, 2022April 3, 2023Henessey Griffiths

If you are using FilmConvert Pro for DaVinci Resolve on a M1 Mac, you will need to run Resolve in Rosetta mode for Read more

FilmConvert Nitrate & CineMatch Critical Update: Premiere Pro 2022 Update

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Creating a real film look with FilmConvert – Jonny Elwyn

October 27, 2016

How camera codecs work

September 19, 2016

How to get the best footage from your camera

September 19, 2016

Living On A Shoestring – Tamara Gabriel

September 26, 2016

The Last Mambabatok – Foster Visuals

October 26, 2016

John Parker - Creating a real film look with FilmConvert – Jonny Elwyn

Hi Micahel, thanks for your comment. That does sound like strange behavior - could you drop a line to support@filmconvert.com with a link to the footage to download so we can take a look?

Ollie Kenchington - How camera codecs work

Thanks George!

Ollie Kenchington - How to get the best footage from your camera

Hi Jason. Sorry for the confusion and thanks for your question. It is just a matter of semantics, as a "white balance card" (a card designed for white balancing from) is normally light grey. I was not meaning a white card. Grey is used for white balancing because (in most cameras) the minimum amount of signal compression occurs in the middle tonal range, so the camera can make a much more accurate reading from that region, compared to white, where the gamma curve compresses the signal more and it's more likely that one or more of your channels could be clipped. The key thing is that your white balance target is spectrally flat, reflecting all the frequencies of the light hitting it, and that you white balance in camera. I wouldn't advise using a white picker in post to fix white balance, due to the compression that occurs in camera, as discussed in the article. Hope that clears things up for you.

Michael - Creating a real film look with FilmConvert – Jonny Elwyn

Loads of handy tips thanks, one thing that has me puzzled, footage I've shot with the blackmagic pocket cinema camera when I add film convert to the clip and choose the blackmagic camera profile the clip comes out really awful ,over saturated, contrast and brightness way to much,and I have to resort to using one of the other camera profiles , Any tips as to what I might be doing wrong, this happens in both premiere pro cs6 and in premiere CC, any help appreciated. Many thanks .

Jason - How to get the best footage from your camera

Hello - could you clarify something - towards the end of the article, you reference the use of a " spectrally-flat, grey card on your shoots" and then in the conclusion you say "White balance properly in camera, using a spectrally-flat white balance card". So which is it? A white card or a grey card? I'm assuming a white card, as a grey card would only allow you adjust in post. Otherwise a very sensible argument for a different approach to image capture. Thanks

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Legacy FilmConvert Pro and Nitrate Update: FCP 10.6.6.

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We’re heading to NAB 2023!

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