music video

Best Music Video – FilmConvert Competition 2019

February 25, 2020John Parker

Pierre Ponchant won Best Music Video in the FilmConvert Competition 2019, as chosen by Ted Sims of Indy Mogul. Ted said for him Read more

‘The Barrel’, Aldous Harding – User Showcase

October 11, 2019John Parker

Martin Sagadin discusses the creative approach towards shooting the music video for Adous Harding’s new single, ‘The Barrel’. Martin Sagadin – interview Give Read more

Datarock – Laugh in the Face of Darkness music video

May 28, 2019John Parker

Director and cinematographer Sjur Pollen talks about the process of making the comeback music video for Norwegian electronic rock band Datarock. Sjur Pollen Read more

Meghan Trainor – ‘After You’, FilmConvert User Showcase

February 18, 2019John Parker

JT Hazzard chose FilmConvert to get the classic black-and-white Hollywood cinema look for Meghan Trainor’s new music video for her single, ‘After You’. Read more

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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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