2019 is going to be an exciting year for EMAGIC, promising cool regular contracts locally from some meetings we have had already. We are also content investors for two video-heavy projects, which will be about creating regular, engaging and fun content for users. It’s all hush-hush for now, but keep your eyes peeled for launch updates! For the second year running, we have been commissioned to produce and deliver a film for cinema. This will be delivered as a DPX sequence, which if you don’t know already, is a cinema-specific way of delivering files. We may only just be looking at locations now, but we’re already looking forward to getting suited and booted for another premiere!
This year we are also pushing out 3D like never before. We have invested in new technology that renders animations and CG elements over 12x faster than before, allowing us time to get creative and think about camera angles more. On top of this, we have partnered with a render farm, enabling us to render more cost effective, time-saving animations and CG Sequences.
Dear all filmmakers, we just launched our new LUT pack!
We love the way that colour grading can change the mood of a shot completely, or draw the attention of the audience to certain details. Also, retaining correct colour detail in skin tones can literally make or break a grade, So most of the LUTs in this pack retain skin tones, obviously all grades can’t do this, for example, the Saving Private Ryan grey-blue look would look weird if the only reds and pinks were visible in faces.
Those of you that shoot in LOG format, that love the way we colour our videos, can now purchase a pack of 21 premium looks that we use on our client’s videos. Autumn has inspired our recently created LUTS, as you may have seen in our location postcards (check out our previous blog post!) and we love muted deep greens or blues and oranges that really pop. But don’t take our word for it, see them all for yourself here:
We like sharing our knowledge and contributing to keeping the standard of work in our industry high. Making our favourite original EMAGIC LUTS accessible is a great way of sharing cinematic colour. If you wish to buy this LUT pack go to this link: https://emagicstudios.co.uk/product/emagic-cinematic-lut-pack/
Do you love what you do?
Here at EMAGIC we have a passion for film and you can see that in our work. To keep that creative fire going, we shoot our own projects where we have full creative control over all aspects; composition, colour grading and narrative. Inspired by the beauty that autumn brings with it, we’ve been exploring contemporary framing and the capabilities of modern cinema cameras when it comes to dynamic range and capturing detail.
Here are two postcards, focussing on locations in Lichfield and Bristol in autumn.
Three years ago the FS7 was announced and it shook the ground. Not only was it the most versatile camera on the market, but the amount of features packed into such a reliable beast was just incredible. It was a no brainer for me to move from the Sony FS100 to the FS7. It has better dynamic range, 10bit Video, 4K and a codec that you can easily be graded in post. It can deal with almost any situation, and can be used in many applications and if you can’t tell yet, I just love this camera.
Arguably the colour science in the FS7 is not the best. It’s not terrible though, and if shooting in SLOG3 and grading the footage there’s little to worry about that can’t be corrected. If you didn’t already know why this camera is the bomb, you surely do by now. There are reasons why this camera has held its value and price, and why it’s the BBC’s go-to. So why am I writing this, years after the release? Well, to express my appreciation for it’s quirks and perks but also to point out some flaws that I have observed but haven’t heard of being discussed before.
Now, bear with me on this first one because there isn’t an industry term for this yet that I’ve found, so it might sound weird: the image you get from the Exmor Sensor looks more 3D, which is certainly an acquired taste. I feel it makes it harder to focus the camera too. I really can’t make my mind up whether I like it even after 3 years, but it does give this camera a unique look. When compared to the likes of Arri cameras, Sony A7 Series, F55, RED cameras and even the Blackmagic Ursa 4.6K pro, which all have a more 2D compressed imaging sensor, the FS7 really stands out. We have a feeling here at EMAGIC that it could be down to the actual thickness/depth of the sensor itself. The FS7 could be the future of cinema, but if you like what you see when you watch movies on the big screen, then this more 3D look could come as a surprise. Any thoughts on what the term for this could be? I was thinking ‘sensor compression.’
The second negative is the shape and weight of the camera, in the sense that it doesn’t fit on any just any gimbal- definitely not the low to mid-end ones. So, your next options are a Steadicam or Glidecam, not that I’m complaining personally. There is a trend however in passing camera shots, with multiple camera operators/assistants for bigger projects, so it doesn’t make it an ideal choice for those sorts of productions. If you do want to mount the FS7 onto a gimbal though, you’ve got the MOVI or even the DJi Ronin 2, both of which can end up costing a small fortune – more than the camera itself. It’s not all bad though; the shape and weight of the camera makes handheld work a dream, without the need to rig it up, which is ideal for corporate and low budget projects. A noteworthy observation though for those Glidecam or steadicam setups: without a long/expensive base plate you’ll find a gap between the shoulder pad and the quick release plate of the steadicam, resulting in micro vibrations and bounce when moving at slightly quicker paces. There are cheaper DIY ways around this however, and the extra effort is worthwhile when you get an image as beautiful as the FS7 produces.
Written By Jack Buck
Dear loyal customers,
It’s a comfort to know that we value your custom, right?
Well we’re flattered that you think our work is “pretty cool” and we can’t help but notice that you like to tell other people. Most of our new clients come from word of mouth and we’d like to reward those referrals.
This month we’ve launched the EMAGIC Dashboard just for you – it’s an incredible new feature allowing you to collect, monitor and spend loyalty points, which you accumulate when you book our services or refer someone who does.
What can you spend your loyalty points on? Well we’re glad you’ve asked! If you work with EMAGIC enough, you’ll accumulate enough to spend on a whole day’s worth of filming; but that isn’t the only option. As you know our journey with you doesn’t just end when your video is edited and complete. We’re with you every step of the way if you want us when it comes to social media campaigns, and you can spend points on those too! There’s even a campaigns section on the EMAGIC dashboard which shows you all active campaigns and the essential analytics you’ll want, including the view count, click through rate (CTR), and cost per view (CPV).
To start using yours now: https://emagicstudios.co.uk/login
If you are reading this but have not had your login for your EMAGIC dashboard yet then get in touch and we will set it up for you.
Earlier this year, we worked with amazing mentalist and presenter Paul Brook to create some fresh new video for his business. Paul is creative and full of ideas, so we worked closely with him to make sure that the finished videos met his requirements. He asked for two snappy trailers that promote his skills and services and set him apart from his competitors. We decided to film in and around Birmingham to give Paul and his skills a fresh, trendy and approachable feel. It gives the videos a corporate yet cosmopolitan vibe, just like the city itself.
The magic of mentalism is in the live performance, so we saw an opportunity in the challenge of capturing it well on camera. As we planned Paul’s ‘Mind/Play’ promo, our research deduced many people in his field have videos between 5 and 17 minutes long. They feel drawn out and can lose the interest of the audience. We know potential clients want to see quick examples of what they will be booking, presented in an exciting way. With this in mind, we aimed to consolidate all the best bits and still keep it under the 1 minute 30 mark. You can see there’s a real focus on the participants’ facial expressions and reactions at the pinnacle of Paul’s tricks.
Above you can see some feedback Paul received, including remarks from fellow professionals in the magic and mentalist circles.
For the second promo, we had the opportunity to make the most of Paul’s personality since that’s what sells him as a presenter. Again using a couple of locations central to Birmingham which we cut between, Paul introduces himself and what he offers directly to camera. Be sure to check this one out too; there’s even a neat time-lapse in the street where Paul met the challenge of staying stock still…we don’t even think he blinked once!