SSD media also provides more GB per $ than camera media cards. A core principle of Atomos devices is to provide much more flexibility in terms of recording codec, resolution, and frame rate than is normally available with internal recording. With Ninja V the only limitation to how much you can record is the size of the SSD. Alongside SSDmini we also qualify a range of 2.5-inch SSDs that can be used in conjunction with the MasterCaddy III which are required when using the ATOMOS CONNECT. There is an optional SSDmini adaptor that allows CFAST II cards to be used, enabling you to recycle older media cards or align with your camera media. Measuring 8cm long, 7.5cm wide and weighing as little as 88g, the custom-built drive neatly fits into the Ninja V without impacting the overall footprint of the device. The AtomX SSDmini drives are able to record up to 150 minutes of 4K ProRes. They support up to 4TB storage, sequential read speeds of up to 550MB/s and write speeds up to 500MB/s.
AtomX SSDmini drives are more compact than standard SATA SSDs and offer an affordable alternative to an SD card of similar capacity or performance. Ninja V supports removable SSD drives which provide the space and sustained performance to meet these needs. The ability to record up to 6K using advanced edit-ready formats including ProRes RAW, ProRes, and DNxHD/HR requires fast, robust, and expansive storage. Optional via ATOMOS CONNECT or AtomX SDI modules Ninja V is designed to maximize the quality of your videos and allow you to extend every aspect of your creative vision. Additionally, if you’re shooting Log footage, the ability to bypass internal compression will offer the best possible dynamic range. Ninja V can record more color information and immediately add value to your production with your existing camera rig. If the camera is able to output video via HDMI, the quality can often be preserved in a 4:2:2 8-bit or 10-bit format. It’s difficult to put a price on something as valuable as time, but I feel that this LUT is worth the comparatively small donation of £6.00GBP (approx $8.00USD) that I’m asking for - It m ade a difference to my workflow as I’m sure it will with yours.To save space and support longer recordings, many cameras record compressed 4:2:0 8-bit video internally.
#BLACKMAGIC TO REC709 LUT FREE#
Sure there are free LUTs you can readily find in Davinci Resolve or online, “natural” LUTs in excess of $30.00… And then there’s the BozBMDFilm BMPCC 4K LUT which simply works. Blackmagic RAW, BRAW or ProRes LOG Video FilesĬamera: BMPCC 4K / Image: Emmanuel Pampuri Before LUT After LUT.
It’s entirely up to your own creative taste.Ĭamera: BMPCC 6K / Image: Blackmagic Design Before LUT After LUT. Use it as an input/viewing LUT to see what’s going on with your image, integrate it as part of your color grade or just use it on it’s own. Preserved Highlight Detail (Note: Highlight detail can never be recovered from hot/blown out whites with ANY LUT.Custom Cine Curve with Balanced Saturation.
#BLACKMAGIC TO REC709 LUT SKIN#
Natural Colors & Skin Tones (as captured in camera).This also includes any white balance issues recorded at source.Ĭamera: BMPCC 4K / Image: Les Visuals Before LUT After LUT. Note: Any filter, lighting, lens or camera color casts recorded at source will also be present when the LUT is applied. So here it is, a LUT born for the Gen 4 Color Science. After the success of the original BozBMDFilm to Rec709 LUT for all Blackmagic Cinema Cameras, requests for a Natural Rec709 LUT for the BMPCC 4K (and now 6K) Camera system poured in from filmmakers.
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