Roughly three years ago, Kessler launched the kOS app for the first time to provide a control interface for their motion control products, such as the Kessler Second Shooter or the CineShooter. Now, the company has announced a new version v5.1 that brings a few interesting upgrades. Let’s take a quick look at what is new.

Kessler kOS v5.1

The new update of the Kessler kOS app follows the recent launch of the Kessler CineShooter+ motion control system, which introduced several improvements over its predecessor, for instance, an Unreal Engine tracker-less integration. This feature is also included in the recent kOS version v5.1. It will now be possible to synchronize the camera’s motion in the Unreal engine-generated scene with the Kessler motion controller without the need for a tracker. Kessler published a useful tutorial on how this integration works.

Please note that for the Unreal integration, the paid Premium kOS version is required. The full kOS v5.1 release notes include the following:

• Added support for Unreal Engine (see documentation in app).
• The horizontal location (time) of multiple key frames on the graph can now be adjusted simultaneously.
• Device names can now be changed by right-clicking (or long pressing) on a device button.
• When selecting a Time Lapse or Stop Motion Exposure amount, additional choices have been added in five-second intervals up to two hours.
• Added support for Logitech Gamepad 310 (Windows version only).
• Various bug fixes and UI/performance improvements.

Kessler kOS functionality overview

In case you are not familiar with the Kessler kOS app, here is a brief overview of the supported functions:

• Movement
  • Live Motion
  • Event Mode
  • Timelapse
  • MultiLapse
  • Stop Motion
  • GigaPixel
  • Analog Control
• Compositing
  • Repeatable Moves – CineShooter+ is a nodal head with accuracy and repeatability, suitable for visual effects.
  • Same Move, any Duration – You can play the same move for 4 seconds or even 4 months. The move will always be the same.
  • Audio Sync – Easily sync audio with your move with built-in visual features. 
  • Flash Mark/Bloop Align – Use visual or audio-based marks for aligning takes for visual effects.
• Interactive Graph
  • 20 Keyframes per Axis – With kOS Premium you can program up to 20 keyframes per axis/motor.
  • Bezier Curves- Add and customize ease-ins and ease-outs to every keyframe for smooth moves.
  • Precise Positioning – Input an exact position directly.
  • Looping – Simply select one-time or continuous looping.
  • Bump Buttons – Useful for quickly moving the motors into the desired position.
  • Scrub through Move – Scrub through your move live to preview or to go to a spot on the graph instantly.
• Other
  • Camera Control – control your camera’s shutter or start and stop recording.
  • Delay – add an amount of time before or after the move or set a specific start time/date.
  • Multiple Tabs – have access to more than one move at a time.
  • Pre & Post Roll – program your camera to start recording before the move starts or to keep recording after the move ends.
  • Load & Go – load your move so that it’s ready to start instantly.
  • Save Moves – save your move for future use.
  • Pre & Post Photos – program your camera to take photos before or after your timelapse move has started or ended.
  • Fast Mode – allows the motors to move at their maximum speed.
  • Quiet Mode – this option automatically limits the motors to run at a low RPM and be quiet when sound is crucial.
  • DragonFrame – Kessler CineShooter+ & Second Shooter Pro support DragonFrame stop motion and live motion.

The Kessler kOS app is available for devices running Windows, macOS, or iPadOS systems. It now also supports client mode. This allows CineShooter+ (or Second Shooter Pro, Second Shooter Plus) and your device to connect to a location’s Wi-Fi network rather than connecting directly to the hardware’s own network. This can extend the connected range, and (if your existing network is connected to the internet) allow for easier multitasking.

Price and availability

The price of the Kessler kOS app depends on the type of licensing:

• Lite version – completely free of charge, but imposes a few limitations (no multi-lapse, Event mode, or Gigapixel, no Dropbox support, a maximum of 1 tab, and others). For the full list of differences, please refer to the Kessler webpage.
• Premium version – priced at $9.95/month, $99.95/year, or $199 for a perpetual license. It is worth noting that with the purchase of a CineShooter+, you will get 1 free year of kOS Premium.

For reference, the new Kessler CineShooter+ retails for $3,200.

Have you ever used any of the Kessler motion control systems for your work? What do you think about the new CineShooter+ and the kOS app? Do you use Unreal Engine for your productions? Let us know your thoughts in the comments section underneath the article.

Chinese lens manufacturer BLAZAR started their journey in the world of budget-friendly anamorphic lenses back in 2021 when they announced the Great Joy 60mm T2.9 1.33x full-frame anamorphic prime. This was followed by a T2.9 1.8x full-frame anamorphic trio (35mm / 50mm / 85mm).

However, it was their recently launched Remus 1.5x series that sparked the interest of independent filmmakers. Indeed, these lenses offer a vintage-inspired look that is quite appealing, especially considering their size (under 110mm in length), weight (under 790g), and cost ($2,799 for a 3-lens set).

 BLAZAR Remus 35mm T1.6 1.5x – coming soon

The BLAZAR Remus 1.5x anamorphic series currently consists of 3 focal lengths: 45mm T2, 65mm T2, and 100mm T2.8. All of these lenses are designed to cover full-frame sensors, even when shooting in 3:2 Open Gate mode.

On the contrary, in BLAZAR’s own words, the upcoming 35mm is offered “as a wide-angle option exclusively for S35 users”. This means it can be a good match for popular camera models like the RED KOMODO/KOMODO-X or Sony FX30, but it’s a no-go for full-frame users who have already purchased the 3-lens set.

While this difference in coverage may sound a little weird for a lens that is supposed to fit in a set, the company also announced that they have something else up their sleeve that they will be showing at the forthcoming NAB Show in Las Vegas (April 13-17th, 2024). As usual, we will be on the show floor reporting back on the latest and greatest announcements.

With a maximum aperture of T1.6, this new 35mm is faster than its full-frame siblings. Now, while the company hasn’t released the full specs of the 35mm yet, I would expect it to have similar features to the FF lenses. These include a front filter thread of 77mm, a front diameter of 80mm, a user-interchangeable PL/EF mount, and blue/amber flare options.

Price and availability

There’s currently no official information regarding the price and availability of the BLAZAR Remus 35mm T1.6 1.5x anamorphic prime. For reference, the existing focal lengths retail for $999 each, or $2,799  for a 3-lens kit.

For more information on BLAZAR Remus, please visit the company’s website here.

Have you tried out the BLAZAR Remus series yet? How do you like their character? Let us know your thoughts in the comment section below!

NANLUX is a Chinese lighting brand whose parent company, NANGUANG, has been in the industry for more than 30 years offering lighting solutions for filmmakers. Not long ago, we reviewed the Evoke 2400B, a high output bi-color LED, and now they are returning with the FL-35E, a motorized fresnel lens for this lighting fixture. 

A powerful addition to the Evoke 2400B

The NANLUX FL-35E offers precise optical performance and beam angle control with a motorized adjustment function powered by the electronic contacts in the Nanlux’s NL mount of the Evoke 2400B. Once connected to the fixture, it can be controlled with a button on the lens or by the lamp head, the NANLINK App, a wired controller, or a DMX console. This flexibility is always helpful to perform in different lighting situations.

Like the Evoke 2400B, the FL-35E has an IP55 rating, which should protect the unit from dust and rain. This feature is expected in a lighting fixture like this one, which will be used in exteriors and challenging environments. 

In summary, the FL-35E adds control to the Evoke 2400B, creating a flexible combo for professional productions at a reasonable price considering the unit’s light output. 

Technical specs

• Beam Angle: 15°~46° 
• Compatible Product or Mount: NL mount lighting fixtures with electronic contacts 
• Product Size: 430.38 × 490.15 × 330.3mm / 16.94 × 16.94 × 13.00″ 
• Barndoor size: 525.61 × 399.21 × 39.15mm / 20.69 × 15.72 × 1.54″ 
• Trolley Case size: 600 × 400 × 520mm / 23.62 × 15.75 × 20.47″ 
• Product Weight: 10kg / 22.05lb 
• Barndoor: 2.3kg / 5.07lb 
• Trolley Case: 6kg / 13.23lb 
• IP Rating: IP55 
• Certification: CE, UKCA, RoHS, IP55

Price and availability 

The NANLUX FL-35E includes the central unit, the user manual, the barndoor, and a trolley case. The unit will be available soon at a manufacturer’s suggested retail price (MSRP) of $1190 without VAT.

What do you think about the NANLUX FL-35E? Would you like to use it with the Evoke 2400B? Let us know in the comments section below!

Ulanzi’s lineup of lightweight travel tripods, including the Video-Go, the F38, and the Zero Y, prioritized portability. Now, they’ve expanded their range by introducing a heavy-duty tripod with quick-release functionality, the VideoFast Heavy Duty Tripod.

The tripod has a maximum weight capacity of 25kg/55lb to handle various shooting equipment and long-lens setups. It folds down to 88.6cm/34.8in and comes with a carrying bag for easy transport.

One-click setup and 5 angles

The VideoFast tripod has a one-click setup process. With one click, the legs are extended and locked. The tripod has three leg sections, each measuring 51cm/20in, which can be independently adjusted at 21°, 24°, 27°, 30°, and 33° angles. The 5-section tubes and an expanded joint connection provide a high level of stability in various shooting environments, plus, there is a 5-step mid-level spreader to fine-tune angles and provide extra stability. Additionally, the tripod has interchangeable non-slip rubber feet, steel spikes, and a built-in bubble level. 

From tripod to handheld – a quick switch

There is a quick-release plate on the tripod and a universal quick-release plate on the head to attach and detach the camera quickly when switching between the tripod and handheld shooting. The secure locking mechanism can be disengaged with one press. The tripod also has a removable center column and adjustable leg angles via the gear mechanism.

The hydraulic head

The Ulanzi VideoFast’s hydraulic head features a dynamic balancing system, helping to minimize camera shake and smoothly return the head to a level position after pans or tilts. The 6+6+10 adjustment system allows for fine-tuning camera movement through 6 levels of damping (smoothness) on both the tilt and pan axes and the 10-level counterbalance ensures precise camera leveling after tilting. It also features 360° panning and +90°/-45° tilting. The ⌀75mm detachable bowl head has a load capacity of up to 10kg/22 lbs.

Ulanzi VideoFast Heavy Duty Tripod – Specs

The tripod

• Materials: Carbon Fiber or Aluminium Alloy
• Dimensions: 88.6x17x16.5cm/ 34.88 x 6.69 x 6.50in
• Net Weight (Carbon Fiber Versions): 4.8kg/10.5 lb
• Net Weight (Aluminium Alloy Versions): 5.3kg/11.6 lb
• Height (with the fluid head included): 78.5cm -164cm/30.9-64.5in
• Collapsed Height (with the fluid head included): 83cm/32.6in
• Load Capacity for Fluid Head: 10kg/22 lb
• Load Capacity for Tripod Leg: 25kg/55 lb

The hydraulic head

• Materials: Aluminium Alloy
• Dimensions (without the handle): 27x13x12cm/10.63 x 5.12 x 4.72in
• Handle Length: 40cm/15.75in
• Net Weight: 2.2kg/4.85lb
• Fluid Head Load Capacity: 10kg/22lb
• Bowl Base Diameter: 75mm/2.95in
• Counterbalance: 10 steps
• Tilt Damping: 6 steps
• Pan Damping: 6 steps

Price and availability

The Ulanzi VideoFast Heavy Duty Tripod kit includes the tripod with the fluid head, a carry handle, a pan/tilt handle, an Allen wrench, a storage bag, and a user manual. The carbon fiber tripod retails at $599 (Early-Bird price is $499 from March 25-April 8, 2024), and the aluminum tripod retails at $499 (Early-Bird price is $399 from March 25-April 8, 2024).

You can purchase the VideoFast tripod and find more on their website here.

What do you think about the Ulanzi VideoFast Heavy Duty Tripod? Could you use something like this in your kit? What tripod are you currently using? Let us know in the comments!

The iPhone 15 Pro was released in September 2023, and thanks to its switch to a USB-C port instead of the well-known Lightning port, it offered new possibilities for content creators and filmmakers. Indeed, the iPhone 15 Pro can shoot in Apple ProRes HQ internally, it has the Apple Log picture profile, you can upload a LUT to it, and you can record externally via the USB-C port.

With these new filmmaking capabilities, many camera accessory manufacturers launched handy solutions to make your life easier, including the MagSafe recording module by Kondor Blue and Angelbird, the Eon Electronics MagDisk, and the upcoming Tilta Khronos, to list a few. Another small American company is now joining the party: the Galileo MagDrive.

Galileo MagDrive – features

The Galileo MagDrive is a MagSafe-compatible clamp that attaches magnetically to the back of your iPhone. The beauty of MagSafe accessories is that they can attach to your phone regardless of whether you have a case on it.

The MagDrive is made entirely out of aluminum. At the back, on the MagSafe connector, you’ll find a USB Type-C port. This port is used to charge your iPhone.

On top of the clamp, you’ll find a cold shoe mount to attach lightweight camera accessories.

At the bottom, there is also a 1/4″-20 mounting point so you can attach the MagDrive to a tripod. There are also multiple 1/4″-20 on the left and right sides of the Galileo MagDrive.

The Galileo MagDrive is compatible with multiple SSD drives with a width ranging from 40 to 58mm/1.57 to 2.28in. It is compatible with the widely popular Samsung T5/T7 SSD drives.

The unit comes with a 20gbps data cable and one 1.5m/4.92ft charging cable to record 4K60p ProRes footage externally right out of the box. Indeed, the iPhone 15 Pro requires a USB-C 3.2 Gen 2×2 to record ProRes footage externally, so it’s nice that they include it.

Price and availability

The Galileo MagDrive is available now for €84,95/$84.99.

For more information, please visit Galileo’s website here.

What do you think about this MagSafe SSD holder? Do you often record footage externally with your iPhone 15 Pro? What is your go-to external recording solution? Don’t hesitate to let us know in the comments below!

With a large sensor, interchangeable lens system, compact, minimalistic design, and streamlined user experience, the Logitech Mevo Core brings together quality and ease of use. The new webcam is set to elevate streaming quality while maintaining hassle-free operation. All this sounds great, as all promotional texts do, but we’ll dive in a bit deeper and try to understand this webcam’s position in our field as compared to other options.

Is it a camera? Is it a webcam? What is the Mevo Core?

Coming from a filmmaker or hybrid content creator perspective, the Logitech Mevo Core may seem like a “baby BGH1“. It has the sensor and lens mount, it’s boxy, and it’s based on external connectivity. How different could it be? Well, the short answer is “a lot”. While it does tick some camera boxes, the Mevo Core is still primarily a supercharged webcam aimed almost entirely at streaming rather than filming. Perhaps the most obvious indicator is the bitrate. The Mevo Core tops at 40Mbps for 4K30P. With no other specifications regarding bit depth or sample rate, we’ll just have to assume the worst (or the best for the bitrate. Not a big difference). So, while it may be enough for a limited variety of filming scenarios – it won’t be my first choice.

Body and design

With minimalism at its core, there’s not too much to say. It’s a 700-gram plastic box with a Micro Four Thirds mount on the front. The camera also has four tripod mounts, one on each facade. An internal battery will provide up to six hours of 1080p at 60fps streaming, and there’s the USB-C power option, which I personally prefer. An array of three internal microphones is also available, and while not up to professional sound recording standards, these will probably satisfy the target user.

Connectivity

A fundamental part of a webcam, the Logitech Mevo Core is relatively well-equipped with external connections. All are located on the bottom back side of the camera and include the following:

• UVC-USB-C
• USB-C-PD
• HDMI-A
• 3.5mm audio input

The camera also includes a Micro-SD card slot and impressive wireless connectivity with WiFi 6E and Bluetooth 5.1. This system allows for various connecting options as well as multi-cam functionality.

Who is it for?

The Logitech Mevo Core aims to be both a high-end webcam and an acceptable camera. Theoretically, it has the specs for both with 4K30P recording, good connectivity, and 1080p 60fps streaming ability. The streamlined, easy-to-grasp user interface should help make it an easy system to slide into. Use cases that follow these lines might benefit from such a webcam – gamers, live-streamers, independent broadcasters, houses of worship, educators, lecturers, or teachers may find this solution attractive. For us professional or high-end content creators, filmmakers, etc., I believe this solution will prove sub-par.

Alternatives

Many cameras these days offer some webcam/streaming functionality. The best option is to check the gear you already have before buying into new solutions. Furthermore, an advanced smartphone, mainly the iPhone 15 Pro and above, provides a similar solution in most use cases. For a multi-cam system, I would go for the likes of the Panasonic LUMIX BGH1 or Blackmagic Micro Studio Camera 4K G2, which offer superior professional features.

Logitech Mevo Core – a jack of all trades? A master of none?

We may be easily tempted by the prospect of an all-in-one solution that will provide both high-end streaming and a nice recording option. But every jack of all trades is also a master of none, and in my opinion, the latter is the case with this supercharged webcam. As close as it might get, I struggle to call it a camera. I also struggle to justify investing $1000 in a webcam when my ancient iPhone 11 Pro can perform the same task adequately. Instead, I would likely opt for a dedicated camera with better recording options and controls for anything beyond streaming. Also, these days most professional cameras offer some sort of webcam functionality. I may not be the target audience, but I still find it pretty hard to justify.

Price and availability

The Logitech Mevo Core UHD 4K Mirrorless Streaming Camera will set you back $999 for the camera body. Other kits are available as well, and the webcam is in stock.

Do you see yourself getting into this system? What are the advantages you see for this unique offering? Let us know in the comments.

Japanese lens manufacturer Cosina was one of the first companies to start releasing “official” third-party Canon RF lenses that can communicate with the camera. Indeed, at the end of last year, Cosina launched the Voigtlander NOKTON 50mm F/1.0 Aspherical, which was quickly followed by the NOKTON 40mm F/1.2 Aspherical.

While these lenses – and all other third-party Canon RF lenses in general – don’t have autofocus capabilities, having a few more options as a Canon shooter is nice. Cosina is already back with its third Canon RF NOKTON prime lens: the Voigtlander NOKTON 75mm F/1.5 Aspherical.

Voigtlander NOKTON 75mm F/1.5 Aspherical – features

The Voigtlander NOKTON 75mm F/1.5 Aspherical is a compact prime lens that is only 7.1cm/2.79in long. It is made entirely of metal and weighs 525g/18.51oz.

On the lens barrel, you’ll find a manual focus ring and a manual aperture ring at the front. The aperture ring can be de-clicked by pulling and turning it, which is handy for filmmakers. Also, the NOKTON 75mm F/1.5 Aspherical, similar to the 50mm and 40mm, covers full-frame image sensors.

While the NOKTON 75mm F/1.5 Aspherical is not weather-sealed, it has electronic contacts on the Canon RF lens mount. The lens and your Canon RF camera will be able to communicate, but the day of third-party autofocus lenses has not yet come. Indeed, these electronic contacts transmit Exif information, in-body image stabilization (IBIS) if your camera has it, and manual focus support, including magnification, peaking, and focus guide.

Lens design

The lens design of the NOKTON 75mm F/1.5 Aspherical consists of seven elements in six groups. The aperture diaphragm features no less than twelve blades. The minimum focusing distance is 50cm/19.7in. Lastly, the front filter thread is 62mm, and the lens comes with a screw-in lens hood with a filter thread.

Price and availability

The Voigtlander NOKTON 75mm F/1.5 Aspherical should be available in April 2024 for around $900.

For more information, please visit Cosina’s website here.

What do you think about this Cosina prime lens for Canon RF cameras? Are you patiently waiting for third-party Canon RF lenses with autofocus capabilities? What prime lens are you currently waiting for in the Canon lineup? Don’t hesitate to let us know in the comments below!

Is Technicolor simply back in fashion like everything else in our history that goes in loops? I don’t believe so. We’ve seen movies replicating this distinct visual atmosphere now and then throughout the decades. Crafting the cinematic world so bold, saturated, and vivid that it’s almost surreal is a powerful tool. Not only can it be joyful to watch, but also special colors indeed may serve storytelling needs. Let’s talk below about emulating a Technicolor look in digital cinematography.

What is a Technicolor look?

Technicolor (which is still a trademark) is a company that was founded in 1914 by three gentlemen: Herbert T. Kalmus, Daniel Comstock, and Burton Wescott (“Tech” in the name refers to MIT, where Kalmus and Comstock originally met). Their goal was to achieve full-spectrum color photography for motion pictures, and so they did. It’s important to mention that Technicolor wasn’t the first color process in film history (it came after Britain’s Kinemacolor), but due to its quality, beautiful results, and very special technology, it quickly became the most widely used one. So popular in fact, that the Golden Age of Hollywood is literally marked by Technicolor, and over the years, it became a household name.

When we talk about Technicolor today, we usually mean it as an adjective for bright, saturated movies from the 1930s to 1950s. To achieve such incredible results, the company developed a series of processes that use dye-transfer techniques to produce color prints. The most famous one was Process 4, or the so-called “Three-strip Technicolor”, which used a completely novel system (including a special enormous camera) and made coloring accessible to Hollywood. The biggest advantage was you didn’t need any additional complicated equipment for the cinema projection of the movies.

A brief history of Technicolor

The founders and experimenters of Technicolor started by merging red and green colors. For that, they put a prism beam-splitter behind the camera lens. What it did was expose two consecutive frames of a single strip of black-and-white negative simultaneously. One went behind the red filter, another one behind a green. This process meant that filmmakers had to capture and project everything at twice the normal speed and needed a special projector to properly register the two color images on screen. It wasn’t very convenient, and often the results were far from the ones intended. While this process transferred skin tones reasonably well, it didn’t include the color blue at all.

Blue came into the mix only in 1932, when Technicolor tweaked the technology and developed their famous Process 4. (We will talk about this extraordinary three-strip workflow in a moment). At first, they showed the results only in cartoons. In particular, Walt Disney gathered the courage to make a bold move using three-strip Technicolor in the short, “Flowers and Trees”. As it turned out, it was the right decision, as the unusual color boost helped the previously unsuccessful “Silly Symphonies” series to launch and Disney won an Oscar for that.

The first fully Technicolor live-action feature was “Becky Sharp”, and after that, the groundbreaking coloring process became an industry standard. More than half of Hollywood films until the mid-50s used this then-novel technology. You can see the full list of three-strip Technicolor works here.

Unfortunately, shooting Technicolor involved a special and very expensive photographic system, as well as a complicated dying process. Of course, this annoyed studios and filmmakers. So, when other – simpler and cheaper – coloring workflows emerged (such as Eastman Color, which used a single strip), they quickly took over the industry. Technicolor took a few last breaths, trying to adjust, and eventually died. “The Godfather Part II” is recognized among the final major films using this technology.

Three-strip Technicolor and how it worked

So, what was so special about the three-strip Technicolor? First, it used a custom-designed camera that operated with three black-and-white film strips simultaneously. An optical cube inside splits the light beam into three parts: favoring and recording either the red, blue, or green spectrum of light accordingly.

The three strips were developed separately and were then flipped into positive matrixes. Each print was treated with the appropriate dyes corresponding to complementary colors (cyan for red matrix, magenta for green, and yellow for blue). These multiple color records had to be printed one by one onto a blank piece of film. Together, they created a gorgeous Technicolor image. As it lacked contrast, the company would add a black and white layer underneath the matrixes to serve as “the key” and add crispness to the images.

What was cool about it was you could make different palettes. Technicolor consultants and directors could establish an individual film look by adjusting the cyan, magenta, and yellow dyes. At the same time, the so-called dye-transfer process was super complex and needed huge rooms filled with continuously operating machinery and vast quantities of film prints traversing through walls, floors, and ceilings. If you want to understand this in more technical detail, here you go:

Difficulties associated with Technicolor

As the Technicolor camera had to run three strips of film simultaneously, it was bulky and extremely loud. To deal with it, filmmakers required a special large-volume sound blimp, which made the whole system weigh around 500 pounds (more than 200 kilograms).

Wow, look at that monstrous contraption! No wonder film studios couldn’t buy Technicolor cameras – they had to rent them together with a special supporting crew. Additionally, the company always sent a “color supervisor”, who ensured that sets, costumes, and makeup didn’t push beyond the limitations of the system. Oftentimes, the supervisor had more to say than the directors themselves.

As if it was not already complicated enough, the correct processing of the three film strips also required a lot of light while filming. That’s why sometimes sets were completely overlit, which warmed them up to 100 degrees Fahrenheit (or around 38 degrees Celsius). Imagine working in such conditions! Truly, beauty knows no pain.

The effect that the Technicolor look provides

No matter what, Hollywood fell in love with the Technicolor look, and let’s be honest: we’re still mesmerized by it. For instance, when Judy Garland’s Dorothy from the “The Wizard of Oz” leaves sepia-colored Kansas, and enters the Technicolor land of Oz, it’s a breathtaking moment. Let’s rewatch this scene together:

In my opinion, it’s also one of the best examples of how color can enhance storytelling. It wasn’t only a crazy experience for the audience of that era, accustomed to monochrome films. As the Technicolor look creates exaggerated, lively, and even unreal visuals, we perceive them as a separate world that waits for Dorothy on the other side of the door. Diving into it is almost a sensual experience.

Technicolor consultants at that time also helped productions develop a color scheme to support the narrative. They often referred to conventional associations: red for passion, danger, and heat; green for freedom, nature, freshness; and so on. Of course, nowadays we can call such statements cliché. However, consider this: color perception studies do state that we have different physical reactions to various waves of light. Seasoned colorist Ollie Kenchington dedicates a module to it in his MZed course “Directing Color”. He explains, for example, why blue is almost like white noise to our eyes, and how red elevates the heart rate and blood pressure. These are insights to think about when defining your movie’s color palette.

Modern movies, inspired by Technicolor look

Coming back to Technicolor, the technology is now considered obsolete, and the equipment designed for it was uninstalled years ago. However, its lush and bold look keeps inspiring filmmakers after all this time. For instance, in Martin Scorsese’s latest epic Western drama “Killers of the Flower Moon”, filmmakers use a variety of color LUTs, including Technicolor. Cinematographer Rodrigo Prieto (who also received his Oscar nomination for this film) explains that the story’s epilogue is set in the 30s. To stay true to this epoch, they decided to go for the most popular technology at that time and emulated it. They also tested three-strip Technicolor in an earlier shot when Mollie’s mother dies and meets her ancestors. The contrast to the autochrome movie world worked so powerfully they decided to keep it this way. It also made this moment in the story feel slightly artificial and special.

That’s not the first Technicolor moment in the Scorsese filmography though. In the biopic “The Aviator”, the director went for two vintage color processes that reflect the protagonist’s emotional evolution. While the story revolves around Hughes’s early career (played by Leonardo DiCaprio), we watch it in Technicolor’s two-color look. However, as the character sets a speed record in flying and goes to Connecticut, the movie transitions into the vibrant, three-strip aesthetic, which is associated with glorious years in cinema history.

At the same time, Rodrigo Prieto took his experience with emulating Technicolor to Greta Gerwig’s “Barbie”. Based on the old technology, they developed a special LUT (that they jokingly called “Technobarbie”) for the film‘s lush and vibrant artificial world of plastic dolls. To me, it felt almost like an homage to the fantastic experience of Dorothy, who also goes on a journey of self-discovery.

If you want to learn more about the cinematography and colors of “Barbie”, we wrote about it here. Also, make sure to listen to the ASC clubhouse conversation with Rodrigo Prieto on MZed.com, as it will give you more insight into the development of two distinct cinematic worlds in this movie.

How do digital films emulate Technicolor look?

Okay, but if the Technicolor technology is obsolete, how do we replicate the look in modern movies? The colorists of “The Aviator” explain that they found a process that mimics three-strip Technicolor digitally. Put very simply, you create a red filter, a green filter, and a blue filter, and apply them in the VFX software of your choice.

This approach filters out the other colors from each one of those layers, just like the filters in the old three-strip taking cameras did, and then what you’re left with is a digital form of that Technicolor look.

Rob Legato, a quote from the interview with The ASC magazine

Using this as a reference, and after making a conversion chart that would recharacterize every pixel to create a desired palette, they produced a LUT. This saved enormous amounts of time, as with the LUT the instructions were built into a graphics-processing card and allowed each shot to be rendered quickly.

Another interesting insight comes from Ti West’s horror movie “Pearl”, which also used the Golden Age of Hollywood color aesthetics as inspiration. In one interview, the director explains that replicating the three-strip process is unique and you can do only so much in color correction. So, they decided to be very particular in front of the camera and made sure everything they photographed looked like Technicolor already. This approach involved a huge effort with the costumes, production design, and contrast ratio of the lighting. Well, being that mindful of color pays off for sure.

Conclusion

Thank you for coming with me on this long journey! I hope you gained some exciting insights and inspiration from the story of the Technicolor look and how filmmakers used it for storytelling.

What other examples of modern movies inspired by this old color approach come to mind? Why do you think directors went for such a special aesthetic? Let’s talk a bit more in the comments below!

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Feature image source: combined film stills from “Becky Sharp”, “Pearl”, and “Barbie”.

For your information: this is a live, recorded session from Videocamp in Vienna, Austria. Originally, it was supposed to be just a brief introduction to the vast world of advanced technology and showcase some practical AI tools for video creators. However, a week before the event, OpenAI announced their text-to-video generator Sora, which took the world’s attention by storm. So, we decided it was also important to talk about generative AI in general, and the ethical topics surrounding it at the beginning.

The second part of the video is dedicated solely to simple workflows based on deep-learning models, which are quite helpful in pre- and post-production.  

Why should you keep up with AI development?

Although a lot of people despise AI and would rather ignore it, there are solid reasons why we believe you shouldn’t. First, the tech is already out there and is developing at breakneck speed, getting crazier every week. We can’t put this genie back into the bottle, so we have to learn how to deal with it.

Secondly, artificial intelligence is not completely evil (in case that’s what you think about image or video generators that scrape the entire Internet and train on other people’s work without credit to the original artists). There are AI upscalers that allow you to increase the quality of archive footage, DaVinci Resolve’s Magic Mask, automated captions in editing software, and much more to explore. If you don’t learn how to use these tools, at some point you will for sure become much slower than those who do. Also, if deep-learning mechanisms can take over mundane tasks leaving you more time for creative endeavors, why shouldn’t they?

In the video above, we talk about a few more reasons why you should keep on educating yourself on this topic. One way to do so is to read our articles from the “Artificial Intelligence” section.

AI-enhanced workflows for video pre-visualizations

One of the tools I showcase in the live talk in detail is Luma AI. This is a zero-cost app (also available in the web browser) that turns a simple video into a 3D model or a 3D environment using the so-called NeRF technology. Personally, I use it during location scouting and for video pre-visualizations. Even if you don’t have the newest smartphone (mine is a dying iPhone X), you will be able to share a comprehensive 360-degree look at a chosen space with your DP or production designer within minutes. Better yet, by animating the keyframes directly in the app, anyone will be able to pre-visualize exact shots on location (you can even include your characters or important props) after you’ve closed it.

Some online creators also use Luma AI to create impossible shots and cool visual effects using only their phones and imagination. Here’s an example by a vlogger @karenxcheng to give you a taste of it:

Generative AI and how it evolves

In my opinion, it is also totally okay to use generative AI in the pre-production stage: to create artistic mood boards with Midjourney, to research overseas locations with ChatGPT, or to make pre-visualizations of your desired shots using AI video generators (Runway is the one we’re taking a closer look at in the video above).

Over the last year, we’ve seen how quickly this technology has evolved. For example, here are the results created by the image generator Midjourney using the same text description: its very first model (on the left) and the actual one (V6 on the right).

No wonder this rapid advancement is so intimidating. That’s why when OpenAI’s Sora came out, a lot of video creators instantly felt they were going to lose their jobs in the not-so-distant future. Why? Because it showed unprecedented realism. We don’t dive into Sora in the video because it was the topic of someone else’s presentation, but if you want to learn more about it, head over here. Also, please, join our open discussion there, as we believe Sora is not the end of human filmmaking and would like to read your take on it.

How to enhance audio with AI?

As you know, sound is a drastically important part of every video, even if it is only an Instagram reel. However, as an independent video creator, you don’t always have the best possible conditions to record sound. Sometimes, there is disturbing irregular background noise; other times human mistakes occur and the audio has not been leveled correctly. In the past, such things were difficult to fix. Nowadays, we have AI tools to take care of it.

In our video, you will see two workflows. One helps to enhance the quality of audio within seconds. Another can almost seamlessly separate voice and music (or sounds) from each other. Let’s say you have an old recording, the project file is lost, and you need only the interview part from the audio track. That’s where such tools can be of immense help.

Other AI-enhanced workflows for video you will learn about

Last but not least, we take a look at AI-enhanced post-production workflows. In particular, you will get a step-by-step guide on how to quickly translate your subtitles into different languages using automated captions and ChatGPT. The workflow suggested in our video still requires a couple of actions to be done manually. Yet, if you often work with long interviews or documentaries, you need to try it out because it will save you a massive amount of time!

Conclusion

If you haven’t worked with AI tools yet, this video presentation might be a lot to digest. At the same time, it’s only a tiny fraction of what artificial technology already offers filmmakers and video creators. We believe it’s important to follow this topic and we will always try to keep you updated here on CineD.com. So stay tuned!

What about you? Do you already use AI? Can you share other simple AI-enhanced workflows that you find particularly practical? Let’s expand our toolkits together and talk in the comments below!