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Dehancer Film Emulation for Davinci Resolve I usually don’t use plugins in Davinci Resolve. I feel I have all I need to edit and color grade my videos in that program and more. But I had the opportunity to play a bit with Dehancer recently. Tried a few film emulations and used the plugin as a creative LUT, or did an entire grade from scratch with the plugin. I had a lot of fun using it, so I used it in recent personal projects, and are my thoughts so far. You may have noticed, the colors of all my videos sometimes change dramatically. Because I don’t really care about the look of my talking heads, and depending on what I am working on, I might test a few things. A new codec, a new color grading recipe, a new lighting setup, and so on. And when I don’t have the time, and this happens a lot, I just use a basic LUT… I mean I am not making a movie so… For my short films, it’s a bit different. A bit more thought is put into it. The story and the feeling of the whole video will dictate my choices in the edit and the colors I am going to put forward. Here are screen grabs from recent test videos I've done: I am no expert and still have much to learn, and when I want to push my grade and look a bit further things can become a bit complicated. Emulating the look of Film, adding grain, halation, and bloom effect in resolve is possible, but the amount of tweaking necessary to make it look organic can eat up a lot of time, especially with many different Nodes. And this is where Dehancer felt great and fun to use. I could stir away from that “digital” look faster, with a single node. I enlarged the Dehancer Panel in Davinci resolve so that you can see all the options: All the tweaking happens in one Panel. You have total control over all the aspects of the film stock you are trying to emulate, so you can really make it your own.The plugin also has tailored profiles made for specific cameras. If you cannot find yours you can use color space transform to get in your preferred color space and then use Dehancer. I was happy to see that the X-H2s is supported making it easy to use Dehancer alone for a quick grade. I was surprised at how fast I got addicted to it, from simple videos where I wanted to create a simple look fast, to more creative projects where I wanted to dive into every aspect of my look. In a single frame, F-Log 2 and Dehancer film emulation I used another plugin a few years ago because I wanted an alternative to adding grain to my footage. I stopped using it after a while because it took me too much time to get a pleasing look. I have been enjoying using Dehancer lately, so I will be experimenting with it a bit further. I will be using Dehancer for 2 upcoming projects, just to add that final touch. What about you? Do you use plugins? Film emulations? Which ones? Tell us in the comments below. A new dance video will be released, probably this week on Vimeo and YouTube. I will keep you updated on the plugin, I might do a deep dive if I still use it a few months from now. Learn more about Dehancer for Davinci Resolve : https://www.dehancer.com/

Behind-the-scenes video Feat. Ophélie F. Kind of a throwback... I found these files sleeping inside my hard drive and thought I'd make a quick edit and share the footage and final images with you. I only posted a few on Instagram back in 2021, and for unknown reasons didn't post the others. While digging those out I found other sessions that I never shared before, so please tell me in the comments if you want more of these in the future on the blog.

Feat. Fujifilm X-H2S TILTA camera cage Working with mirrorless cameras has become widely popular pretty quickly. Every photographer now has a very capable video tool in their hands. The only issue with DSLRs and DSLMs for video is that you need to rig them up a bit and add accessories to make them easier to handle for video. And this long journey of finding the right tools for you usually starts off with a cage. If you don’t need sound, film very short sequences, and don’t need RAW then using a photography camera for video might make sense these days. But things can quickly become a bit more complicated if you want to push things a bit further. Because they are relatively light and compact you need a good grip and steady hands to prevent too much camera shake. If you need more recording options, more codecs, and some video assists tools, you will need to add accessories to your camera. I just go the Fujifilm XH2s and it took me a long time to decide which accessories to use for this particular camera. Finding the right balance is not easy. You have to build a rig without going too far because if you do, you might as well invest in a proper video camera. So I started with the foundation and looked out for my perfect cage for the X-H2s. I’ve had different cages in my hands and finding the right one for me took some time. I had a universal cage for years, but it has its flaws. It is universal, but because you can put any camera in it, the camera is sometimes not firmly tucked inside, and you lose several mounting points and options. Plus this one has an open side, which deformed the cage with time. Then I went over to this other brand, that makes customized cages. I got one for the R5 and since it was built for it, all ports, the screen, and the battery compartment were accessible. My only issue with it is personal. All the accessories I wanted to add, (different handles, microphone, monitor, video transmitter...) needed too many additional accessories to mount them tightly where I wanted, and I wanted to avoid adding too many elements to the cage. Once I received the Fujifilm X-H2s a few months ago, I knew exactly what I needed on my cage. Two center screws at the bottom of the cage, to prevent my rig from rotating on a tripod. The possibility to attach any type of handles on both sides and on top. I wanted access to all the buttons and compartments of the X-H2s. And ideally, all of this, from a well-established brand that can offer a coherent ecosystem for further customizations. So I had to start with a simple basic rig, just in case. And this is what I currently use with the X-H2s. In case you wonder, I use this rig now for my BTS and YouTube videos. The left wooden handle is beautifully made and feels great in the hand. I wish I had the same one on the other side. It allows me to have a firm grip and shoot confidently handheld. The base lets me have rails to support a follow focus, Mattebox, and more. Some of the footage shown in the video are taken from ongoing projects. Don't worry, I will tell you more about them when the time is right. Tilta’s catalog is really impressive and continues to grow, of course, it is compatible with other brands, I used different magic arms, rails, and cold shoe mounts on it. I should dive a little deeper into their offering and maybe complete this rig. What do you think? Have you ever considered Tilta and its tools for filmmakers? Let us know in the comments below. If you haven’t found the perfect cage for your camera yet, then you should take a look at their website . Of course, if this goes any further, I will let you know. https://tilta.com/ All my Tilta gear: Camera Cage for Fujifilm X-H2S Basic Kit - Black Tiltaing 15mm LWS Baseplate Type IV - Black Left Side NATO Extension Attachment Tiltaing Advanced Side Wooden Handle Type VIII (Left ) – Black

My thoughts on the IRIX Cinema lenses! I prefer using cinema lenses when possible for video. They are more precise, smooth, and silent for manual focus, and focus breathing is less of an issue, especially with high-end lenses. I also choose them for their character, and the look they give to my images. These lenses were once completely out of reach, and now we have so many affordable options making it hard to make a choice. IRIX offers a set of lenses that really look appealing on the outside and on paper when looking at the spec sheet and price. I recently had the chance to film with them. Let's see what they can do. These lenses are 8k ready! I had the Irix 15mm T2.6 Cine lens, Irix 21mm T1.5 Cine lens, and Irix 45mm T1.5 Cine lens in PL mount. With a 43.3mm sensor coverage, you can of course use them with Full frame cameras. They are weather-sealed and have low distortion on wide-angle lenses. Focus breathing is maybe the first thing I am going to look at. Compared to other lenses I had, it is very well-controlled and barely noticeable on these three lenses. They are fairly compact and lightweight which makes them great for handheld or gimbal work. And guess what? They are currently available in 7 different mounts! Given their price I was surprised they were T1.5 lenses (except for the 15mm which is T2.6). The focus throw is said to be 180°, I wish it was a bit more, but that’s a personal preference. Since they are small and compact I thought I would give them a go on mirrorless systems. I mounted them on the Fuji XH2s… and since they cover full-frame, I wanted to test the limits of the coverage by mounting them on the Fujifilm GFX100s. Remember that sensor of the GFX100s is 1.7 times bigger than full-frame. The 45mm lens had barely any vignetting but the 21mm and 15mm definitely need to be cropped a bit in post as seen down below. Vignetting with the 15mm, and 21mm side by side, mounted on the GFX100s : They are a good first step into cinema lenses, and I feel they can take a beating on set. They will deliver in many situations because of how versatile they are. For lenses that sell at around 1200 euros at the time of this video in France, I believe it’s a steal given their characteristics and performance. They are not perfect, they flare a bit too much to my taste, but if you are looking for similar specs elsewhere you might see a big jump in prices. My only issue and one I cannot leave out of this first hands-on: Is the focus ring. It is a bit stiff, compared to other lenses I had, and not in a pleasant way. To a point that in some circumstances my wireless follow-focus struggled to calibrate itself. Even Manually, I wish it was a bit looser and smoother. I experienced this on all three of them, so I hope this is something that will change in future iterations of these lenses. Other than that, this is how I look at lenses these days. If They are well built mechanically, then my only concern will be the resulting images. Chromatic aberration, Ghosting, flares, distortion, and focus breathing are now what makes the identity of a lens. What makes old vintage glass so appealing, is its character and flaws. These are embraced because they provide a certain feel and that’s what makes them unique. So It all comes down to your project, the image that will better fit your story, and how these lenses will help you create your film. Screen grabs of the 45mm T1.5 in the studio and outdoors: Huge thanks to IRIX for letting me play with these. If you are on your own quest trying to find a set of lenses that will suit your needs, then you should have a look at IRIX's website . [Update] The complete Tango video, entirely shot on the Fujifilm GFX100s and Irix Cinema lenses is now available on VIMEO: Down below are a few affiliated links! If you wish to get a set of lenses, please consider using these links to support the blog: Learn more about IRIX: https://store.irixlens.com/en/?aff=17 Get yours: Irix Cine 45mm T1.5 Irix Cine 21mm T1.5 Irix Cine 15mm T2.6

Featuring the Freewell Prism filters This video was very last minute. I had these with me for a while and I thought it was about time to talk about them. I didn’t want to do a separate video at first, but then thought it would be interesting to only show the portraits I’ve done with them recently. I have left out deliberately these images from their original sessions. And now here they are. Not the lens filter you will use every day, but creatively they can help you achieve whatever weird vision you have in mind. I am going to make it short because my thoughts on these can be summarized in a few words. You will occasionally use them unless your style is based on these effects. The effects from the Freewell prism filter sets are heavy but you can imagine anything around them. A dream, a fantasy, a fairytale a nightmare, a fragmented mind I don’t know, it is up to you to make your own story. You’ve seen Meaeva’s behind-the-scenes video a few days ago, Clara’s is only available on the blog for premium members . And Charlotte’s video, the one I was supposed to share but will come shortly. I used these filters during these sessions with mixed results. And the portraits I am going to share with you are the ones we kept in our final selection. Split Diopter With and without the Spli Diopter (different focal lengths) You have a Split Diopter Filter, a Linear Prism Filter, and a Centerfield Split Diopter Filter. I found I preferred the results of these effects when used with the GF50mm lens. As usual from Freewell these filters are well made. I have multiple filters from them that I use on a regular basis, so I knew I would get something solidly built. From left to right: Split Diopter, Center field Diopter and Linear Prism Linear Prism Center field Diopter Once in place, you can rotate the filter to place the effect where you want. The versions I have are directly screwed to my lens. I have the 82mm set and adapt them to my other lenses with step-up rings. Get yours: https://www.freewellgear.com/137-prism-filters I may or may not talk about these again in the future… only if I find something new and interesting otherwise what’s the point. Have you ever tried them? What do you think? I love messing with my lens and whenever I can achieve an effect outside photoshop I am happy.

The accessories I never thought I'd need It is the accessory I never thought I‘d need… sounds familiar? I am going to recycle this one to death. To be honest, I wanted to have at least a set of these for a long time, but they are not easy to find in France, especially in that color. Let me show you how I use them, why you should consider owning a set, and if you don’t know what apple boxes are and what they can do, stay seated. Apple boxes are often found in studios and on film sets; they are common and it is easy to understand why. I tried to get my hands on a set in 2020 but failed, and then recently found a set available on ProAim’s website . They propose a set of 4 apple boxes that you can use in various situations if you are a bit creative. It’s a 4 in 1 set with one full, a half, a quarter, and a pancake-size apple box. This set makes it easy to stack and combine to achieve any desired height. Made of 12-ply cedar base wood, these were hand polished to warm tones for a bit of style. It’s a 4 in 1 set with one full, a half, a quarter, and a pancake-size apple box. This set makes it easy to stack and combine to achieve any desired height. Made of 12-ply cedar base wood, these were hand polished to warm tones for a bit of style. Because the thing is I am not a fan of the regular apple boxes, I prefer these dark ones as they fit my style a bit more. They feel tough and strong, I feel comfortable sitting on them or having any of my models be on them. Because for your photography sessions, this is where the fun begins. Your model can stand on, sit on, or lean against an apple box to create a variety of poses, shapes, and positions. Here are a few examples taken from different recent home sessions. They are great for portraits, they help you stage your shots. It's not easy to find ways to pose someone. To place the hands, legs, and feet. The apple boxes allow you to place them at different heights and your model will be able to propose poses she wouldn't think of or do without them. They are strong enough to support someone standing on them. Once I used them the first time, I wondered why I haven't purchased a set earlier. You can use them indoors, or outdoors, I don’t mind taking them on location and scratching them. It gives them a more vintage look, I am sure they will look better with time. These boxes can also be used to prop up lights and cameras at desired angles and heights, they were really useful on set during the filming of a tango video I did recently. I also use them for my product shots now, because I love the color and texture of the wood. I might get another set later, so I hope they don’t run out. Have you ever used Apple boxes in your work? For your portrait sessions? If you live in France, in Europe, and wish to get a set, check out their website, they have apple boxes but also many other great accessories for filmmakers and photographers. https://www.proaim.be/ If you enjoyed some of these images, rejoice, the complete sessions will be available soon, and I am saving at least one of them as an exclusive post for my premium members so stick around.

"home sessions" feat. Charlotte [Extended cut] I wasn’t sure how I wanted to release this one, that’s why it took me so long. You’ve seen bits of it in my review of the PROAIM apple boxes , and first impressions on the Freewell Prism filters . This photo shoot was a revelation for me. Even though working with continuous led lights may in some instances be the best choice, I realized that I was much more comfortable working with flashes for my photography. That is why I still, thanks to the blog and Youtube, from time to time organize these types of sessions to figure out what are the best tools for me... and who knows, my experience might help or inspire you.

A short breakdown Some of you asked how this one was made... so here it is a short behind-the-scenes, and a few words on how I usually make these.

With the Laowa 19mm f/2.8 Zero-D GFX I am enjoying these wide-angle lenses again! Fujifilm released the GF 20-35mm f/4 R WR zoom lens last year, but I still feel there is some work to do in that department. The lineup needs more options and fast lenses… Or maybe I am the only one? But what about third-party lenses? How good are they? When I was asked to test the Laowa 19mm f/2.8 Zero-D, I jumped on the occasion. Let's see how it performs. I went back to my roots the past Year (in a way). Using wide angle lenses a bit more in my work, like I used to. I still see very few people embracing the weirdness of these lenses for portraits. I believe they offer other creative options, and if like me your locations play a big part in your work, then shooting with these is a must. Fujifilm is still developing its GFX line, and we are still waiting for more options on the wide-angle side. We also wish they made more fast lenses and special lenses like the announced Tilt-shift lens that hopefully will show up this year. Laowa didn’t wait to propose a series of lenses to fill that empty spot. One of their latest fast wide-angle lenses is the Laowa 19mm f/2.8 Zero-D. It’s small in its class, only weighs 546g, and has a minimum focus distance of 18cm. This is very important for me, as I love getting close to my models with these lenses. It has an angle of view of 110° with close-to-zero distortion. And with its 77mm filter thread, it shouldn't be hard to use filters. Now that I have the GF 20-35mm f/4 R WR (picture on the right down below) from Fuji, how does the 19mm compare to the 20mm on Fuji’s zoom lens? Is there a difference? As you might expect, not really. So this will not be the lens's strong point. Some will pass on this 19mm because it’s manual focus only. This will depend on your shooting style, type of work, and so on. I do focus manually from time to time, so this is not a deal breaker for me. So if we forget about the lens's size and weight, what makes this lens stand out is its ability to open at f/2.8, the overall build quality, and its price. If you often need more light, or if your style requires a better out-of-focus background then you don’t have much choice at the moment. Nothing comes close to this lens, especially at this price. Clara P. (Toulouse - France) Fujifilm GFX100s + Laowa 19mm f/2.8 Zero-D 1/200sec f/2.8 ISO 50 You can include so much with this lens. It almost gives an Epic feel to any location. The exaggerated perspective makes it hard to use for portraits. It will take you some time to get used to the look and feel of the images you will produce with this lens. Clara P. (Toulouse - France) Fujifilm GFX100s + Laowa 19mm f/2.8 Zero-D 1/250sec f/2.8 ISO 50 Clara already has long legs. Shooting at a low angle will make them even longer. Something to keep in mind if you photograph somebody that wants to appear taller with longer legs. Clara P. (Toulouse - France) Fujifilm GFX100s + Laowa 19mm f/2.8 Zero-D 1/250sec f/2.8 ISO 50 For close portraits (not too close) you will have to be careful not to have your model too close to the edges. The lool is already surreal, so unless you want to cross that line even further and have Alien-like body proportions, then keep your subject centered. Tiare Maeva (Toulouse - France) Fujifilm GFX100s + Laowa 19mm f/2.8 Zero-D 1/320sec f/2.8 ISO 50 I love mixing architecture with portraits, lines, and shapes can greatly help you compose your images. The 19mm f/2.8 Zero-D also reinforces that sense of proximity. If you are tired of using 50mm, 85mm, or 135mm lenses for your portraits (full frame), try to go "wide", from time to time, it might open doors to new ideas. Tiare Maeva (Toulouse - France) Fujifilm GFX100s + Laowa 19mm f/2.8 Zero-D 1/160sec f/2.8 ISO 50 I mainly worked with a tripod, I find it speeds up my process for these types of images. I wanted to use natural light for these two sessions, but ended up using a flash. I brought with me the Godox AD300 pro and a 65cm softbox. Tiare Maeva (Toulouse - France) Fujifilm GFX100s + Laowa 19mm f/2.8 Zero-D 1/125sec f/2.8 ISO 50 Tiare Maeva (Toulouse - France) Fujifilm GFX100s + Laowa 19mm f/2.8 Zero-D 1/100sec f/2.8 ISO 50 Unfortunately, I couldn’t test it indoors, I had a horrible start this year, I was ill almost all of January. Multiple shoots and projects were postponed, and I couldn’t test the lens further. Image wise we are losing a bit of sharpness wide open, and some Chromatic aberration and fringing are visible. These artifacts reduce as you close down, but aren’t too distracting overall unless you really zoom in on your images. Other than that, my first impressions are really positive... Let's not forget that this lens is under 1400 euros at the time of this video which is affordable for a lens like that. I love what Laowa is doing for photographers and filmmakers at the moment, you should check out their website. For any indie productions and small projects, they might have a solution for you. www.venuslens.net I cannot wait to see what they will come up with next, I will surely keep an eye on them.

A quick breakdown! 3rd of the series... with a few tweaks in my workflow, so that you can't accuse me of doing the same thing over and over.

A quick breakdown! I decided to do a 2nd one... and maybe make this a regular? What do you think? Down below is a quick breakdown. The main steps behind my retouching and color grading process in Photoshop. Before we go any further, here is a little "speed edit":

My First thoughts on CANON's current flagship camera! This is a follow up of my thoughts on the CANON R3 . It took me sometime to make this part II because I struggled to get my hands on the camera again. We will only talk about the video capabilities of the camera, for the photography part, you can head to part I ! I've been looking for a "hybrid" camera for years now. One that will both satisfy me in video and photography. The Canon R5 was a great camera, and was close to being the perfect camera for me. But after a while, I ended up using it less, switched to Fujifilm for my photography, and for video I only used it when I didn't have the choice. I am looking for a camera that has great video features, but that also has the speed that I miss in my Fujifilm GFX100s for photography. 8k is a bit too much, espescially in RAW. Although the resolution is great for a lot of applications, these files just eat too much space. These are the specs I was interested in: 6K DCI (17:9) in 59.94, 50, 29.97, 25, 24, 23.98 fps RAW 12bit 4K DCI (17:9) in 59.94, 50, 29.97, 25, 24, 23.98 fps intra or inter frame / light inter frame 4:2:2 10bit 4K UHD (16:9) in 119.9, 100, 59.94, 50, 29.97, 25, 23.98 fps intra or inter frame 4:2:2 10bit Movie Servo AF: Dual Pixel CMOS AF II with Eye/Face Detection and Tracking AF (people, animals and vehicles) The only thing missing after a quick dive in the menus is Canon Log 2! The R5 is not known for its dynamic range, but, if you know what you are doing, you can great images from it. I met Eva Maureille downtown to film a few improvised clips, here is the 1st one Made entirely with the Canon R3: You have to keep in mind that this is a photography camera first, some compromises will have to be made. You don't have all the professional audio connections, no SDI out and you will have to deal with the fragile micro HDMI out port. For more demanding video work, this camera may not be the best choice. Like many other mirrorless cameras, you will have to rig it up to make it useable in a more professional environment. I really enjoy the fact that you get 6K raw internally though, and a really efficient autofocus system in video. For quick solo gimbal work, the Canon R3 performs really well. 6K is just perfect for me! I said it earlier, the R5 and its 8k RAW is too much. I need a resolution that goes beyond 4K, because I sometimes film at weird angles and heights. So I need a light camera that has great autofocus and that will deliver an image I will be able to crop heavily if needed and that I can match with any "A" camera I am using. The Canon R3 is a great time saver when you don't have a 1st AC and need to use a light setup on a gimbal. All the clips with Eva were shot on the Canon R3 paired with the DJI RS2. If you are a hybrid shooter, if you are specialized in sports photography, or shooting fast-moving subjects, and sometimes need a camera that delivers great images in video… Then the Canon R3 might be it. Here is a short dance film made with both the Canon R3 (my main camera) and the Canon R5. We shot in 6K and 8K RAW light. I only used a few clips from the R5 at the beginning, the rest was entirely filmed with the R3. The lenses we used that day were the RF 15-35mm f2.8 and the RF24-70mm f2.8 lenses, and I can confirm they are great for video. Lens breathing is noticeable in some shots, but I knew this from the start as they are photography lenses. Strangely, I am definitely turning the page with Canon cameras. My partner is currently getting rid of the R5, and I am only considering renting the R3 for specific tasks and jobs in the future as it blends well with certain cameras like the MAVO edge cinema line . I do not blame the CANON R3 for anything, it’s a great camera, and I wish the accuracy and speed of the autofocus in both photography videos would slowly make their way into my Fujifilm gear. But I had to make a decision, and there are other elements that motivated this decision… and you know what, for the hundredth time and without surprise, it is a decision that is linked to the nature of our upcoming projects. Don’t take it personally Canon users, this is not the end. I will probably have Canon gear in my hands again in the future. Are you a Hybrid shooter? If yes, what camera are you using that satisfies you in photography and videography? Let us know.