The Arcade (2025 Short Film, Shot on Cooke Speed Panchro 32mm) Robert Fatt 2025-04-22 | Synopsis: A girl returns to the arcade haunted by the memories of her past relationship.Living in Edinburgh while studying my masters in film directing I wanted a quick break from my other projects so shot and edited a quick short film with some undergrad acting students over an evening. I wanted to experiment with a few camera settings in all available light and with some cool lens combinations.Shot on:Sony A7r VCooke Speed Panchro 32mm S3Zeiss Contax 35mm 1.4 2x Oval Iris
Christmas Snow in Finland Robert Fatt 2025-01-05 | Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!Just some fun filming during my Christmas break in Finland. I let my sister do some filming as well to try and train her camera skills :PShot handheld on a Sony A7r V and a Sigma 50mm 1.4 and no filters!
Jez - Anamorphic Zeiss Contax 35mm 2x Oval Iris Robert Fatt 2024-07-22 | Testing out my Zeiss Contax lenses on Sony FX6 with 2x Oval Iris installed for an anamorphic look. Awesome lenses and I added a 1/4 Black Pro Mist for bloomy highlights. Cropped for a widescreen aspect? Switched to 12800 ISO when it got darker, but I definitely prefer 800 for noise and colour.Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!Awesome look, and I'm selling these lenses currently :)insta: @robbiefatt
KOMODO Diving 3 Day Liveaboard 2024 Robert Fatt 2024-04-15 | I spent a three day liveaboard diving in Komodo National Park in Indonesia. Here are some of the highlights from my 9 dives over the 3 days. The weather was very cloudy and rainy, but there was still so much colour and good visibility. Such an amazing experience, with amazing people and awesome coral and fishlife! :DShot on a Canon R5 with Meikon Underwater Housing. Canon 24-70mm USM II and a magic underwater red filter.4K CLOG3.Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!
Fringe Sleeps Hill Tunnel (Sony A7r V Sigma 50mm 1 4) Robert Fatt 2024-03-04 | Another fun lights shoot with some friends at Adelaide's Sleep's Hill Tunnel Fringe show! Nothing pushes a camera's dynamic range more than flashing lights.Shot on:Sony A7rVSigma 50mm 1.4Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!Insta: @robbiefatt
iPhone 15 Pro Max 4K Video Robert Fatt 2024-01-08 | Testing the video quality from my iPhone 15 Pro Max in Log. Graded with Phantom Luts, and when the light is good, it's not a bad camera really. Pretty amazing to see how far phones are going. Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!insta: @robbiefatt
Netting Lenses (Cinematic Lens Filtration + Sony A7rV) Robert Fatt 2023-11-21 | My favourite filtration technique which is completely lost in contemporary cinematography, "netting lenses" provides a unique dreamy quality and was used on my favourite film for cinematography "Snow Falling on Cedars".Movies such as Atonement, and much of Janusz Kaminski's work utilise this technique, and I will definitely be using it in the future for certain projects.Shot on a Sony A7rV and 50mm 1.4. I netted these lenses from a filter on the front, but the best way is to net from the back. I will upload a video on this soon.Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!
Film Vs Digital Photography Robert Fatt 2023-10-26 | insta: @robbiefatt YouTube: @robbiefatt Rebecca Lily Presets: rebeccalily.comFilm Vs Digital PhotographyI thought I’d put my thoughts in for shooting on film and digital for photography. I honestly don’t have a preference, I like them both.But I’ve always wanted to be able to match my digital photos closer to film.I’ve been shooting film photography properly for about 4 years now. I’ve experimented with pushing and pulling stocks, filters, and a few other different techniques, and I’ve shot on a variety of different stocks. But recently I went out with my friend Elly for some shots to compare more directly.For my film setup, I was shooting on Portra 400, rated at 160, on a Canon Eos 1n and Sigma 50mm and 85mm lenses. And my digital setup I was shooting on my Sony A7rV camera in compressed RAW.I scanned my film photos at 2000 x 3000 resolution, and so resolution isn’t something I want to talk to about as much. I wanted to focus on colour and image rendering.I think one of the main difference shooting from the start is how different they are from a starting place. Digital RAW photos aren’t made for post processing and there really is way more flexibility with how you want a photo to look. The image is clean, with no noise and accurate colours.Portra 400 is quite grainy and looks great straight after scanning. If we zoom in we can see that it is nowhere near as sharp as the digital photos, but that adds to the pastel smeary quality that is so desirable. Despite the amount of film emulations and grainy plugins I’ve used, my digital photos still never look quite the same as the real thing.Putting them side by side it’s clear to me why film is still so desirable. Shooting directly into sunlight backlit, we get to see the real beauty of highlight rolloff, and the imperfections created in the chemical reaction process which adds something more artistic and unpredictable. But this isn’t every photo, and usually half of the roll turns out a disappointment. But it’s still unique and different from digital photography.So maybe the aim with digital photography isn’t to replicate film exactly. Maybe the aim is to create a unique separate look, which borrows the attributes of film photography but makes a unique and new look.And so I wanted to talk about some of my favourite presets I’ve been using for photography, and that’s Rebecca Lily’s Pro Set Presets. This video isn’t sponsored by her presets or work in anyway, and I’m not being paid to talk about this, but I’ve used so many different Lightroom presets and hers are significantly more nuanced and versatile, which give a much more subtle but professional polish to photography.When it comes to editing photos properly, I’ve always thought that subtlety is key, and that’s why I love her presets so much. They’re subtle and push colours and curves in the correct way. But there is a variety of looks which work in all different styles.It’s not film, it’s completely different look, but it has this faded blacks, and maintains the dynamic range of the digital data in a way which feels more organic, adding texture and saturation in a way which feels more sophisticated.But back to film photography.Why do I still shoot on film? Well I think it really is important as a filmmaker to think about composition consistently. Composition and light seem to be the foundations for good photography and shooting on film makes you think carefully before taking a photo. Whenever I look back at my film photos over my digital photography, I notice that my film shots are almost always perfectly composed, whereas my digital photos I often change the composition to try a few different angles when shooting.But overall, I shoot film just because I enjoy it. The photos I take are way more valuable to me, and they have more nostalgia and longevity psychologically than most of my digital photography.Even to this day, I always get excited when I hear that a movie is still shot on film. And I make it my best effort to watch it on the best screen possible. There’s something special and different about film, and it will always carry value and nostalgia in my mind for the art form which I love so much.
Australia Spring Snow Hike (Swimming in Blue Lake) Robert Fatt 2023-10-08 | It was always a life goal of mine to camp in the snow overnight out in Australia. After 3 years attempting to do so, I finally achieved my goal and we headed out in the October long weekend to camp up at Carruther's Peak. 100km/h winds were forecasted for the evening, and it got up to 110km/h in gusts, completely destroying our tents! But it was a weekend to never forget!The wind was crazy and the audio didn't hold up! Swimming in Blue Lake was another goal, with ice still on it!Instagram - instagram.com/robbiefatt/?hl=enWebsite - robbiefatt.comShot very dodgy with my GoPro Hero 9 Black and DJI Mavic Air 2S.by @robbiefatt
Sony A7rV Sigma 50mm 4K 50FPS Robert Fatt 2023-09-24 | I finally had the chance to test out the Sony A7RV for video outside in 4K. The A7R series has come along way in terms of video, and this camera definitely produces an image reflective of the colour from the A7S3 and FX6. Shooting in SLOG is the best way to go, and I shot this all handheld amongst taking photos.I used 1/4 Black Pro Mist as well as an SLR Magic Vari ND.Edited and graded quickly in DaVinci Resolve with the phantom LUT. Everything was shot in 50fps, and yes there was a crop.The sigma 50mm 1.4 was the EF version shot with an adapter and the autofocus seemed to work fine.Overall, I'm impressed with this camera and want to do further tests with it :) Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!Insta: @robbiefatt Website: robbiefatt.com
Illuminate Resonate (Sony A7rV + Sigma 20mm 1.4) Robert Fatt 2023-07-11 | Just some highlights from the Illuminate Resonate light show.Download Phantom Luts here for a discount: transactions.sendowl.com/stores/9614/265208Shooting with some crazy frame rates and shutter angles on the Sony A7rV + Sigma 20mm 1.4 at Illuminate's Resonate light show in Adelaide this year. Most of the shooting was very low light with ISO above 800.This was all shot in 4K SLOG 3 graded with the A7S III Phantom LUT. I'm a big fan of these, and use them almost exclusively with SLOG and CLOG footage. Download them here!: Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!I also added some film grain and film emulation. I love this look!
Elly: Mirror Mirror Illuminate (Sony A7r V + Sigma 35mm 1.4) Robert Fatt 2023-07-01 | Illuminate's Mirror Mirror exhibition was pretty cool in Adelaide this year. This was my first time shooting on the Sony A7r V and I wanted to try some crazy frame rates for the "Chungking Express" look which is one of my favourite films. It was definitely a vibe!Download Phantom Luts here for a discount: transactions.sendowl.com/stores/9614/265208There's definite noise in the shadows but I think it's perfectly useable and best to overexpose. This was all shot in 4K SLOG 3 graded with the A7S III Phantom LUT. I'm a big fan of these, and use them almost exclusively with SLOG and CLOG footage. Download them here!: Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!I also added some film grain and film emulation. I love this look!
Elly (Shot on a Cooke Speed Panchro 50mm Sony FX6 PL) Robert Fatt 2023-06-26 | Just doing some initial tests with my Cooke Speed Panchro 50mm adapted to a Sony FX6 PL Mount. Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!Thanks so much to my amazing friend Elly for her help. Check her out here: instagram.com/ellyjennaxxIt's great to see a vintage cinema lens on a camera like Sony's. The big noticeable change is when you switch from the 800 ISO to 12800 ISO setting. I need to remember to overexpose slightly at night to keep the noise to a mininum.This was all shot in 4K SLOG 3 graded with the FX6 Phantom LUT. I'm a big fan of these, and use them almost exclusively with SLOG and CLOG footage: Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!
Thailand Dive: Sail Rock Robert Fatt 2023-05-05 | My first overseas dive in Thailand at Sail Rock in-between Koh Tao and Ko Pha Ngan. I was hoping to see some Whale Sharks but was a bit out of luck! Still an incredible dive and an awesome amount of fish and life there :)Shot on a Canon R5 in a Meikon Underwater housing. I used a red filter as well with all natural light. Colour graded and edited in Resolve.Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!insta: @robbiefatt
The Vegemite Sandwich (2023 Comedy Short Film) Robert Fatt 2023-05-02 | Nine year old Steve lives a pretty good life. He's got great friends, cool hobbies, and a great school. But there was just one thing that interrupted his otherwise perfect routine. And it was that every day at school, his mum would give him the same meal. That's right, the iconic Australian Vegemite sandwich.Written & Directed by Robbie FattShot on Arri Alexa Mini and Unrehoused Cooke Speed Panchrosimdb.com/title/tt26439350/?ref_=nm_flmg_t_1_drinstagram: @robbiefatt
Swimming with Seals!!! (Montague Island Seal Dive Canon R5) Robert Fatt 2023-01-22 | Check out my video from my seal dive last year here: youtube.com/watch?v=IwjtoYN21w0&t=65sMontague Island is one of the best places in the world to swim with wild seals. These Australian fur seals are SUPER playful and friendly. This is definitely an amazing experience worth doing. The only problem is... the water is COLD!!! Make sure you get a thick wetsuit.I went on a family trip and took my underwater housing for my Canon R5. I decided to try and get some good photos of the seals while my sister filmed on a GoPro. Trying to keep up with the seals as they moved around was a real challenge! insta: @robbiefatt
Cooke Speed Panchro 50mm Cinema Lens (Canon R5 PL Mount) Robert Fatt 2023-01-03 | insta: @robbiefatt More night shots of the Cooke 50mm S2 on a Canon R5 PL Mount. The ISO was usually above 1600 and it was interesting to see how the noise performs on this camera. I shot this in 25FPS and it really tested my handheld and focus on this vintage lens. T2.3 still feels a bit slow for night shooting, but certainly not for depth of field. I am really enjoying the paring of this lens with this camera and there is a certain creaminess to the overall image. It's amazing how far these mirrorless camera's have come as far as image.Hopefully I can shoot a short film with this setup soon :)Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!
Finding Australias Hidden Sea Caves (Ocean Kayak Expedition) Robert Fatt 2022-12-30 | insta: @robbiefattyoutube: @robbiefatt My brother and I decided to go exploring in kayaks to find some hidden sea caves on the east coast of Australia.I thought there might be some caves in the area because of the coastline, and we found some!I took my GoPro Hero 9 with me just to document the journey. I didn't have any mounts or anything so I just held the GoPro with me which wasn't ideal. But at least I was able to capture the caves we found!
Christmas Lights (Cooke Speed Panchro 50mm S2 + Canon R5 PL Mount) Robert Fatt 2022-12-20 | More testing with my Cooke Speed Panchro 50mm S2 setup on my Canon R5 with PL Mount.Everything shot in 4K with a a variety of frame rates. ISO was usually above 1000 and you can see the noise in darker shots. Overall, the Canon R5 is a great camera for video. CLOG3, mixed with Phantom LUTs, give great colours which make this camera organic. Night shooting like this is really challenging conditions, and I have found these older Cooke lenses very bloomy in the highlights when backlit. In general, these uncoated lenses look way better when light isn't directly into the lens. But they are such great lenses when everything is lit right.Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!Insta: @robbiefatt
New Zealand: Canon R5 Phantom LUTS 4K Robert Fatt 2022-12-14 | Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!I recently went to NZ with some friends and have been testing out the Phantom LUTS on my Canon R5. These LUTS are technically made for the Canon C70, but I've found they work perfectly on the Canon R5.It was a really basic setup, just handheld with a Canon 24-70mm lens and a SLR Magic VariND.This LUT really is a game changer in the Sony VS Canon colour science debate. Everything was shot in CLOG3 4K 50FPS.insta: @robbiefatt
Cooke Speed Panchro 50mm on a Canon R5 (Phantom LUTs) Robert Fatt 2022-09-05 | I've been waiting for a good LUT to come out for Canon CLOG cameras for a long time. I've been convinced that Sony has better video than Canon since the A7S3 was released. But man, these PHANTOM LUTS are a game changer. Absolutely stunning colours that take this camera to the next level.Graded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!All of these shots were around 2500 ISO since the Cooke Lens only is a T2.3 and I needed more light, but that 2500 ISO was completely useable, and the 4K HQ mode on the R5 is so clean. And this camera is definitely underrated for video.TECHNICAL SPECIFICATIONS:- Shot HANDHELD on a Canon R5 at 4K HQ CLOG3 25FPS- Graded using the PHANTOM Neutral LUT- Edited in DAVINCI RESOLVE- Canon EOS R to PL mount adapter
Cooke Speed Panchro Full Frame Coverage Tests (Canon R5 Phantom LUT) Robert Fatt 2022-08-22 | COOKE SPEED PANCHRO Coverage Test on a Canon R5So we’re just looking at the amount of coverage that vintage Cooke Speed Panchro lenses have when shooting full frame on a Canon R5. And also the flaring characteristics on uncoated lenses. I’m using my hand just to stop the sun hitting the lens directly. As we can see the 50mm has full coverage even on full frame. There’s that awesome barrelling affect you get on the panchros. All these lense are shot wide open to maximise the vignetting on the lenses as well.So as soon as we step down to the 32mm we already have coverage issues. Definitely unusable without cropping at this focal length. We are also shooting with a Hoya Pro 64 ND on all these lenses except for the 18mm.On the 25mm we have pretty much the same coverage as the 32mm lens. You have to scale about 15% to crop in and get rid of the edges. And I didn’t stop the flares for this shot and you can see just how destructive the light is if you let it hit your lens without a mattebox.On the 18mm we have to scale in about 20% to get rid of the edges. So it really is not useable without significant crop.So when we swap over to the 1.6x Crop mode on the R5, we already have full coverage on the 18mm lens. So these lenses work perfectly fine on a Super35 sensor. There is a significant crop involved on all of the lenses, but this is the same as shooting on an Alexa with a Super35 sensor. Personally I like to just use the 50mm on full frame cameras with the panchros, because I do like the extra depth of field you get on a bigger sensor. From other tests I’ve seen the 40mm Panchro is the widest available that covers the full frame sensors.Now enough testing and let’s shoot!
The Wedding of Carla and Tim Robert Fatt 2022-05-23 | I had the absolute privilege to film the wedding of one of my childhood friends in the stunning Mt Wilson location. It was the best wedding I've been to, and autumn was absolutely magical!Shot on a Canon R5 in 4K.insta: @robbiefatt
Montague Island Seal Dive (Meikon Canon R5 Housing) Robert Fatt 2022-01-13 | I did a seal dive with my Canon R5 with the Meikon Underwater housing. The water was cold but the visibility was great, and it was such a great experience getting so close with the curious seals.Shot mostly in 4K 50fps with a Canon 24-70mm lens and Magic Filter.Insta: @robbiefattGraded with Phantom LUTs download them here for a discount: bit.ly/4czwbzWUse code "Robbie" for 15% off!
Sirui Anamorphic 50mm 1.6x T2.9 Christmas Lights (Canon EOS R5) Robert Fatt 2021-12-15 | First time shooting on 1.6X anamorphic lenses on the R5. These lenses are definitely something unique and different. It's amazing how much cheaper and accessible anamorphic shooting is getting to the consumer.- Shot on Canon EOS R5 at 4K 50fps- Anything about 1600 ISO starts to get very noisy in CLOG 3- T2.9 definitely isn't the fastest for low light- Handheld and getting focus is tricky
Sandmarc Prolight Mini Lights Review // A Filmmakers Perspective Robert Fatt 2021-11-17 | ***For 10 % off these lights you can use this link!!!*** sandmarc.com/?rfsn=6222612.49814a&utm_source=refersion&utm_medium=affiliate&utm_campaign=6222612.49814ainstagram: @robbiefattwebsite: robbiefatt.comSo I’ve been using these Sandmarc Prolight mini lights for the last few weeks, and I have to say, I’m very impressed.When it comes to run and gun, real world night shooting, these lights are definitely worth every cent.So these lights come in two types, a Bi - Colour light which has about 1500 lux at 0.5m and an RGB light which has 770 lux at 0.5m. They claim to be 2x brighter than any other light their size, and I don’t have a reason to doubt them.The main attraction about these lights is obviously their size and portability. There are plenty of different smaller scale lights out there, but I have found that these Sandmarc have the best colour accuracies, and also the most variety in colour hues.After using these lights just basically in a car, and in a street, I can’t believe how much easier some of my shoots would have been I I had these lights with me.When I first got these two lights, I thought that I would barely use the RGB light and stick to the more organic Bi - colour light for a more correct white balance shooting. But after taking these lights outside into the city streets, I realised that the RGB light was far more versatile when it came to matching external light sources. In the past, I have been gelling lights to get them to match sodium vapour lamps and other streetlights light sources, but the RGB light has such a variety in colour hues, with increasing abilities in colour saturation, that a gel is something I’ll never have to do. I have to memorise the exact Saturation and Hue numbers for reference when I find a colour hue I like, but that is an easy thing to do.The RGB light lets you truly be creative, and do things with colour, which would have been far more expensive and complex to do in the past.The size of these lights is not to be understated, these are amazingly portable, light, and rechargeable. It would be easy to run an external battery source and just power the lights via USB for as long as you want really. Obviously, they are never going to be as bright as other external sources, but that’s not what they’re for really. They can work great as an eye light mounted on a camera, or just as a light in the background to brighten up background sources. I’m trying really hard for something negative to say about these lights, but the reality is, they do everything you could possibly want them to do for their shape and size.I didn’t think, I would really need lights like these, but now I can’t see myself shooting without them. I think the limitations are really just based on your creativity, and I would highly recommend them to anyone who does a lot of night exterior shooting.
Canon EOS R5 PL Mount: Cooke Speed Panchro 50mm S2 Robert Fatt 2021-08-23 | I was interested to see how the Cooke Speed Panchros look on my Canon R5. The 50mm covers the full frame sensor and I've actually come to really love the video footage from the R5 more than I expected once I learnt how to deal properly with the colour from CLOG3. I think this may be a combo I use in the future, and I'm still absolutely loving these Cooke Speed Panchro Lenses.Equipment Used:- Canon Eos R5 (Handheld)- RF to PL Mount- Cooke Speed Panchro 50mm S2 and 18mm S3
ProDive Cairns Liveaboard: The Great Barrier Reef (Canon R5 Meikon Housing) Robert Fatt 2021-06-30 | I did a three day liveaboard with ProDive Cairns in June this year. The conditions were absolutely amazing, and although there was quite a bit of reef damage, there were still some very pristine and beautiful areas at the outer reefs. It was certainly some of the best visibility and stunning scenery I've ever seen!We visited the Flynn and Milne reefs.Equipment Used:- Canon EOS R5 - Canon 24-70mm EF Lens- Magic Red Filter- Meikon Underwater Canon R5 Housing with Dome Port- DJI Mavic Air 2S
Everything I Am Trailer #1 (2021) Angelika Martin, Nathan Wong Christian Film Robert Fatt 2021-05-31 | "Everything I Am" is a 2021 Christian feature film about a Christian girl who takes a homeless man into her house to show the love of Jesus in action. Shot in Sydney, Australia, the film takes a refreshingly different approach to christianity.insta: @everything_i_am_movie
South West Rocks Dive April 23 2021 (Shot on a Sony A7rii SLog2) Robert Fatt 2021-04-25 | South West Rocks DiveEquipment Used:- Sony A7rii recorded in UHD Slog 2 and a magic red filter (was super dark so had to bump the ISO to 1600 at times!)- Sony 16-35mm F4 with Autofocus- Meikon housing with tray (I need some tilt weights!)
Carnival (Canon R5 Anamorphic Film Emulation Clog 3) Robert Fatt 2021-04-15 | I've been on the Canon R5 since the start of the year since selling my Blackmagic Pocket Cinema Camera 4K. The real winner is the amazing AF on the R5 even though I shot this video on a manual focus lens. It's honestly been a learning curve getting used to the camera. The update with Clog3 has definitely improved the camera's overall image quality and DR. The internal stabiliser is also a real plus which makes shooting handheld doable. This was a test to see how a film emulation would work with this camera, and also the lowlight and noise performance of CLog3. Overexposing seems necessary when shooting and I don't like to go over 5000 ISO. Still a massive improvement since my Canon 5D mark ii days!Overall I'm still getting used to grading the image from this camera, but a hybrid camera is what I wanted. As for stills, I still prefer the Sony mirrorless cameras. Equipment Used:- Canon R5 in 4K 100fps and 50 fps all handheld- Zeiss Contax 35mm 2x Oval Installed Manual Focus Lens (Anamorphic fake look)- Graded in DaVinci Resolve with CLog3 LUT and custom Kodak Portra film emulation LUT. Also grain added in post no NR
Fishing BMPCC4K + Canon 24-70mm Robert Fatt 2021-01-29 | I am selling my Blackmagic Pocket Cinema 4K. Not because I don't love the image out of it, but only because I'm looking at moving into a Hybrid system and now have the Canon R5.This is one of the last few videos I'll get to shoot on it, but it still delivers. Blackmagic's Gen 5 colour is a winner.Shot on BMPCC4K with a Canon 24-70mm lens + Viltrox MFT to EF speed booster.insta: @robbiefatt
Sony A7S 3 Tests (Zeiss Milvus 50mm + Sigma 85mm) Robert Fatt 2020-10-06 | Had one of the first Sony A7S 3's in Australia for a night shoot, did some tests with the camera at different ISO's to see the noise patterns. Anything above 3200 was fairly noise up until the 12800 ISO. Was pleasantly surprised with the 10 bit 422 codec in SLOG 3, grading was significantly better than other SLOG cameras light the FS7 and the other A7 mirrorless series.Overall, this camera is pretty good. I know a lot of people are really claiming that this is the best camera for filmmakers etc. I just still see a significant difference when grading 12 bit raw over a 10 bit codec. Still, this camera definitely has caught my attention and when I shot with some PL glass and Zeiss Super speeds, I really got to appreciate the colour and highlight rolloff of the camera more.
Huston and Rochelle Wedding (Arri Amira + BMPCC4K) Robert Fatt 2020-08-03 | Had a fun time shooting another friend's wedding between other projects. Was a big day and a lot of footage. Half of the shots were with the Amira, the other half with the BMPCC4K. If you are in Australia, NSW and wanting a wedding shot on an Amira, message me haha :) Technical Specifications: Arri Amira in 2K Prores 444 48 fps + Cooke Speed Panchros (Just 32mm and 40mm)BMPCC4K in 4K DCI RAW 8:1 + Canon 24-70mm 2.8 II + SLR Magic VariND+ Tiffen Black Satin 1Finished in 2K 2.39:1Insta: @robbiefattWebsite: robbiefatt.com
Mothers Day: Nathan (Arri Amira + Cooke S2s) Robert Fatt 2020-05-19 | I shot a few short documentaries on some families and their mothers for mother's day. Here is one of them I was able to shoot and edit in a few days. One of the setups I was testing out was a 2K Blondie light I got off eBay to see it's quality in a real world situation. Needless to say, despite it's build construction, it did the job and provided a really nice back and key light.Shot on an Arri Amira with Cooke Speed Panchro Lenses. Audio recorded internally with a Rode NTG3 microphone.
Mothers Day: The Prices (Arri Amira + Cooke S2s) Robert Fatt 2020-05-11 | I shot a few short documentaries on some families and their mothers for mother's day. Here is one of them I was able to shoot and edit in a few days. One of the setups I was testing out was a 2K Blondie light I got off eBay to see it's quality in a real world situation. Needless to say, despite it's build construction, it did the job and provided a really nice back and key light. A massive thanks to my friend Chantal for her CTB to balance for the daylight light outside.Shot on an Arri Amira with Cooke Speed Panchro Lenses. Audio recorded internally with a Rode NTG3 microphone.
BMPCC4K Kern Switar 16mm Film Emulation Robert Fatt 2020-04-24 | insta: @robbiefattrobbie fatt.com Letterboxes and Texture: ezracohen.tvMy process of creating a 16MM film look on a BMPCC4K using a Kern Switar 26mm F1.1.The 16mm film look, like from this Bolex H16SBM, is often seen as an expensive and difficult process. But can it be produced digitally on a Blackmagic Pocket Cinema Camera?The lens which I’ve been testing, and very fortunate to own, is a Kern Switar 26mm F1.1. That’s right, it’s a lens with an F1.1 aperture that was designed specially for Super 16mm films cameras. And this lens is over 60 years old, which I inherited from my grandma’s brother.It is a very tiny lens which barely covers the Blackmagic Pocket 4K’s sensor. In fact, it doesn’t cover the sensor properly and wide open you get some serious vignetting in the corners. But if you’re framing for a 4:3 aspect or a widescreen ratio, you can get away with it. And the reason I chose this lens, is because it softens the pocket 4K sensor in a way which I think is very organic, particularly when it come to backlight shooting and flaring.A lot of people have been asking me my grading process on the pocket 4K cameras, but I’ve found the easiest way to create a more organic look, is by changing the colour space from the Blackmagic log, to the Arri Alexa logC colour space. What this does, is add less contrast to the image, which is essential in controlling the highlights and for nasty clipped areas of overexposure when shooting in backlight situations.After this, I like to just add the standard Arri Rec709 LUT which pushes the colours in the way I want them. Usually, this already looks great. The next step in my grading is usually using a film based look via film convert, davinci’s inbuilt Kodak 2383 Film Look, or my custom Kodak Portra film LUT I designed for handling Arri Rec709 for video. Now the colours are far more complex and organic, in particular, you will notice that the “greens” get pushed to a completely different colour spectrum with the use of most film LUTs, this really changes the feel of the image.For a 16mm film emulation, I have been using Ezra Cohen’s letterboxes and film grain packs, and I would highly recommend them to anyone looking to expand their creative framing techniques.Overall, the Switar is probably too soft wide open, and I found shooting at a F2 was ideal. This lens, is quite rare, but the MFT sensor and mount, really open up the world to a variety of vintage c mount lenses. I’m still trying to workout a way to adapt this Kern switar zoom lens to my pocket camera.While it’s not a true super 16mm film look by any means, it certainly is a unique and different feel which can be achieved while shooting on the pocket. Other aspects of 16mm film shooting including gate weave and more organic texture, are harder to emulate, but I still think the pocket offers a cheaper, more accessible alternative to shooting on an actual 16mm film camera.
Blackmagic Pocket Cinema Camera 4K (16mm Film Emulation) + Kern Switar 26mm F1.1 Robert Fatt 2020-04-14 | I've been experimenting with my vintage Kern Switar 26mm F1.1 lens on the Blackmagic Pocket Cinema Camera 4K. The MFT lens mount offers a unique variety of vintage lenses for the camera. I hope to review this combination soon.The 16mm sensor size is somewhat similar to the MFT sensor of the pocket 4K camera. Using C mount lenses and the 4:3 pillboxes, I think a very interesting look is achieved on the BMPCC4K, a close match to true super 16mm film. In order to get this look, I had to mount a few filters on the lens including an IR Cut, ND Filter and also a Black Pro Mist ¼ to help with the highlights and contrast. This was all shot in UHD Raw 8:1, edited and graded in Da Vinci Resolve.Look forward to hearing your thoughts on the combination.
Cooke Speed Panchros (The Affordable High End Cinema Lens) Robert Fatt 2020-04-03 | insta: @robbiefattCOOKE SPEED PANCHROSThe average price for a cinema camera lens is over $10000 US Dollars, and that’s for one lens. Most films require a set of at least 5 lenses. You can expect to double that price when it comes to anamorphic lenses, and also zoom lenses. So the hope for a low budget independent shooter to rent or buy these lenses is very unlikely. With the cinema world, there are a variety of lens brands, but one of the most common and successful is the English company, Cooke. Cooke speed panchros quickly became a go to for a lot of filmmakers wanting to shoot period piece style content. These exact lenses have been used on major film productions such as The Crown, Chernobyl, Bohemian Rhapsody and in The Academy Award nominated film for best cinematography Mr. Turner.The unique look of the Cooke Speed Panchros is largely achieved when shooting wide open. Although not the fastest lenses, at T2.3, there is a very interesting swirling affect in the out of focus areas, which adds to a look which could be described as “smeary” or “painterly”. I think this is one of the biggest selling points of the lens. Imperfections add character to a shot, the way that film stocks would add grain and chemical inconsistencies. This is, what makes vintage lenses so sort after. The Cooke Speed Panchros do have a lot of flare. But this is part of it’s character, and something which a lot of modern cinematography demands. By coming in and out of lens flare, the lens dramatically creates quick changes in depth and contrast.So how much are Cooke Speed Panchros? Well, they’re still around $10000 US dollars for a single lens if you buy them in their rehoused versions, the Panchro i/classics, TLS and other alternatives.So why are these considered affordable cinema lenses if they are still so expenseive and were used on all these major films?Well, I decided that rehousing them wasn’t necessary for me if I wanted to save some money, so I began looking for older, unrehoused versions. Unrehoused versions sell for much cheaper. Now buying Cooke Speed Panchros isn’t as easy as it used to be. These lenses are heavily sort after because their value and quality is well known. And not only that, it’s almost impossible to tell the quality of the lens because of their age. Fungus and hazing is very common among these lenses, and they significantly reduce the value of these lenses. To top it off, there are so many different versions of the Cooke Speed Panchro lenses, that choosing the right lens can be a bit tricky. The best thing to do is to look at the serial numbers and only buy lenses which start with the number, 6 or 7 since these are newer and more modern versions of the S2 and S3 series. Although earlier serial numbers can produce nice results, the newer versions are generally of a more consistent quality and a safer purchase. The best place to look for these lenses is on eBay, but they do sell quickly when they are put up for the right price. So how much can you expect to pay for a Cooke Speed Panchro lens in its original form? Well, it seems to me like the going price for a good quality lens in its original housing is around $3000 US dollars. While this is still a significant amount of money, keep in mind that this lens is optically identical to the newer, far more expensive rehoused versions, and a third of the price you would expect to pay for these newer versions. One of the main issues with buying individual older speed panchro lenses is that there is almost always some sort of colour shift between the lenses because of their age being manufactured in the 1960s. In particular, I have found that the 75mm Cooke S2 suffers from a significant amount of yellowing in its optics, which is expensive to properly remove, and therefore I have to manually set the white balance every time I am shooting on this lens. I have found that this yellowing does not affect the overall image quality of the lens however. Overall, these lenses work best with a camera setup which is smaller and designed for it. I have adapted it to my Blackmagic Pocket 4k and my Arri Amira, and am always impressed by the results. While buying older lenses is a risk, it can also be very rewarding and it was the route I decided to choose when deciding what lenses I was going to invest in for higher end shooting. Personally, shooting on Cooke Speed Panchro lenses was always a dream of mine, and I feel very lucky that I’ve been able have them as a part of my current kit. In the future I may choose to rehouse them, but for now, I’m happy enough shooting on them in their current form factor.
The Dunes // Arri Amira (No Letterbox/ Grain) Robert Fatt 2020-03-24 | As requested by a friend, I've uploaded another version of this video without letterboxing and additional grain so that people could see the more natural colour of the Amira. Hopefully, some people find this interesting and worth watching :) insta: @robbiefattI had a fashion shoot with some friends in the sand dunes in Australia. I had to carry my Amira a few kilometres to get to where we needed to be.My friend, Daniel had his BMPCC4K with him, and you can see his video here: youtube.com/watch?v=8cAQxDhBmbIAfter a lot of my recent videos talking about the BMPCC4K vs. the Amira, I still believe that the skin tones and colour from the Amira are far superior to the Pocket. Of course, a lot of the magic is in the lens too. That being said, the pocket still created some great images and you can check his video out on his youtube account.TECHNICAL SPECIFICATIONS:1. Shot all on an Arri Amira at 2K 444 50fps, 100fps and 200fps2. Colour graded in DaVinci Resolve with the standard Rec709 LUT, with grain and letterboxing from Ezra Cohen, check him out!3. Cooke Speed Panchro 32mm S2 (Unrehoused) used (Video on this lens coming soon)4. Edited in day, a proper edit will appear on my vimeo channel in the futureI'd love to hear your thoughts on the Amira and the look I've achieved here!
The Dunes // Arri Amira + Cooke Speed Panchro 32mm Robert Fatt 2020-03-23 | insta: @robbiefattI had a fashion shoot with some friends in the sand dunes in Australia. I had to carry my Amira a few kilometres to get to where we needed to be.My friend, Daniel had his BMPCC4K with him, and you can see his video here: youtube.com/watch?v=8cAQxDhBmbIAfter a lot of my recent videos talking about the BMPCC4K vs. the Amira, I still believe that the skin tones and colour from the Amira are far superior to the Pocket. Of course, a lot of the magic is in the lens too. That being said, the pocket still created some great images and you can check his video out on his youtube account.TECHNICAL SPECIFICATIONS:1. Shot all on an Arri Amira at 2K 444 50fps, 100fps and 200fps2. Colour graded in DaVinci Resolve with the standard Rec709 LUT, with grain and letterboxing from Ezra Cohen, check him out!3. Cooke Speed Panchro 32mm S2 (Unrehoused) used (Video on this lens coming soon)4. Edited in day, a proper edit will appear on my vimeo channel in the futureI'd love to hear your thoughts on the Amira and the look I've achieved here!
Arri Amira Vs BMPCC4K Robert Fatt 2020-03-18 | insta: @robbiefattI have owned both the Blackmagic pocket cinema camera 4K and the Arri Amira for over a year now. I have been using the pocket 4K as a B camera to the Amira, and have found they work well together.While I could talk about differences in physical size or ergonomics of shooting in regards to these cameras, I wanted to focus more on image quality as it is a far more important factor to me as a filmmaker. Obviously, these cameras are priced in incredibly different markets, and a lot of people do think the difference is minimal, but we must also remember that the Pocket 4K was released almost 4 years after the Amira, and has a true 4K sensor. While the Pocket 4K claims to have around 13 stops of dynamic range, the Amira is looking at more like 14 stops, For me, the major difference between these cameras in relation to dynamic range is in the camera’s highlight roll off. The Arri sensor seems to have a more organic roll off in the overexposed areas then the Pocket 4k, but this is to be expected on a camera which is far more expensive. For me, highlight roll off is essential in making a camera look more organic, and similar to the cinematic film stocks we are used to. While roll off can be added through grading in post, it is never the same as the way the Amira rolls off the highlights.I shot this wedding last year with an Amira for the opening scenes, and the Pocket 4K for the ceremony scenes. While the lenses and setup was different on the cameras, I used a Black Satin 1 filter on the Pocket 4K in order to soften the image and match it more towards the Amira. The Black Satin 1 filter naturally helps with rolling off the highlights, and brought the look far closer to the Amira in its pastel quality. Overall, I was impressed by the 4K’s image, and found it definitely effective, particularly when shooting in 100FPS. One of the main differences is the Pocket 4K’s micro 4 thirds sensor in comparison to the Amira’s Super 35 Sensor. Even with a speed booster, the Pocket 4K isn’t the same in terms of depth of field as the Amira. In terms of colour rendition, I have found the Pocket 4K doesn’t quite handle skin tones in the same organic way as the Amira’s sensor. While the Pocket can look quite good if all of the setting are correctly setup. It takes a few stages in colour grading to make the skin tones far more naturalistic. The Amira, seems to have a far more natural rendering of colour, and it just takes the standard rec709 LUT to make the colours look amazing. When it comes to colour, I found that the older, 4.6k sensor is more organic than the Pocket 4K, but this is to be expected from cameras at a different price point. When it comes to lowlight, despite the 4.6K’s dual ISO, I have found the cameras abilities quite similar. The Amira sensor has so much flexibility in its codec, that grading up from lowlight is still manageable, whereas the pocket always requires some thoughtful grading in an underexposed setting. That being said, I wouldn’t consider either a lowlight winner, but certainly not terrible either. After using both cameras for so long, I still am always blown away when I shoot with the Amira. The way it handles colour and exposure is so organic and easy, it makes shooting so rewarding. It’s the small things that matter to me, and I do believe that the Pocket 4K is a camera worth investing in, since it can hold up against other high cameras.
Arri Amira 200FPS Test Robert Fatt 2020-03-15 | Testing the Arri Amira for slow motion and 2K 444 colour. Paired with a Cooke Speed Panchro 40mm. I wanted to see how the lens handled a lot of flaring, and also at 200FPS.
Panasonic Varicam LT 2020 Review Robert Fatt 2020-02-12 | Review of the Panasonic Varicam LT@robbiefattrobbiefatt.comWhen it comes to high end cinema cameras, the Varicam LT never seems to be the first choice for cinematographers. With the takeover of large format cameras over the past year, it seems that the use of the Super 35 sensor for high end cinema is slowly becoming less prominent.Despite this, the Pansonic Varicam has been used in a few major films and Netflix series, including “Crazy Rich Asians”.Over the past two years, I’ve had the chance to shoot on this camera in a variety of settings from documentary to narrative work. Like all cameras, the thing I look for when choosing one, is always the colour science. I care less about the technical features of the camera, and am more interested in the image I am getting while shooting. The Varicam certainly has a very specific look about it, and a lot of DP’s have described it’s look as “creamy”. I’ve come to learn that it has a look in-between a RED and an Arri, with a very natural rendering of colour, which sits better than most other digital sensors.Obviously, the most known thing about this camera is it’s invention of the “dual ISO” feature. I’ve found at it’s native 5000 it still is a bit noisy but certainly useable. Like most cameras, colour grading is essential in keeping the look natural and cinematic. The Varicam works well with just the 709 LUT but it can be pushed in a few different ways as well.It has the ability to shoot at 200FPS in 2K which I have found to be super useful, similarly to the Arri Amira. Because there camera has a true 4K DCI sensor it became a go to camera for a lot of DP’s in Netflix series.Although the camera is getting much older now, it still holds up in the cinematic camera world as a worthy alternative for the indie filmmaker. I personally, have loved working on this sensor.
Owning an ARRI AMIRA in 2020!!! Robert Fatt 2020-01-21 | I've owned an Arri Amira camera for almost a year now, and it is still personally my favourite camera. Just a very brief review of the reasons why I purchased the camera last year.Equipment Used:- Shot on Blackmagic Pocket Cinema Camera 4K and Arri Amira- Edited and Graded in DaVinci Resolveinsta: @robbiefatt
Arri Amira + Cooke 40mm Test (Flaring, Handheld and Slow Motion) Robert Fatt 2020-01-06 | I was testing the flaring on an original Cooke 40mm Speed Panchro Ser II. This was the non-rehoused version with an Arri STD Mount. I will be using this setup for an upcoming feature film so was getting used to shooting on the shoulder and handheld.TECHINCAL SPECIFICATIONS:1. Shot on Arri Amira PL in 2K 444 at a variety of frame rates but mainly 50p.2. Graded in Resolve with the Arri Alexa 709 LUT and some minor adjustments.3. Cooke Speed Panchro 40mm looked to have some fungus on it but I didn't see any effect on the overall image.
Christmas Lights (Blackmagic Pocket Cinema Camera 4K 2.6K 120 FPS) Robert Fatt 2019-12-09 | Further testing my Blackmagic Pocket Cinema Camera with the 120FPS 2.6K slow motion settings at night. It was tricky shooting, but overall am impressed with the camera's overall capabilities.TECHNICAL SPECIFICATIONS:1. Blackmagic Pocket Cinema Camera 4K MFT with Viltrox Speedbooster to EF2. Zeiss Milvus 50mm 1.4 Lens3. Usually around 1250 ISO and in 120FPS 2.6K or 4K DCI 50 FPS BRAW Q54. Edited and Graded in DaVinci Resolve5. Weird stuff seems to happen in the highlights, particularly in red colour tones. I'm unsure what's causing this.
Blackmagic Pocket Cinema Camera 4k Night Test (Sigma 85mm 1.4) Robert Fatt 2019-12-05 | Night shooting with the Blackmagic Pocket Cinema 4K to test out the Sigma 85mm Art Lens. Shooting handheld is almost impossible at that focal length. But I got a good look at how noisy the pocket is at 1250 ISO and the quality of the bokeh paired with an 85mm lens wide open.There was definitely noise, but with correct exposure, it is useable.TECHNICAL SPECIFICATIONS:1. Shot in 4K DCI BRAW Q52. Edited and Graded in DaVinci Resolve (Stylistic over natural LOOK)3. Sigma 85mm with Viltrox Speedbooster adapter at 1.44. Almost all at 1250 ISO Thanks to Keeley and Daniel for coming around for the impromptu shoot!
The Wedding of Sophie and Frazer (Arri Amira + Blackmagic Pocket 4K Anamorphic) Robert Fatt 2019-12-02 | Congratulations to these guys on their wedding!I shot this wedding last week and it was interesting to see how the Arri Amira matched with the Blackmagic Pocket on a proper shoot. I ended up grading using a variation of the Linny LUT, in DaVinci Resolve.The Amira was shot in 2K 444 50FPS, and the Blackmagic Pocket 4K was shot in BRAW Q5 DCI 50FPS and 2.6K 100FPS.
BMPCC4K Anamorphic Test #2 Robert Fatt 2019-11-18 | 📸 instagram.com/robbiefatt robbiefatt.comI shot another test with my Blackmagic Pocket Cinema Camera 4K, combined with my Zeiss Contax lenses with oval iris installed to mimc an anamorphic look. TECHNICAL SPECIFICATIONS:1. All shot handheld with no stabiliser2. Shot at 50 FPS Q5 BRAW at 4K DCI, exported at 2K 422HQ3. All shot on a Zeiss Contax 35mm MMJ 1.4 with oval iris4. Black Satin 1 Filter + SLR Magic VariND5. Graded in DaVinci Resolve with the Arri REC709 LUT6. Special thanks to my brother Scott for being in the video7. The footage will be uploaded to Artgrid shortly for downloadFor more information on my Zeiss Contax Oval Iris lenses watch this video: youtube.com/watch?v=eis-aY9lemM
