11/21/2023 0 Comments Canon clog 2 to rec 709 lut![]() Just a quick question to avoid starting another thread. I'm hoping we can get more of those in the app.You can probably figure out that I picked up a C200! Used, but like new with only 35 hours on it. Especially with as much broken bits as their new color management system has had. Premiere simply hasn't had the inbuilt color processes that could outperform me. and there were things it was doing to stretch out different color highlights, for example, that were gorgeous. ![]() I spent like three hours on Thursday trying to match with the controls. ![]() it does things I can't match to 'normalize' that log-encoded clip into Rec.709. Premiere has a new transform for Panny S-log3.cine, and if it actually "sees" your FX6 clip as such, and you apply that transform option. You are at the mercy of the LUT for clipped whites, crushed blacks, or under/over-saturated colors you can't really resucitate afterwards. Because you can't trim the clip's pixels into the LUT, with controls applied prior to the LUT. That's why you should never use a LUT in the Basic tab slot as most colorist's would see it. But if you can get a good transform process in software, the math there is a LOT "higher" than a LUT. Don't get me wrong, for certain things they are either amazingly useful or absolutely necessary. it works perfectly.Īnd for some other scenes, can do horrid things to those poor pixels.Ĭolorists refer to LUTs as "the dumbest math out there" for a reason. for a perfectly lit and exposed scene, with totally controlled proper contrast and color. The one that the media used to create it was shot in. Simply being practical here.Īny LUT is realistically built for one situation. Especially compared to say a well cooked transform process.Īnd in far less time than you've spent looking for "the perfect LUT" you could have made several of them to fit all your needs. Then make several that will work better for different practical uses. They'll apply the manufacturer's LUT to a ramp and a couple charts, see what it does. I work with and teach a bunch of colorists. And I've finally got the engineers considering switching the LUT to the bottom of the Basic tab. I don't ever recommend applying any LUT in the Basic tab. And avoids clipped, crushed, and/ or over-saturated pixels.Īnd second, you can dial the LUTs effect up or down also. period.Īnd it's best to apply any LUT via the Creative tab's LUT slot, for two reasons.įirst, with the LUT applied in the Creative tab, you can go to the Basic tab's tonal and saturation controls and trim the clip to fit the LUTs "shape". It's easy to do, and again you can make them for different exposure and contrast situations. I wasn't suggesting making a "look" LUT, simply making your own normalization LUT. Fast to apply in bulk to batches of clips, fully adjustable later. Or alternatively, rather than making LUTs, simply save each iteration as a Lumetri preset. To use them, I suggest applying LUTs from the Creative tab's dropdown slot, as then you can 'trim' the clip using the Basic tab tonal controls to fit within the LUT, and also use the 'amount' control of the Creative tab's LUT slot to adjust the amount of the effect of the LUT. Make several, named for whether they're for low or higher contrast scenes. When you have a 'full' image, then use the Lumetri panel 3-bar menu to save yourself a. Season with shadow and highlight controls, add Saturation and maybe Vibrance from the Creative tab. Then use Contrast to widen out the image to as full a range as you want. Use the Basic tab's exposure control to get the middle of the displayed signal in the scope centered on the 50% middle line (left side scale). Start with scopes up, Waverform in either RGB or YC no chroma. The C100 produced a very "normal" log rolloff, so it's pretty easy to use the controls in Lumetri to stretch it back out to "normal" appearance. You can roll your own in Lumetri easily and quickly, and make a series of them for your shooting situation. Reading online, not a lot of people are thrilled with most of the 'official' LUTs for the C100, but also say it's pretty easy to make good ones yourself. And they will if you don't have an appropriate one, and even then, if your clip doesn't exactly match the exposure and contrast the LUT was prepared under and for. They're very useful for certain things but don't know or care about mucking up your pixels. Colorist's call LUTs 'the dumbest math out there".
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