Lutcalc art adams lc709a11/7/2022 ![]() LUTs also serve as a great reference point when it comes to colour correcting and colour grading of your footage later in post. LUTs are an important ingredient in the Log workflow as they essentially interpret your Log camera signal in a certain way thus outputting the given colour information to your monitor without affecting the recorded footage. ![]() More and more camera manufacturers are implementing this feature in their entry-level models which makes this option more accessible not only to seasoned professionals and high-end productions but also for independent filmmakers and smaller production facilities. Lutcalc art adams lc709a full#So.when you say that it looks different from one tool to the next, it makes me wonder what might be going on underneath the hood.Shooting in S-Log is one of the most common traits of achieving cinematic look these days and a great way to optimise the imaging capabilities and capture full dynamic range of the latest generation camera sensors. So.something is going on under the hood that I haven't taken the time to figure out yet. And.this is when the same video is displayed on the same Dell Ultrasharp monitors from Resolve vs. I've noticed that Resolve does a much better job of displaying color and contrast range even on my computer monitors than the Avid does. For example, I do all of my editing in Avid Media Composer, but have done some grading in Resolve on my own. Lutcalc art adams lc709a software#The guy I worked with has been doing color work for decades and he just made my footage look beautiful! He pulled ever bit of wonderfulness that he could out of it and I'm so grateful for his skills and talents.Ī final note.I've noticed that different software handles the way footage looks differently. I just did that after attempting to grade my own footage and boy was I wowwed by the work this gentleman did for me. I did, and it was very very useful with regard to answering your questions.Īlso, if you can afford it on the right upcoming project, I would highly recommend finding a good colorist, paying him/her for your time, and going the extra mile with your footage. ![]() I'd highly recommend renting Doug Jensen's piece on grading with Davinci Resolve: Please don't be too harsh on me for waiting 2 years with this camera to work out the basics. I know I will have other questions, but this is a good start. Do they need to be transcoded to roses or something else first or am I missing a setting? Another Resolve question - what do the "Log color wheels do vs the standard ones?ģ - This is a side issue but when I imported directly from XAVC-I MXF camera files into Resolve i didn't get any audio. In the LUTCalc version I was using (3.1) the Resolve and Lumetri settings looked the same. I seem to remember that you need to make different LUT's for Resolve and Lumetri but can't remember why. The adjusted LUT's for lower EI's ( higher exposures) look quite dark, but now the Luts are too punchy and contrasty and i need to tone them down the opposite way. Just looks like a mismatch.Ģ - When I try the same LUT's in Resolve ( the new 14) I have the same exposure issues. ![]() I expected that my LUT should get me much closer. I have to make major adjustments to get a decent contrast range and need to add saturation as well. The best looking ones out of the gate seem to be closer to EI 1500 or native 2000 LUT's.Įven when I get a LUT that looks correct for basic exposure it looks very flat, the whites are between 80 and 90 and the blacks are high also. Lutcalc art adams lc709a iso#So here are my questions:ġ - In Premiere/Lumetri the Lut's I've made (or downloaded from Alister and Art) that are supposedly adjusted for 800 -1250 ISO look way too dark. However I'm not having the same luck with Premiere or Resolve. I have to correct the exposure for EI 800 or 1250 but then the picture looks pretty nice right away without much additional fussing. ![]() When I look at the footage in Catalyst Browse with the LC709A LUT everything looks pretty great and exactly as I expect. I prefer to use the Varicam gamma LUT's in camera as they have a bit more punch and it all looked great on monitors while shooting. I've got a ton of LUT's on my desktop by Alister Chapman and Art Adams for basic SLOG3 to 709 correction at different EI's and made some of my own in LUTCalc to do the same thing using a target gamma of both LC709A and also the Art Adams recommended Varicam 709. I shot on the FS7 in Slog3 at EI's ranging from 800-1250 and labelled each scene and shot color charts. Right now I'm making the window dubs and using that task as an excuse to experiment with the overall color correction and I'm just getting my feet wet in both Premiere and Resolve and comparing the workflows. I am finally doing some long overdue color correction of stuff I shot for a client whose editor will be working in Premiere Pro. ![]()
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