Therefore, a creative grade you make on one camera’s footage will yield different results on the other camera’s footage.These two log profiles wouldn’t allow you to easily copy grades from one shot to another while maintaining consistency. Even if the two cameras were exposed identically, their encoded images differ. From this concert, there is also footage from a Sony F5 shot in Slog3. How can a custom made colorspace conversion LUT help you? Let’s say you’re grading footage from a live concert, primarily shot on ARRI Alexa in LogC. In a similar fashion, you can achieve this using Resolve’s Davinci Color Management, or the Academy’s ACES workflow, CTLs or other color transforms built into your grading software.īasically these programs work to transform documented colorspaces, which are available as preset dropdowns in their menus. You can convert one camera manufacturer’s log profile into other camera manufacturer’s log curves using LUT applications such as Lattice or LUTCalc. Mixing formats – Say you’re mixing footage from multiple cameras in the same timeline, and you’re looking for a quick way to get all the footage to look similar before you begin grading. Just make sure you are using it as a viewing LUT only and aren’t baking it in on set. 709 LUT built-in that can be toggled on and off. Luckily for you, all cinema cameras have a Rec.
This is an easy way to under or overexpose, or to add too much contrast to your scene, which is why you always want to be viewing with a LUT. A camera sees things linearly while our eyes see things non-linearly. To start, log images look nothing like reality. 709 Colorspace Transform LUT can be useful for the following reasons and it can greatly speed up your pipeline from on-set production to post.Įxposure – On set, you really shouldn’t be viewing your image in log. While they may not fit your intended look, a log to Rec. (Images courtesy of Tashi Trieu) Advantages to Grading in Rec709 Diagram 2 – Scene Referred Grading with a color transform at the end of the pipeline. Output Referred Grading with no LUT, but viewing in a Rec. What’s important to note is that from here you can then turn off your LUT and export a log master, which can help you down the line. In Diagram 2, we have a LogC to Rec709 transform LUT at the end of the pipeline, and we are making grades before (under) this LUT. This is a perfectly acceptable way of doing things but can limit what you do if you ever have to master in a larger colorspace, and if nothing else, can cost you some time if you ever have to master in another format, especially when other colorists are involved or you don’t have access to the original project files. In Diagram 1, we are taking a LogC image and viewing in a Rec709 colorspace. Now let’s look at two ways of grading an image:
Output referred imagery does not carry a relation to real world exposure values, meaning that it’s an interpretation of what is happening. If an image is encoded in RAW (literal sensor data) or Log (a compressed and efficient encoding which gives about the same information as RAW) then it is scene referred However, this is not to say that it is how our eyes respond to and interpret light - only how light itself is measured. Scene referred imagery is essentially anything that has a direct correlation to the way light behaves in the real world. Scene Referred vs Output Referredīefore going any further, let’s take a look at the differences between scene referred and output referred workflows, two generalized ways of encoding image data. In the same vein, the common use of these LUTs are why many people are under the impression that each make and model of camera has a specific, inherent “look” – but the purpose of the raw or log capture is to record the scene’s exposure information as accurately as possible. 709 LUTs because it’s not how they want the final image to look. Many colorists and DP’s reject manufacturer supplied Rec. These LUTs are purely creative and are basically the camera company’s guess at what they they think will make the footage look best.
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