Rec709 Lut
BlackMagic Rec709 to Arri Log-C LUT I was working on a project that was shot primarily with Alexa in Log-C, but 2nd unit had used some BlackMagic cameras for some additional shots and timelapses. These additional shots were filmed with the BlackMagic Rec709 LUT straight to ProRes meaning there wasn't any raw or flat footage available. More Than just another LUT Pack. From a complete overhaul of color science, to dynamic range enhancement; this is a complete color science standard developed from the most Legendary Film stocks that inspired Generations of Film Makers.
That being said, if there happens to be a specific option for that profile setting, proceed to use that one, of course. The exception to this is some of the newer cameras like the Sony A7s, which comes with proper S-Log2 can be treated as LOG.
Great - do it from a non-YT/FB site. • No self promotion of your services. • If you want to hire, specific the amount + expected time investment.
Rec 709 Lut For Fcpx
Even if the two cameras were exposed identically, their encoded images differ. 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. Here’s where a LUT can help: You can then use Lattice or LUTCalc to easily create a LUT that transforms Sony’s Slog3 to LogC. Using this method, you can place your conversion LUT as an input LUT (prior to any creative grading) for the Slog3 footage, then view all of your footage under the same output LUT which, in this case would be ARRI’s LogC to Rec709 (K1S1) or another LogC to Rec709 creative LUT.
Please sort this out, this cannot be a difficult task with all the information at hand.
I might be too hard on myself but I doubt it. I'll post it here when it's up. Dell XPS 8920 Intel i7 core 7700 build GeForce GTX 1050ti 32 Gigs of RAM 3 7200 RPM SATA Drives Windows 10 64-bit Premiere Pro CC 2017 v.11.0. Thanks for your input. I went over your footage again and realized that it was so delicate, I had to start from scratch. I ended up actually reverse engineering the panasonic lut!
FLAT) you can create a LUT from it to look like a Fuji Provia? Edit: thanks for your hard work! : Nice work, and thanks for sharing it! Tried your LUTs in Resolve, and they create beautiful results. - I encountered only one issue: your LUTs seem to cause color banding in blue highlights. Have you encountered this problem, too? I did not see any banding on the brief tests that I did.
Nevertheless, you see how the overexposed areas of the image create strange blue/green banding artifacts with your Fuji LUTs. I'm posting 50% scaled down jpeg screengrabs here, but could also send you 1080p 16bit TIFFs + the out-of-the camera DNG frame. - The first image is the 'pure' Rec709, the following images are the same image with your LUTs applied: Rec709 Astia Provia Classic Chrome Velvia. Here are some frames. Admittedly, they are extreme - because they just use a primitive color-chart based color conversion to Rec709, resulting in blown-out highlights (that I could have pulled back/recovered in Resolve). Nevertheless, you see how the overexposed areas of the image create strange blue/green banding artifacts with your Fuji LUTs. I'm posting 50% scaled down jpeg screengrabs here, but could also send you 1080p 16bit TIFFs + the out-of-the camera DNG frame.
Rec 709 Lut Fs7
It’s important to note, that this will not improve the dynamic range of the footage, nor remove gamut clipping in the camera with the smaller gamut. It does help to normalize the cameras so that grades can be easily copied within the limitations of the cameras and encoded footage. Archival – If you work with an output referred LUT at the end of your pipeline, you can easily futureproof your projects by bypassing the LUT and exporting a graded log master. Exporting a graded log master By exporting a graded log master, you effectively future proof your project in the event you need to convert your project to new color spaces later on. What’s great about this workflow is that you not only save the grades, but you also save all or most of the original dynamic range in the image, which you’ll want if you are to make a transform to a colorspace that holds more dynamic range than the Rec.
I mention your scopes as LUTs break 32 bit floating point build into Premiere, Resolve, After Effects and most NLE Color applications. Long Story Short: If your have image data below 0 or above 100 on your scopes, you MUST correct it to be within 0 - 100 before applying a LUT. Otherwise, anything above 100 and below o will be 'clipped' out, never to be found again. I hope you enjoyed this whirlwind article about using LUTs creatively. 
I literally just scratched the surface, but I wanted to share some of the techniques I found useful and see what tricks you guys use with LUTS, both technically and creatively. Please leave a comment below if you found this useful or if you have a technique to share!
The Camera Settings options within Convert Colour Space enables the generation, previewing, and analysis of Look and Technical Conversion LUTs for a range of digital cinematography cameras, specifically those that shoot and capture Log and Wide Colour Gamut. Supported camera manufacturers presently includes a generic Rec709 camera, Sony, Arri, Canon, Red, Panasonic, Blackmagic, and DJI, with other added as and when different manufacturers provide access to their camera's technical data. Using the inbuilt controls within the Camera option, both Technical and Looks LUTs can be generated.
Can you send me a frame after the color matching but before the lut? Here are some frames. Admittedly, they are extreme - because they just use a primitive color-chart based color conversion to Rec709, resulting in blown-out highlights (that I could have pulled back/recovered in Resolve).