![]() ![]() Once imported into Edius, before starting my CC, I would like to convert them in Rec.709 color space via a LUT. But the S1 doesn't work that way, as far as I know.I'm editing several clips H.264 4:2:2 10 bit VLog-L from a Panasonic GH5. (There are some cameras out there that will allow you to load a LUT on to the Camera and that will "bake in" the look into the footage, meaning what you see on the screen is what the camera will record to the SD card. But they won't actually affect the footage. Monitoring LUTs will let youPREVIEW what the footage should look like after you apply the LUT in your editing program. Then you will either apply a LUT once it is in your editor, or edit it manually (add contrast, add saturation, etc.,) What that means is that while monitoring your footage in your cameras EVF or on the camera's LCD screen, it will look like Rec 709 (meaning, it will look like "normal" footage).īut the video you shoot will still be RECORDED as VLOG, meaning that once you download it off your SD card and put it in your computer, it will still be VLOG footage. Basically, they make the footage appear on the CAMERA'S MONITOR like it will look after you apply the same LUT in your editing program. OK, the LUTs you loaded on to your camera are a particular type known as MONITORING luts. vlt names have to be 8 characters or less for the camera to recognize them. I understood it all and it's what I thought about the various Luts. Oh, and then there is the ACES workflow as well if the above aren't enough options for you So if you want to use them optimally, you would take your footage shot in VLOG, then use a color space transform to transform it to Arri LOG C and THEN apply a the LUT for the final look. ![]() For example, some are supposed to work best with Arri Log, which is produced by Arri cameras like the Alexa. Some LUTs were designed to work best with certain LOG profiles. With the LUTs that provide a look (like a "film look" LUT that replicates the look of shooting on certain film stock), some of them work with LOG footage, while others will work with Rec 709 footage.Ĭonfused yet? No? Ok, here's more. There are LUTs released by Panasonic that do both, meaning they convert your gamma and gamut to Rec 709 AND they add a look. There are other LUTs that provide a "look" to them (for example, the teal and orange look). 709 which converts footage you shot in VLOG in to a Rec 709 Gamma and Gamut (gamma is the brightness levels, gamut is the color space). There are conversion LUT's like the VLOG to Rec. Yes, the are different post production LUTs that do different things depending on the footage. Although there are shortcuts (LUTs, color space transform, etc), which can HELP reduce the time spent in post production to get the look you want.Īnother basic question: There are Luts for converting LOG and there are Luts for effects on normal footage and there are Luts with effects for LOG footage. 709 color gamut and allows more flexibility in post for color grading.Īnd if you want to create HDR content for HDR monitors, then you will need to shoot in VLOG or HLG.Īnd Yes, using LOG requires more post production. The other issue is that the LOG color gamut is wider than Rec. When exposed properly (and exposing LOG is often tricky), you should see somewhere between 2 and 3 stops more dynamic range when compared to shooting in flat picture profile. Choose which one looks best to you and which won't overwhelm you with post production. Feel free to experiment with the different picture profiles in camera. Flat picture profile is good, Cine D is nice. Any tips or links would be much appreciated.īottom Line: You DON'T have to use VLOG if you don't want. I know there's something I'm not grasping. ![]()
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