![]() Don't feel that you're forced to use a technical LUT if you don't want to-it's totally okay to just calibrate your display to Rec709 and manually grade the footage so it looks good to your eye. In any case, if you're able to make the clip look good on your external monitor, then you should be able to use some kind of curves adjustment in Premiere to match that look. You're evidently using an external monitor that allows you to inject a LUT, so there's an opportunity to connect that monitor to your computer to identify whether the difference comes down to different display calibrations or a Premiere configuration or some other factor. It sounds like you're happy with a set of adjustments when you were shooting, but somehow what should have been the same pipeline in your computer has resulted in a much darker image. The gamut conversion LUTs for Canon Log and Canon Log 3 have great retention in the highlights, well balanced saturation levels, and an accurate colorimetry. ![]() I feel like this is the core problem that you need to address and debug. When I use the same conversion LUT on the footage, it ends up looking nothing like it did in the monitor. I used the c-log to rec709 LUT from canon in my monitor while shooting (low light, high ISO, underexposed or overexposed scene, etc), or for reset the image in order to match multiple cameras using different profiles. The generic LUTs (LOG to 709 and 709 to LOG) may be useful under certain conditions. Easier said then done it seems when shooting LOG. You apply a conversion LUT to your footage, then you color grade or apply a second LUT for the look. I know it’s a complicated topic but I’m just trying to understand the best workflow for lighting and exposing my scene for the highest dynamic range and most accurate image. Use in any color grading app like DaVinci Resolve, Final Cut Pro, Adobe. However Canon recommends putting middle grey at 32% which would put the exposure just about where it ended up in my footage. This is our free color transform LUT for Canon footage shot with Technicolor Cinestyle. I know in general, many people suggest OVER exposing LOG footage. It totally crushes the blacks and makes a gross looking image so I can only assume it’s not working as intended. When I bring in the footage to Premiere, most of the clips look underexposed. I used a light meter to decide exposure but used the LUT in monitor to get an idea of finished image. Explore our Creative LUTs as well as BaseLUTs, our Conversion LUTs for transforming Log camera profiles to Rec.709. Over 10,000 creators trust us to grade their wedding, YouTube, and commercial films. I used the c-log to rec709 LUT from canon in my monitor while shooting. Gamut LUTs have been used to color grade films for brands like Toyota, Leica, Dwell, and Huckberry. This REC709 LUT is my favorite way to get my CLOG footage in the right color space to then grade on top of.Trying to understand how to properly shoot and grade 10-bit C-log. These luts like any luts will require slight adjustments. Luts should be used as a tool not a crutch!Įvery single image is slightly different in framing, color, and lighting. It’s important to expose properly, LUTs are not the end all be all form of color grading, they are a base to build off of. ![]() It may sound a lot but it’s not really, a 10 bit RGB image would need 1024x1024x1024 points to accurately define every movement of color. This is a total of nearly 5000 defined points, whereas the 33 cube has around 36k points defined. A 17x17x17 cube has 17 different values, 0 to 1 for each R,G and B. Convert your high dynamic range Canon C-Log, C-Log2 & C-Log 3 to a natural look. ![]() What these numbers describe are the number of samples on each side of the cube. Canon LUTs C-Log 1, 2 & 3 to Natural Enhanced Rec709 LUTs. A 33x33x33 LUT is considered ‘production’ quality and it’s not uncommon to see 64圆4圆4 LUTs. The size of a LUT is described as a cube, a 17x17x17 cube is a common size for a monitor display style LUT (a viewing LUT). Includes 3 versions of the REC709 Lut - Warm, Normal, and Coolįor Premiere users, use the creative tab in Lumetri, to adjust the strength needed as to preference. Some conversion LUTs are pretty stylized and contrasty, and I found this approach to be my favorite.Ĭreated in Davinci Resolve, includes 17, 33, and 65 point. With this conversion LUT, I went for a natural clean base where you have the latitude to add / take away contrast, sat, etc. After getting asked how I grade my footage, I was inspired to create a conversion LUT for CLOG that is natural and beautiful.
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