Jump to content

Search the Community

Showing results for tags 'Lut'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • News & Press Releases
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production
    • On Screen
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Skype


Location


My Gear


Specialties

Found 9 results

  1. Hello, My first post here. I practice video as an enthusiast. I own a Fuji X-T30 that I use for stills. I am learning how to use it the best way for video. I am trying to understand the path of image processing within the camera and in the editing software. My concern is about comparing those two methods: - use built-in film simulation, like “Eterna” (low contrast, low saturation, aimed at giving a cinematic look out-of-the-box) - use “log” profile, then apply the “log to Eterna” LUT provided by Fuji in an editing software. This video is comparing those two paths: The author of the video, as well as most people in the comments, seem to agree that the “log+LUT” path is way better, with 2 stops increased dynamic range and so on. I don’t. I prefer the “built-in Eterna” path. I prefer the color (less greenish). I find it retains more details in the skin. But most above all, if the “log+LUT” path seems to retain a little bit more details in the highlight, it looses ten times that gain in the shadows. OK, might sound 100% subjective right now. But with my limited understanding of how all this work, I do not see how a “Log+LUT” path could be better than “built-in” if one do use the same target color profile. My understanding is that either way, one apply some kind of LUT. When using the built-in film simulation, that LUT is applied to a high quality set of data: full depth (14 bit or so), no lossy compression. When recording with a log profile, one start form the exact same data, but one first reduce it, then one apply the LUT in the editing software. The reduction with log profile is more optimized in term of DR than a linear reduction, but it should be inferior to using the full set of data. This is a different story for stills, as “raw” really is “RAW”. For stills, there is no reduction of quality before applying image processing in an external software. The overall image processing chain is the same, it is simply split at a different point between “built-in” and “external software” corrections. The trade off is not quality, it is “amount of data” vs. “ability to correct later”. But video with log profile is not “raw”. It seems that even Blackmagic or Arri “raw” are not raw. My understanding is that “log+LUT” has no benefit if one use a LUT similar to the film simulation built in the camera. It is only useful if one plan to use custom LUTs that have no built-in equivalent. So… what am I missing?
  2. After the success of the original BozBMDFilm to Rec709 LUT for all Blackmagic Cinema Cameras, there were many requests from fellow filmmakers for a new Rec709 LUT for the Blackmagic Pocket Cinema Camera 4K (P4K). I had no intentions of creating one, but as I'm always looking for ways to simply my own work flow I thought, what the hell. Features: Custom Cine Curve Organic Color Values Balanced Saturation Preserved Shadow Detail Preserved Highlight Detail * Softer Highlight Roll Off Download Page: https://bulentozdemirfilms.wordpress.com/bozbmdfilm_p4k-to-rec709-lut/
  3. hello all, I'm starting a film next week, shooting with an Alexa mini, UHD, RAW...almost all night interior and on location.. I wanted to pick your brains on LUT packages...is there a series of LUTs you recommend for download or purchase? I have used the built-in LUTs of the Alexa mini before but I want to have a larger selection of display-gamma and colour space for my director on the set...any suggestions?
  4. hello all, I'm starting a film next week, shooting with an Alexa mini, UHD, RAW...almost all night interior and on location.. I wanted to pick your brains on LUT packages...is there a series of LUTs you recommend for download or purchase? I have used the built-in LUTs of the Alexa mini before but I want to have a larger selection of display-gamma and colour space for my director on the set...any suggestions?
  5. My plan is to shoot in Slog3 for my short film. I'd like to use a creative lut to help me grade it but I've gotten confused. I know about rec709 being the broadcast standard, but what about for the web? Websites like Vimeo and Youtube? What happens when you apply a creative lut and leave it as it. Will what ever you are displaying it on correct it? Maybe I'm going about this the wrong way because I don't understand it at all lol. I never had to deal with this considering this is my first time using Slog. Apply a rec709 LUT first and grade manually vs adding a creative LUT and correcting it hmmm.
  6. Dear colleagues, I have already put on my website the article that we published in the spanish Cameraman magazine about cinematography of TV serie "Pambelé" with the Sony F5 camera. We talk about Luts, sensitivity and exposure. I hope it's of your interest. The article is in both, Spanish and English. You can download from http://www.alfonsoparra.com/index.php/reportajes/el-color-en-forma-de-fabula Best regards Alfonso Parra AEC,ADFC www.alfonsoparra.com
  7. new to this site and need a bit of help on the topic of luts I am currently studying Filmmaking at the Northern Film school in Leeds, UK. I am writing an essay on Luts and can't seem to get my head around them. Is there anyone in this community that can explain them in the most simplistic way? Here is where i am at with my research in a nutshell. A LUT takes an input value and generates a new output value, which i kind of get. So would Sonys Slog3 be classed as a LUT, and would REC 709 be classed as a LUT. if anyones does respond, please could you make the explanation as simple as possible. Thanks for taking the time to Read, much appreciated.
  8. Hey guys, I wanted to see if I could get some opinions and perhaps guidance. I have recently switched over from Epic to Alexa. I am loving the camera but noticing that when using the built in LUTs, the image puts so much of its DR toward protecting highlights and thus has a little more noise than i might like in some scenarios. I have read a lot about shooting 400 ISO and from what I can tell it costs about a stop overall. That said, I have been doing some tests where I am exposing hotter than my waveform would suggest (monitoring in rec 709 and commercial) but without clipping in LOG. I find that once corrected the highlights usually still look amazing but the noise is much more like what i am looking for. I am wondering if there is a way to take the ARRI rec 709 lut down a stop and load it into the camera so that I will naturally expose a bit thicker of an image with cleaner shadows, without gaining down to 400. Of course, also open to opinions on why this might be a flawed idea, or whether it is essentially the same thing as shooting 400 haha. I just find my taste leans toward less noise in mid and shadows, and with the alexa image holding highlights so nicely, i'd prefer to "expose to the right" a bit more without having my images coming in so hot in premiere when the LUT is applied. Any thoughts/suggestions? Thanks, Steve
  9. Hi, So in Davinci Resolve we have used one long continuous take that we have cut up in various places and into multiple shots. When I apply a LUT to one of the shots, it applies it to all of the shots as the camera was rolling the whole time and it is all coming from the same file. I just want to apply a LUT to one of the shots and not have it apply to all of them, how do I do this? Hope that makes sense thanks
×
×
  • Create New...