Note that in both cases, this was not using the camera's internal recording - this was livestreaming a capture that had the LUT applied in realtime followed by encoding using Intel QuickSync hardware encoding as opposed to x264 software encoding. I could probably also bump up audio gain a bit without risk of clipping/hitting the A6500's limiter. Next attempt (this venue's lighting is brutal, I still haven't gotten something exactly the way I like it, but I think ISO8000 and the full-range Eterna LUT might work well.) - reduce exposure a bit, but use the second set's LUT. Up exposure by 2/3 stop (from ISO 8000 to 12800) - overall I think this was a mistake in retrospect. Same workflow in general, other than:Ĭhange to full range luma output in lutcalc End result was some nasty behavior in the red channel. The problem - I should have had full-range as input AND output. Generate a full-range to data-range LUT using the resultĪpply this LUT to Open Broadcaster Software's "identity" LUT to generate a LUT in OBS' required format (a 512x512 PNG that is sort-of a Hald:8 LUT but is structured differently.) using avconv's lut3d filter (Choose F-Log for gamma and gamut in analysis, assume that the output range is legal range and not full luma range). Use LUTCalc's LUTAnalyzer to determine the output curve and gamut of Fuji's Eterna LUT. (kdenlive + any full-luma-range input = pain and suffering for example.) I'm playing around with Eterna as a LUT option, although right now, I'd say 75% of my videos have some sort of issue with me making a LUT mistake, partly due to my insistence on open source software workflows. It probably won't play nice with S-log directly, but given that F-log is supported by LUTCalc, you could probably feed it to LUTCalc's LUT analyzer Have you tested how it fares with S-log input? If you look up their Online Help manual/documentation, they have a section on LUTs that has a chart with the two locations specified both for Macs and PCs.Fujifilm publishes a LUT for converting f-log to Eterna. And you must use those, never ever ever add LUTs into the Program or Package folders with the installed LUTs! There are a couple locations they have setup for all three Adobe video apps to check on launch for user-added LUTs. Storing your and acquired LUTs on your computer for use in Adobe video apps right-click a clip in the project panel, Modify/Intepret Footage, at the bottom in the CM controls. Any such LUT must be applied in the Color Management Controls process. You cannot use LUTs within Lumetri as noted above to perform dynamic range or color space conversions. Some "shaper LUTs" such as several of the ones that are included with Resolve do not at this time work within Premiere. cube type LUTs that the Adobe apps are built to use. You can use LUTs from other sources, as long as they are one of the. So things like the settings you've made in the Basic, Curves, and Color Wheels tabs can be 'cooked' into a LUT and applied to other clips quickly via the LUT/Look slots of Lumetri's Basic and Creative tabs. The LUTs created by the Lumetri effect are only able to do "look" changes.You can not do color space or dynamic range conversions within Lumetri at this time. And can also be set to handle specific color space conversions. is very tricky, and any LUT for that needs a lot of testing to make sure it works adequately.Īnd color space and dynamic range conversion LUTs can not be used in Lumetri!Ī lut creation app like LUTCalc (free, web-based) or Lattice can be set to build shoulders & toes with a long enough roll-off that you shouldn't get "clipped" (cut-off) highlights or "crushed" (cut-off) shadows. Which can be to change media from one color space to a different 'look' within that color space, or to change from one dynamic range or color space to another. Same white balance, exposure, contrast settings in-camera and contrast of the scene. As that LUT will work as you expect but only when you feed it a clip like the one that was used to build it. even if you're not thinking about it when you make one. as they are built for X media under Y condition. I work for/with/teach pro colorists, who call LUTs "the dumbest math out there" for a reason.Īll LUTs are built with certain. They can be useful, and they can also be damaging. The link shown above gets into 3-D LUTs, where there are (also spelled out) extended options for X becomes Z. When the table specifies so, input value S becomes output value Q, and R becomes Z. In simplest form, you have a basic replacement chart. But using them can be amazingly complex and problematic.
0 Comments
Leave a Reply. |