![]() Simply pick whichever C-Log to Rec.709 LUT collection is appropriate for your footage, then begin by applying the "Native" LUT. LUTs inside each folder are organized like so: 3D / Canon C-Log 3 Cinema Gamut to Rec.709 (13 Luts).1D / Canon C-Log 3 to Rec.709 (13 Luts).This quickly and easily creates a baseline for any additional creative color grading. All three videos were converted to Rec.709 and their underlying exposure issues have been resolved. The left video below is now using the +0.66_Stops Rec.709 LUT, the middle is using the Native LUT, and the right is using the -0.66_Stops Rec.709 LUT.Įxposure Correction LUTs applied / +0.66 (Left), Native (Middle), -0.66 (Right)Īs you can see, the three videos now appear nearly identical! No additional color grading or adjustments have been made. Now let's use the C-Log to Rec.709 Exposure Correction LUTs instead. This not only slows down my editing, but there's a good chance my exposure adjustments may not be accurate or consistent. I now need to spend time manually adjusting the exposure of the left and right footage to match the properly exposed footage in the middle. They look okay, but as you can see, the left video is darker while the right is brighter. Same Canon C-Log 3 Rec.709 LUT applied to all three videos Let's convert these to Rec.709 using Canon's official C-Log 3 Cinema Gamut LUT. Underexposed 2/3 (Left), Correct Exposure (Middle), Overexposed 2/3 (Right) The left is underexposed by 2/3 a stop, the middle is exposed correctly, and the right is overexposed by 2/3 a stop. These LUTs are a huge timesaver (I know, I use them all the time), especially when importing and editing lots of footage that needs to be converted to Rec.709.īelow are keyframes from three videos shot using C-Log 3 / Cinema Gamut on an EOS R5. Under and overexposed footage (within 2 stops) are instantly corrected, and appear as if you nailed their exposure in-camera. Footage underexposed by 2/3 a stop? Use the +0.66 Rec.709 LUT. They are modeled on Canon's official Rec.709 LUTs for the EOS R, R3, R5, R5C, R6 and R7.įootage overexposed by 1 stop? Use the -1 Stop Rec.709 LUT. These 84 custom LUTs convert Canon C-Log and C-Log 3 footage to the Rec.709 color space AND normalize exposure using the proper C-Log gamma curve. ![]() That's where these Exposure Correction LUTs come in! This can be accidental or intentional, for many videographers slightly overexpose their C-Log footage to create better looking skin tones and reduce noise.Ĭanon's official Rec.709 LUTs do a good job of converting C-Log to Rec.709, but their LUTs are designed for perfectly exposed footage. In reality however, footage often turns out over or underexposed. Although Premiere can battle using Luts over x17 in Resolution, please save your work frequently when working together with LUTs in Premiere.Every videographer and filmmaker strives for perfectly exposed footage in camera. ![]() Generally, 圆5 is used in DaVinci Resolve, x33 in FCPX and Adobe Premiere. Notice: The Canon Picture Profile'CLOG3 CCG LOG.pf3' is Intended to operate with Canon's native CLOG3 Cinema Gamut Technical Alter Luts or DELUTS Canon Cinema LOG 3 variations. Loaded into the Canon camera which accepts. Some have strong gamma curves and colors. The concluding Luts also works nicely over Generates REC709/REC2020 profiles.Ī brand new LUT Looks color base motivated by minerals. Utilize the completing Luts on the top of this Standard manufactures REC709 / REC2020 Luts to immediately offer another degree of Appears to your job. James Miller – DELUTS Canon DSLR camera profiles:ĭifferent end of string luts / completing luts / Over-luts also contained.
0 Comments
Leave a Reply. |