This can be corrected by applying a small negative correction to its Master Pedestal setting, which will also lower its 108 IRE white level close to 100 IRE. That makes its 7.5 IRE black level appear gray. When J-Log1 footage is loaded into Adobe After Effects, it is interpreted on a full-range scale (8-bit levels 0-255). Shadows will appear brighter in J-Log1 than footage shot in ITU709 or Cinema Gamma. Your original footage can then be played back directly over HDMI with correct black and white levels, no LUT required.
If you set Zebra Bottom to 90%, you can use it to keep highlights below 100 IRE and your J-Log1 footage will be constrained to the standard Rec. With J-Log1, however, highlights extend logarithmically up to 108 IRE, which exceeds the 100 IRE (8-bit level 235) white level of Rec.
J-Log1 footage is recorded with a black level pedestal very close to the 7.5 IRE (8-bit level 16) used in standard Rec. I'm shooing about three hours tonight, an opening for a doc about an artist - a lot of people expounding about art - and plan to use that setting until I'm more comfortable with LOG. It's much more pleasing and looks pretty similar to the graded clip at the end of the clip. I shoot Cinema with saturation set at Cinema Subdued, unlike the example in the clip (one of the three you posted). I'll probably up the contrast on the Gratical, but right now I'm using it with another camera too. Shoot a scene in LOG and Cinema and compare them.īecause the blacks aren't deep, it makes focusing with an external EVF slightly more difficult (nothing like the Pocket though) because unfortunately the camera's LUT doesn't export through the SDI/HDMI.
Import lut into colorfinale skin#
The actual skin tones seem to be truer that Cinema Gamma (which requires a little minus green depending on the lens). If I lay a well exposed clip in FCPX, add Color and bring the blacks down about 5-10 points it looks pretty good just like that. I've shot several interiors and an exterior with J-LOG and to be honest, all it really looks like it's doing is opening up the shadows.
Import lut into colorfinale tv#
For versions 10.3 and earlier you need LUT Utility.I'm not a colorist, at least I'm not that good at it - that's one of the reasons I like the LS300 after two years, 6 short docs and over a dozen TV spots with Pocket Cams.
Import lut into colorfinale pro#
NOTE: You can now apply LUTs natively in Final Cut Pro X 10.4 and later with the built-in "Custom LUT" effect. LUT Utility allows you to apply LUTs to LOG exposed images from: Arri Log C, Blackmagic Camera Film, Canon C-Log, DJI DLog, GoPro Protune, Panasonic V-Log, RED Filmlog, Sony S-Log, Technicolor Cinestyle and any other "flat" Log picture profile! Any "flat" looking image can benefit with the right LUT applied.Īnd perhaps most excitingly is that LUT Utility allows you to apply film print LUTs to accurately emulate different film stocks and film processes!
If you've been wanting to apply LUTs to LOG footage or emulate different film looks like the Motion Picture Film LUTs in Final Cut Pro X, I don't even have to sell you on this plugin.įinal Cut Pro X 10.3 and earlier and Motion 5 users can apply 3D LUTs or Look Up Tables to their footage!
0 kommentar(er)
