These looks are designed to be used as a second node or creative effect following the application of Leeming LUT Pro™, and have been designed in harmony with the colour balance and dynamic range the corrective LUT provides as a first step. As a way of saying thank you for buying my LUT, I have made available some free Quickies™ to get you there with no muss, no fuss. A one-two punch if you will, with instant results. While Leeming LUT Pro™ will get you to a neutral, corrected colour image with a single click, many users have asked for additional, stylised looks to help get to a finished image more quickly. ( F-Log, Eterna Cinema, Pro Neg Std, HLG for Rec709 ) ( Cine2, S-Log2, S-Log3, HLG/3 for Rec709, Ntrl, Std ) If you pay with an eCheque through PayPal, your LUTs will not be sent until the eCheque has cleared, which usually takes a few days. Using the S1(H) just you can just use ACES or RCM without any issues.6. So in case you want a proper conversion inside ACES use a CST and convert Rec709 colorspace to V-Gamut first and all the issues are gone. I asked Panasonic engineers on IBC about my findings and they're indeed correct. The GH5(s) uses Rec709 coordinates which explains the strong red shift and even clipping when using ACES or RCM with V35 input since it's technically not V-Gamut. If you want to have V-Gamut you need the S1 or the S1H or the professional Panasonic film cameras but not the GH5 or the GH5s.Įxactly what I figured out. as well and their answer is consistently that they do not claim it is V-Log, and of course they are right about that. ![]() I have had conversations with Panasonic reps. The Panasonic photography (!) division, the division that handles the GH5, simply does not know what it is doing video color science wise! (Edit) BTW I made a change to this, realised it was correct the first time and quickly changed it back, so while it says edited the only change is this bit.Ĭary Knoop wrote:The coefficients are simply wrong, it is very easy to see that on a good monitor! I wonder if the V35 ACES doesn't quite work with VLog-L? However I don't really like the resulting colour, hence more work. I can do it in the media pool if I set the project IDT to "No Transform" and apply the IDTs per clip. Thanks! I can't do that at the project level, due to other cameras being used, which is the reason for Aces in the first place. The shot is close enough to start gradeing without any further intervention in my opnionĭone, now stop futzing about how many angels fit on the head of that needle, and get to work. I would not use the hue offset if gradeing for real, the color checker is not in the final movie Green/cyan are miles off, yellow does not exist on the color checker in the frame ![]() In both cases the sampled color patch was pushing into magenta, turning the hue knob to 46 brought the sample to spot on red, then reset the color compressor, the red/magenta/blue patches all lined up close enough to move on ![]() I added a node with color compressor, sampled the red light in the bg, and then moved all values to 100ĭid the same with the london buss in the bg Dermot Shane wrote:i also downloaded the test, and also useing ACEScct
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