![]() This is the look produced by a video camera that is white balanced and exposed properly. 709 is the standardized format for color in high definition video. A standard LUT converts the Log video to standard (Rec. A transform of this video data, known as a lookup table (LUT), is required for proper viewing, which makes the video look more “normal” to us. Because Log is a video image, manipulations like white balance and ISO are baked in. Each is designed for a specific camera, but all have a similar result. Sony calls their map S-Log, Canon’s is Canon Log, and ARRI’s is LogC. They map a “Log” gamma curve that pulls the most information off of their sensors. Sony, Canon and ARRI have all taken the idea of Log film scanning and applied it to their sensors. Because this information has many shades of gray-very low contrast-it needs to be corrected for proper viewing on a monitor. This maximized the information from the film that could be stored in the video format. The system scanned film into a Log format that corresponded to the density of the original film. The idea of Log recording came about with Kodak’s Cineon system for scanning film. ![]() However, it’s a special way of capturing that maximizes the tonal range of a sensor. This should clue you in that Log recording is just standard video recording in the sense that all pixels display color and brightness information. When the Log modes are activated, the image becomes flat and desaturated, but you can still see it on a monitor. Many cameras, including those from Sony, Canon, RED and ARRI cameras have a Log recording mode. by saving a ton of LUT's or Looks for your different situations. It's a colorists tool for both getting "clean" and getting "hot". can massively cut down the time needed to match different cameras together or even one camera but in different situations. then creating a Look for that camera for that situation. testing your gear in X situation, learning how to ALWAYS set that gear in X situation. if of course, you have a standardized way of prepping the cam between metering/WB and such for every shot. Say if you photograph a detailed video-color card in a particular lighting, and then "normalize" that via the tools in Sg, save as a Look, you can simply apply that to any shots from that camera in that lighting/situation and get close to "there". ![]() So in creating a custom Look, you're creating a LUT for that camera in that situation. but as in there are dot-cube, dot-this, dot-that in the wider LUT world. A lot of people don't realize that Adobe's "Look" is actually just their proprietary name for a. separate your clips by which "fit" together with the least work, then start blending groups together, then blend the overall project.Ĭreating a Look for each camera can be a HUGE timesaver. I'd recommend looking at the overall project. ![]() Just working the stack on a base clip is simple. If you are doing any kind of documentary or b-cast work, or mixing multiple cameras and their differing files, you'll be needing adjustment layers to blend those groups together.Ģ) How high are your or your client's demands?Įven in "simple" projects, if there are complex demands for say, particular skin tones or an overall "look" stylistically, you will need to both utilize the layer stack to balance/adjust each clip and perhaps adjustment layers to blend groups of clips and then an overall adjustment layer, two, or three for style. many of these projects don't involve enough complicated work to do so. And b-roll/graphics are where I'll actually more likely use adj/grade layers. Especially if I'm say doing more that take X grade, and some that take Y grade, it's even faster to apply an adjustment layer than copy the grade clip-to-clip. And then even my projects will oft require adjustment/grading layers. Often a base grade works fine in an indoor interview that's all controlled, but when going outdoor. A small project like most of mine, typically short (10-20 minute personal interviews or short highlights or weddings or portrait times) comprises mostly shots from the A camera that tend to be pretty similar, with some B roll & graphics to add in. ![]()
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