![]() ![]() However, for the vast, vast majority of people (and colorists), doing that from scratch, with the source being something that was never even intended to be a viewable image but rather an information container (that's what log encoding is) is usually not going to produce a better result - particularly in the mid and upper mid ranges of the greyscale - than using a proper transform derived from the actual capture and log encoding values. Now, that's not to say that you can't simulate the "proper" transforms by hand, or even change them for aesthetic purposes. If I have wide gamut LOG source, use Rec.709 LUT and than Rec.709->P3 I will end up (in my logic) just with colors from Rec.709 gamut. To deny that there is a "proper" way to "undo" those encodings and display them on a particular monitoring system, and claim that this is something that is somehow an "artist's" prerogative is to ignore scientific and photographic reality. LUT itself may not 'limit your source gamut', but applying Rec.709 on Sony Slog-3 (just to de-log it ) and then going from this to P3 is not a proper way. They use that to derive transforms that recreate the captured scene "properly" for specific display targets, and they use it to develop log curves that allow the largest amount of the captured information to be stored with proper, perceptually accurate precision. Has anyone out there been using Sony Slog3 and can recommend a starting point LUT in order to bring my gamma. I note there are a number of manufacture specific preset LUTs available in Speedgrade. Manufacturers know the characteristics of the cameras they produce, and they know the actual response. The conventional monitor look 709 (800) integrated into the F65 and PMW-F55 cameras has a high contrast tone curve and renders high saturated, vivid colors. Im looking to get this into a starting point and looking for a LUT for this. All modern cameras are capturing linear light, and how that information is transformed for display purposes, and how it is transformed for storage purposes are mathematically defined and usually two different things. ![]() Click to expand.There is absolutely a correct way, and it is different for different log curves and color spaces. Normally youd go sLog3 > Rec709, for example, but you might be able to generate a Rec709 > sLog3 LUT with this LUT Calculator. I looking, as the title implies, for the ultimate F55 S-Gamut3.cine/S-Log3 CineEI XAVC to Rec. By placing these LUTs onto your S-Log2 & S-Log3 videos, it corrects and fixes the colors to a natural. FREE S-Log 3 to Rec.709 LUT Below, you’ll find our free color transform LUT for Sony S-Log 3 footage. Supplied as 3D LUT (Lookup Table) files, our Look Profiles convert footage shot in S-Log to the REC.709 standard, making it easy to achieve dazzling images with S-Log, even for beginners. ![]()
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