The transforms are published by the camera mfg's The only real world diffrence is the maths of a lut -vs- transform, in that battle transforms are always a better bet If i leave the shot in the preset and add the Alexa/ LogC lut in a node i see the same image, a bit darker, and a bit mo' contrast, no biggie tho, seconds to match to input version My media is Arri ProRez / logC, as close i as i can get to your media with what i have on handĭefault input with that preset is i change input to Alexa/LogC i see an image normilised for display refered I tried your set up, selected color managed, and the DWG preset Happy to find out that I cluelessly missed something. While I can hand correct the partially corrected footage, that doesn’t help me much if I want the effect of a particular correction LUT. Do you find that what you see in the color page is neither log nor nor ball-park corrected footage? Then add a log conversion LUT to a node and see if you don’t get highly oversaturated footage. Try setting up da Vinci YRGB color managed as the science and da Vinci wide gamut as the color management preset on some log footage. And if resolve’s DWG settings are adding some kind of transform, what is the process for using a different one? Does DWG mean that LUTs applied to a node no longer work anymore? I understand that if you are working with raw footage resolve will apply the proper conversion LUT based on Meta tags. The Sony sLog3.cine clip then appears not completely flat as if it was unmodified, nor is the contrast and saturation in the ballpark as it would be if a LUT has been applied using the old Da Vinci YRGB settings as they were in resolve 16. Under DWG in the settings page the log clip is undergoing some kind of conversion. I’m just seeing that under da Vinci Wide Gamut the behavior looks like a second LUT is being applied somewhere which, if that is what is happening, I can’t track down. To clarify, I am not applying two different LUTs as far as I know. However I am interested in making use of the Sony created LUT FX9 footage to bring it as close to the Sony Venice color science as possible as that is what the LUT was created for. I can hand correct and bring into proper range the non-LUT footage. If I choose the Sony LUT for Sony sLog3.cine to rec709 for Venice (or any other LUT for that matter) the image then becomes unusably oversaturated. However it has no LUT applied (that I can find.) DEFINITELY not as flat as SONY log footage and definitely in proper range. If I choose YRGB COLOR MANAGED and DaVinci WIDE GAMUT in the color management preset box, The clip is converted to an image close to the original scene minus a bit of contrast and saturation. In project settings, if I set up the color management as DaVinci YRGB the clip looks like regular log footage. I am working with Sony sLog3.cine footage which should require a user chosen normalization LUT. I’m suspecting that somehow the normalization LUT (chosen from the LUT list either at the node level or in the media pool) is somehow being applied a second time which results in unusable super saturation and increased density of the image. This REC709 LUT is my favorite way to get my SLOG3 footage in the right color space to then grade on top of.I realize this must not be a widespread problem, although I’ve seen others on different forums present the same issue : These luts like any luts will require slight adjustments. Luts should be used as a tool not a crutch!Įvery single image is slightly different in framing, color, and lighting. It’s important to expose properly, LUTs are not the end all be all form of color grading, they are a base to build off of. NOTE: With SLOG3, most people recommend you over expose by +1 - +2 stops, I dont! Expose to what feels right, I find that I tend to expose a pretty natural way, where I dont need to bring it down too heavy in post.Ĭreated in Davinci Resolve, designed for Sony SLOG3 with S-Gamut3.Cineįor Premiere users, use the creative tab in Lumetri, to adjust the strength needed as to preference. Some conversion LUTs are pretty stylized and contrasty, and I found this approach to be my favorite. With this conversion LUT, I went for a natural clean base where you have the latitude to add / take away contrast, sat, etc. After getting asked how I grade my footage, I was inspired to create a conversion LUT for SLOG3 that is natural and beautiful.
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