![]() ![]() all tools became different in log timeline. ![]() Just because thats how contrast works in LOG. In addition i can only suggest uncheck "Use S-Curve for Contrast" in Resolve project color settings when work in LOG. Sometimes it may be useful even when work with ProRes source. In chain "log-to linear -> expose -> linear to log" gain wheel acts exact same as exposure(iso) slider in raw. If someone interested here is folder with lutsĪnd it is better to understand all global LOG concept, this is more complicated than just use tutorial. As a film emulation LUTs i use free GMIC Film Emulation collection converted from original HaldCLUT to. So i set my input to BMDfilmBMDfilm, set timeline for example to Rec2020 with Cineon gamma.Īpply Cineon to Amira709 1DLUT, next apply color space transform LUT.ĭo all my grade in log gamma and in wide color space BEFORE transformation luts, but see final result in realtime in Rec709.ĪFTER transformation LUT you can apply regular film emulation LUT and add luma sharpen. To generate those LUT you need to use trim_lut0.dpx (search on youtube how to use it) So i generated 3DLUT in beta 14 and use it in older version of Resolve. This is great feature that finally helps to remove hard saturation clipping in extreme values. In Resolve 14 beta they add New Saturation mapping to Color Space Transform node. (You can also try Alexa-X-2 and LC709/A made by Sony as well)įor color gamut transformation i use native Color Space Transform node in Resolve. Here is my current workflow which describe earlier in different places.Īs Out Gamma use Amira709 because for my subjective opinion it it gives best result. ![]()
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