![]() ![]() Navigate through the disk file system to the LUT file to be uploaded, and tap on the name of a LUT to select it. If you select a slot that already has a LUT loaded, you will be asked to confirm the fact that you want to overwrite the loaded LUT when you tap on the folder. Tap on the folder icon to access your media. Slots that already have a LUT loaded will have a curve next to the slot number whilst empty slots will not. Tap on one of the numbered slots to select it. Tap on MON in the Information Bar across the top of the screen to access the monitoring tools settings and select the LUTs tab. CUBE files onto your media using a computer and compatible dock. CUBE format and provides 8 LUT memory slots for your load your LUTs into.1D LUTs are not supported and will need to be converted via 3rd party software to be imported.Ĭopy the. They can provide a great base or primary grade that allow you to apply an instant look to your footage.ĪTOMOS support 3D LUTs in the industry standard. To create you own custom Looks that can then be imported to your ATOMOS device. ![]() If you are working with 3D LUTs you can use color correction applications, as well as applications like Davinci Resolve, Photoshop or dedicated applications like LUTCalc. This means that whilst they may apply the color adjustments you are looking for they may also effect the luminance of the image and in which case these LUTs should only be used for delivery of content designed to be viewed in REC.709 or SDR. It’s worth nothing that not all LUTs are equal and the majority of LUTs are designed to work with in the boundaries of REC.709. LUTs can also be used to monitor the input in a specific color space or more creatively to create a specific ‘look’ such as film stock emulation or to match cameras. 3D LUTs have a combination of three inputs defining the combination of R, G, and B values allowing for adjustment of not only color but also gamma and gamut. Alternatively map it to ARRI Log C gamut and use popular film print LUTs.To access the LUT settings, simply tap the Settings icon and select the LUTs Tab.Ī LUT or Look Up Table is a table that transforms the color response and as such adjusts the ‘Look’ of the input. In post, use a BT.2100 HLG to Alexa 709 3D LUT for grading, HLG uses BT.2020 gamut so you should map it to a BT.709 gamut first, do not grade directly and simply add saturation, the colours will be wrong. Ideally you should shoot HLG with external ProRes HQ 10bit 422 codec due to the aggressive tone curve manipulation in post. Another reason why a colour accurate external monitor/recorder would be extremely helpful when shooting HLG.ĥ. Factor this in when lighting and developing looks for your film. HLG has a slightly cooler white balance compared to F-log and film sim, so be careful setting the kelvin value. You need custom LUTs to help you preview final exposure, otherwise it's hard to see what's going on in the scene and may lead you to overexpose.Ĥ. X-T3's HLG implementation follows ARIB STD-B67 NHK spec which places middle grey much much lower than BBC spec. An external monitor/recorder with custom 3D LUT feature is a must. In low key scenes (like the one above), shadow area will have visible grain, with ProRes HQ 10bit 422 recording, the noise pattern is pleasing and monochromatic with a fine 35mm texture, turn in-camera noise reduction off (-4) and "interframe NR" off to preserve the texture, otherwise you get blotchy patterns.ģ. HLG wasn't intended to be an acquisition format so there's very little room for error.Ģ. Respect the ISO1000 rating and be extra careful, do not over/under-expose more than 0.5 stop, ideally should be spot-on. ![]() Observations for working with HLG on X-T3:ġ. HLG mapped to ARRI Log C Wide Gamut using LUTCalc: Here's a graded frame from a feature film I'm currently shooting, entirely using X-T3 outputting HLG to Ninja V. Also, HLG makes full use of 0-1024 10bit code value, while F-log throws away 0-95 which could contribute to banding. Reds are deeper and richer with very little orange shift seen in F-log images. It's clear that HLG completely removes the magenta hue in F-log and renders shades of blue in a way that's reminiscent of Alexa. HLG with Alexa LUT generated by LUTCalc, no grading, WB 5300K, Shift 0: Here's a better comparison than the one from my previous post:į-log with Alexa LUT generated by LUTCalc, no grading, WB 5300K, Shift 0: To me, X-T3 now feels like a completely new camera shooting with HLG. I'm pleasantly surprised by the refreshingly new colorimetry and better (not higher) dynamic range distribution. I've been exploring the power of HLG picture profile introduced two months after X-T3's release. ![]()
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