However, keeping a color checker or 18% gray reference reflector on set is good practice to provide a cue for white balance adjustments in post. It is always best to achieve proper white balance in-camera instead of in post. If not, select the input LUT adjustment layer or create a new adjustment layer only for color correction, whatever best suits your needs. Remember, if you see any clipped information, you should always adjust the footage itself first instead of the adjustment layer. Now that your footage is normalized, it’s time to do some basic color correction. To apply the input LUT, go to: Color > select your footage > Creative > select your input LUT.If you add the input LUT in the creative section, it will apply the basic correction first, then apply your input LUT. The simplest approach is to apply the input LUT in the creative section instead of the basic correction section, as the Lumetri color panel applies effects from top to bottom. By doing so, you can adjust any information that may be clipped by the input LUT. It is best practice to avoid applying the input LUT directly to the footage in order to retain color and luminance information (which is why you shot in Log in the first place). C-Log - Canon (Looks for the newest Canon lookup table version).Here are links to the input LUTs for the most popular consumer camera brands. Remember, each camera manufacturer is an expert in the color science of their own products so be sure to download the Log input LUT from their official website. Step 1: Download the Log normalization LUT (Input LUT).You can always play around with it to see which input LUT gives you the best result. The image below was shot on Sony A7SII, so it makes sense to download the Sony input LUT and apply it to our footage. Sometimes, it’s possible to use a different input LUT from a different camera manufacturer if your footage was exposed incorrectly or you just want a creative look. Now you might be wondering: why shoot in Log when I will just output to Rec709 anyway? The answer is that Log files contain far more information which can be used to make precise adjustments to your footage during the color correction and grading process.Īs we already determined the color spaces of our footage and our final destination, we will now convert our footage from Log to Rec 709. To do that, you need to obtain the Log-to-Rec709 normalization input LUT from your camera’s manufacturer. Are you going to show your work on mobile devices (Rec709), TV (Rec709 or Rec2020 soon), or cinema screens (DCI-P3)? Since most displays are only able to reproduce the Rec709 color gamut, we will set our working color space to Rec709. When working with Log footage, it is essential to re-map your footage to match your final destination. Understating Your working color space and your Final Destination (output) If you shot in Rec709, you can skip the normalization process and start doing color correction. So, the first question you need to ask is: did you shoot in Log (e.g., S-log, V-log, Canon-Log, Red-log film) or in Rec709? Each method is different, uniquely tailored for the color science of the hardware in the products. Log files are optimized to take full advantage of your camera’s image sensor but must be normalized before doing any color correction and grading. Digital video cameras use either Log, or Rec709 to encode colors captured by the sensor. Understanding your footage (input) color spaceĬolor space refers to what method a digital system uses to encode color information. In this article, we cover the essentials of how to properly use Look Up Tables (LUTs) and how to optimize your presets to be sure your footage looks exactly the way you want. Adobe Premiere Pro is your best choice if your color grading needs are minimal. Mostly, this is accomplished during the shoot with lighting, lenses, and angle choices, but modern digital editing systems give us another tool: color correction and grading. However, it’s not enough to just capture images, you need to be sure they convey the look and emotion your scene requires. Put the LUT cube file into the LUTCamera folder, in its own folder if you wish within LUTCamera, it should then appear in the Templates tab, Movie Looks - the image below shows how I have arranged all my LUTS.Capturing digital video has never been more affordable. cube file then yes - if you wish you can create a folder called LUTPresets and a subfolder LUTCamera inĬ:\Users\Public\Documents\MAGIX\Common\Videocontent\Movie Studio version\VideoEffects\ So what you are say I just have to important my clip into Magix Studio Platinum 2023 and apply my Paul lemming lut.Īssuming it is a. Please reread the sentence above the image I posted - this refers specifically to VPX and the image shows what you would see if you were to upgrade to VPX.
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