Oliver,
Think we are on the same page here. It could be very helpful to have non-destructive, non-baked in LUTs assignable at the clip level from bins. Same goes for adjustments to RAW sources.
It may be even more helpful to NOT have this gamma remapping appear in the normal color corrector curves or histograms. They would affect the image but be somewhat invisible to the interface, working behind the scenes.
Perhaps this is a half baked thought but it would be simpler to make adjustments to material with LUTs applied without having those LUTs pollute the correction interface with points and such. The corrections the user makes would be summed or factored with the "soft LUTs" to derive the final correction applied to a clip.
As Greg stated, it could also be nice if these LUTs could be loaded, reassigned and toggled from a separate color correction tab.
An option to "bake in" during a transcode could be useful for some as well.
Honestly, my knowledge is a bit thin in the operation of s-log, log-c and others. My rudimentary understanding is that while it is possible to restore the image to something viewable and near correct through tools like the Composer color corrector, the nature of log really requires something more surgical or precise to manipulate. This may vary among the different types of log recording used by various manufacturers. The optimum inverse gamma needed for restoration may create a very active curve with too many pre-assigned points and nuanced manipulations to be of used directly for further correction.
Certainly the degree of accuracy in the current color corrector is a limiting factor. Just my opinion.
My limited experience with SLOG and composer was that I was not able to entirely mimic the camera assignable monitor LUTs or get the image exactly where I wanted it. For whatever reason, it seemed better results should be achievable. Much of this may be my lack of experience.
C.A.M
________________________________
From: oliverpetersvidy <oliverpeters@oliverpeters.com>
To: Avid-L2@yahoogroups.com
Sent: Saturday, August 6, 2011 4:53 PM
Subject: [Avid-L2] Re: Sony F3 s-log lut
> Chris wrote:
> I believe true luts do much more than
> simply assign points on curves.
I'm not convinced of that for the camera profiles. Yes, if you want the inverse of the gamma adjustment, then LUTs are nice. The reality is you are going to change it creatively anyway. I do some Alexa work in FCP. There I have the Nick Shaw filters (he's reverse-engineered these from ARRI LUTs) and I also have the official ARRI LUT for Color.
The Color LUT makes life easy, but it doesn't necessarily change the grade I would get without it. Plus it would be a real PITA if I had footage from mixed camera sources and profiles. In the case of MC, I wouldn't want the LUT to be loaded into the source setting, though, if that somehow baked in that setting before it hit the internal color correction pipeline.
- Oliver
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