I'm working on a new series and I'm told all the Canon C300 footage was shot in LogC, which I assume means Canon LogC. I'm finding the footage to be milky and low in gain like I'd expect but when I apply the Canon LUT the whites if they are fairly bright blow way up to 780 millivolts. I contacted the offline editor and he had made his own LUT in Resove as he didn't like the Canon LUT either. He is on 8.4 and I'm on 8.3.1 if that makes any difference.
So I've asked the question before but having this new experience makes me ask again. Am I wrong to expect that when someone shoots on a Canon C300 in LogC mode that the Avid, or any other tool for that matter, that has a "Canon LogC" LUT should basically be bringing the milky LogC footage back to a more or less standard range which in my case is Rec709. I don't expect it to be perfect but reasonably close in overall level. I'm use to seeing most of the DVCPro HD tape footage I get peak well over 700 mV usually more like 750 mV but not too clipped. The Avid "Canon C-Log" LUT really blows the whites up. I can't imagine these LUTs are created in a sloppy manner so what's the deal here. I just want a basic starting level that's reasonably close to standard level and avoid having to stretch the flat LogC out. I know many say they just prefer to stretch things out manually but that seems not to take advantage of a proper transform based on the LogC math. I figure there is more going on that just stretching the black and whites back out to proper level. Why is this such a convoluted process? It should be compress logC and uncompress logC to get back to the original. What am I missing?
Is there some dark channel internet where I can find a good Canon LogC I can import into Avid?
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net
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Posted by: John Moore <bigfish@pacbell.net>
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this is the Avid-L2
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