Valid point, I guess if I saw what appeared like a look, which doesn't seem to apply to this show I would have contemplated the use of the specific LUTs over the generic. Also given this will be offlined and onlined in Avid 6.5.x I had to commit to something and I'd much prefer to start with something in the legal ball park and balance from there. Any look they want to achieve can be added once things are balanced.
Perhaps I'm just more traditional in my approach but shouldn't "The Look" be created by the lighting and composition of the scene and not with camera trickery? If you want something to look cold and blueish the lighting should accomplish this not the camera setup. I would think anything you can do with a LUT on set can be repeated in post from the raw media. IIRC Mr. Jay had responded to a similar question I had on how the real world application of LUTs usually happened and I believe he said the LUTs were used primarily as a guide but usually removed in color correction.
I'm curious how the LUTs are adjusted on set. Is there a remote video control like interface that tweaks the LUT remotely for a camera. This was a multi camera shoot so I would think any tweaking would be done in the production truck looking at a program monitor but I don't think there was any TD and switcher like a traditional show use to be shot. What little I've seen of the production truck/bus is more of a multi viewer set up for the director to see all cameras much like a quad split etc... on a sitcom stage.
---In Avid-L2@yahoogroups.com, <cutandcover@...> wrote :
On Mon, Jul 6, 2015 at 7:17 PM, John Moore bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:I've asked before about the use of LUT is the real world and if they are taken as gospel or just as a suggestion. The response before was they were used as a reference point and then usually taken off in post once in online/color correction. Today I have a myriad of media some F-55 4K and other XAVC- Intra 100 and I believe some go pro footage just for fun. I was given a bunch of luts for each camera and the section of the show like open, Exterior Act etc... As I've previously posted today Avid 8.3.1 automatically added the "YCbCr Sony SGamut3.Cine (SLog3 gamma)" Color Transformation. To be thorough I went ahead and imported all the LUTs I was given from production and for the most part they are useless. They all go well below 0 millivolts and over 700. They aren't too far from the Avid default LUT but in every case I look at the standard LUT Avid applied is more accurate and completely legal. I can see sometimes they added a bit of blue and lessened the Red but nothing major. I'm basically ignoring the field LUTs as they aren't helpful at all. I figure they were developed so things look okay on the set monitors but clearly they weren't looking at any kind of waveform.Is this typical for those that get LUTS from the field? I haven't been in the field in a long time so I don't know much about the workflow of Video Village especially for these multicamera no production truck setups. Or I should say minimal production truck without a full tilt switcher etc... Are the LUTs generated in the Camera on the video tap to feed the control room monitors. I assume the Cameras are recording their raw data and the LUT is introduced just in the on set monitors but where does it come from? The DIT gives me these files for different cameras and different show scenes. Did he create them in a monitor interface box or pull them from the cameras? Curious how this works in the field. TIA
Posted by: bigfish@pacbell.net
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