[Avid-L2] Re: Sony F3 s-log lut

 

> Posted by: Joe Womble
> So, would you like to see the LUT capability being a part of the color
> correction tool, or available separately?

The advantage to having LUTs applied to sources is dailies and client review of footage. The danger in applying it at the source side - before the color correction pipeline - is that values can be clipped before grading.

In the case of grading applications, LUTs are applied at the output to compensate for the display environment - TV, film, digital projection. Here we are talking about camera LUTs, so what happens when you mix two different camera profiles, like ARRI Log-C with RedLogFilm?

It seems to me that the ideal would be to add a LUT on the source side, but it would have to work in some sort of floating point math, so the LUT isn't truly "baked in" prior to color grading being applied. The alternative would be to have a LUT applied at the source, but then have it easily and globally removed from the timeline before going to grading.

As an example, in FCP 7, I can apply a LogC-to-709 LUT to all source master clips from an Alexa in LogC. When I edit the clips to the timeline, the effect is included. Before I send to Color for grading, I can remove all filters and in Color apply the ARRI display LUT. All my grading in Color takes effect "under" the LUT. The downside of this is that it's global, so if I have a mixture on LogC and non-LogC, the LUT is still applied to all. This means the grading I do to the non-LogC sources has to inversely compensate for the LUT.

It seems that one solution would be an "insertable" LUT as Greg has suggested. In Color, again as an example, you have the node-based ColorFX room downstream of the primary and secondary correction. This would be a great place to "insert" a LUT filter. It would be nice if Avid's color corrector had this sort of versatility. ;-)

- Oliver

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