This is a huge point.
When auditioning clips for use in an edit it is of high benefit to do so with at least a rough correction pre-applied on the source side. This is important for creative reasons. It can also help spot technical flaws or other visual issues which may not be easy to correct out.
Wholesale application of non destructive LUTs in mass on the bin and clip level would allow this. Having those LUTs work in partnership with program side finishing color correction would be necessary.
This will definitely take upgraded performance to allow responsive transport control of source clips with what is essentially a real time effect already applied. Newer systems should be able to do this. Older systems may not.
The conduit for applying LUTs via bins should also allow user to plug in LUTs developed by 3rd parties or themselves. From what I understand DS and FCP Classic allows this.
It is also worth mentioning that 10bit and greater processing is really needed in a simple, dependable and flexible way. Processing all corrections in at least 16 bit 4:4:4 no matter the colorspace of the source clip should be considered. This should not be a special mode or timeline setting. Even though it should just work this way all the time, a project setting would be ok.
Its a new world and I have "tired head" from cramming so much new information in my brain. Not enough room left for football statistics.
C.A.M.
On Aug 7, 2011, at 1:10 AM, "Job ter Burg (L2B)" <Job_L2@terburg.com> wrote:
>
> There's a bigger issue at hand IMHO.
>
> When I'm cutting a scene, it's easy to add a CC to any flat looking footage. I work on it for a while, then decide to look for an alternate take on a shot, and I open it in the source monitor, and that alt take will look boring and flat. That simply influences the perception of that take (in a negative way), and that's a pretty bad situation in offline.
>
> On 7 aug 2011, at 07:53, Terence Curren wrote:
>
> > when the image is so flat that unknowing people will freak out.
>
>
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