Our typical workflow does not use input LUTs. Only an output LUT to go from Log to Rec709 (or whatever output is needed). That way your grade is applied to the Log footage and then it's converted to your delivery colorspace in the final step. If you use an input LUT to put it in the delivery color space before grading then your grade is only relevant to that input LUT.
Jay
On Nov 8, 2016, at 3:57 PM, John Moore bigfish@pacbell.net [Editing-List] <Editing-List@yahoogroups.com> wrote:Working on a 4K show shot with Panasonic Varicam 35 in Panny Vlog mode. We apply the Panny Vlog to Rec 709 LUT from the Panny website and then a Full Range to Legal Scaler to the source clips. This gives me a decent starting point. Then I color correct in Symphony. Everything is fine and I deliver a 10 bit DPX legal level of the finished show.For archive purposes, which seems to mean future proofing, we deliver a textless and also an ungraded master. The ungraded master in theory is supposed to have the "Output LUT" removed but the grading remains. The problem is if I just remove the LUT color adapters and leave the symphony color correction the resulting file doesn't look right if the Vlog and scaler LUTs are readded. This all makes sense to me as the processing order is important. If the LUTs aren't processed first the resulting color correction is vastly different. I understand why this is but it seems problematic to start creating color correction LUT effects to use on upper tracks so that I in essence do the symphony color correction before the footage is LUT processed.The idea behind shoot in Log be it Panny Vlog or Arri LogC etc is the image date gets remapped by a math transform to new values that will fit into the dynamic range of the codec used. Later the values and be "unmapped" back to an image that represents what they were looking at in the field. If I start color correcting the image before it hits the LUT processing I'm messing with the math transform math. Given the complexity of the math involved, which favors image detail in the more visible areas and also may be doing different things to the various YUV channel data, I would think adjusting the levels before the unmapping takes place is breaking the math and could lead to some very strange results.I've done tests with my existing workflow and if I turn the LUTs into Color Correction LUT effects I have to create a color correction effect based on the symphony color correction and apply that above the LUT Color Correction effects to achieve the same image levels I have in my normal sequence.Bottom line it just seems wrong to me to apply image color correction before applying the LUTs as it breaks the math involved in the Log/Lut relationship. Does that seem like a viable concern?John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net
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Posted by: Jay Mahavier <jay_mahavier@earthlink.net>
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