Our scene file blogs have always been some of our most popular posts, and our specialists get many questions regarding how to create matching scene files for different cameras. Last year I actually wrote an article for HDVideoPro called Making the Match, where I discussed step-by-step how I go about doing this. In that article, I used a Sony F3 and an FS700 as examples, but recently we received an interesting inquiry on how to match a Sony F55 with a Canon C500.
While the process I outlined in my previous column works just fine in this situation, a more accurate solution needs to take into account one of the F55’s newest features: the ability to load in 3D Lookup Tables (LUTs) for viewing on set. Until now, 3D LUTs have mostly been used in post-production applications, but with this new function, they can now be used on set with no additional hardware. In fact, this feature is so popular it’s showing up in more and more cameras, such as the Arri AMIRA and Panasonic Varicam 35/HS.
For more details on 3D LUT support and the the newly-released tools to make working with them even easier (such as Arri’s AMIRA Color Tool) – as well as how I finally got the F55 and the C500 to match – read my newest Help Desk article over at HDVideoPro.
One of the most important features of the new Arri AMIRA is its ability to load 3D LUTs (Look Up Tables), which really allows you to modify the way the camera looks. The ALEXA allows for basic LUTs with ASC CDL adjustments, but the AMIRA goes a step beyond that to allow for full customization of the image.
…continue reading Arri’s New AMIRA Color Tool
In the latest firmware version 4.0 for the F5/F55, Sony added the ability to load custom 3D LUTs. This enables you to see the look you want on set while recording in Raw or Log. Many have been asking about this feature for some time now, and Sony has now made it available. In the video above, I show how to create both 1D and 3D LUTs in Sony’s Raw Viewer software and then import them into the camera. It’s a tricky process, so make sure to follow all the steps. In addition, many people like to work in DaVinci Resolve, so in the video below I show how you can create LUTs in Resolve and edit them to work properly in the F5/F55.
…continue reading Creating and Importing LUTs for the Sony F5/F55
At AJA’s booth, I got a chance to take a look at their new LUT-box, which, true to its name, allows you to load 3D LUTs and output to HDMI and SDI monitors. Approximately the same size as one of AJA’s mini-converters, the LUT-box supports multiple LUT formats and can be easily controlled via the free MiniConfig software. The LUT-box should be available starting next month, so watch my video above for more details.
One of the most popular blog posts I’ve written was a guide to Applying LUTs to Log Footage in various NLEs. Since I posted it, a lot has changed in the popular NLEs; the tools used to apply Look Up Tables are now included in many of them, and they are generally better than ever. Here is a break down of how to apply LUTs to Log footage (or any footage) in Final Cut Pro X, Adobe Premiere Pro CC, Avid Media Composer 7, and Resolve 10.
…continue reading An Updated Guide to Applying LUTs to Log Footage
Canon has Look Up Tables (LUTs) on their website for their Cinema EOS line of cameras – the C100, C300 and C500. These LUTs are designed to convert from Canon Log to Rec709 or Cineon. Originally, they were published with only the C300 in mind, but they were later updated to work for the C100 and C500 as well. They are stored in a 10-bit CSV (comma separated value) format and are designed to work with full range (extended) data found in the C500’s Raw mode, which makes them perfect for use in a color grading suite. However, these LUTs are not directly readable by many color grading programs, most of which are expecting some sort of 3D (cube) LUT. Also, sometimes it is necessary to use a ‘legal’ LUT, versus a full range LUT, for delivering content for television or web viewing.
To make things a little easier for you, we’ve taken the Canon LUTs and modified them for use in various programs. Additionally, we’ve thrown in some versions with our popular AbelCine scene files applied. Plus, we’ve made both legal and full range versions available for each.
…continue reading Canon LUTs for the C100, C300 and C500
A little while ago, Sony released the latest firmware for the F5 & F55 cameras, as well as the AXS-R5 Raw recorder. Version 1.15 of the F5/F55 firmware has some small incremental updates, with mostly bug fixes included. However, some big changes include improved naming conventions on the AXS card, de-anamorphic function on the viewfinder, and a warning when you haven’t black balanced in a while. Sony is well on the way toward the next big release, version 1.20, which aims to give a vast array of new functions. For now, you can download version 1.15 from Sony’s website; make sure to read the details on what is and is not currently working. (Note: v1.15 includes all the updates in v1.14, in addition to another small update.)
…continue reading New Firmware & LUTs for the Sony F5 & F55