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slog3 work flow
Hi There
Im trying to get a basic understanding of a typical Slog3 work flow. I have a few questions which im hoping to receive some simple answers to.
If I have Slog 3 footage from CineEI shooting mode.
What stage / node do I apply a LUT? Some blogs say start with a LUT then ass further nodes for extra corrections.
In settings – is it critical to change the project colour space to what i shot? i.e mine was default Rec709 – do i need to change to Slog3? when i did change this it did make a difference to my grade/LUT
whats the difference of applying a LUT to input or output?
Look forward to hearing from you,
Paul : ) -
4 Replies
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There’s several workflows that can be applied to slog3 acquisition…..LUTs, ACES, or, Davinci RGB Color management. Since you asked specifically about LUTs, I’ll address that workflow. LUT’s are designed to convert from one color space to another. Therefore if you acquired in Slog3, and you intend to use a LUT to convert it to REC709, you have to start with Slog3 as the input color science.
Having said that, a LUT is only a starting point for subsequent grading to taste and intent. I’ve found that applying the LUT before any further grading, works best for me. You may want to try grading in a node ahead of the application of the LUT to see what results you get.
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thanks so much for your reply.
Its good to know that i have to have the time line colorspace set to Slog3 when im working with slog footage.
thanks!
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I have successfully done SLog3 projects in Rec709 color space and no LUTs just by turning the knobs. It can be done — the existing curves and primaries and secondaries in Resolve work very well. What does help is to have the crew shoot color charts during the project so you can establish what normal levels are based on their exposure and lighting. Without that, you have to basically guess… but we got along for many years doing this in film, and it’s not as hard as you might think.
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I’m finding that if the source media has been exported in any kind of linearized codec, then the chances are that a reverse LUT is unlikely to help place the media back “in the basket.” Sometimes the “next” LUT, and not the expected one, is less injurious and then an experienced colorist can step in and take it from there.
If you have done your million and a half feet of dailies/rushes as an orientation to the trade, herding pleasant images back into the middle — from both ends of the exposure bracket, is a fairly straightforward exercise, as Marc will attest. Sometimes the machines really aren’t of much assistance, like the auto-approach on an airliner failing right around the decision altitude. Go around or try to stick it: judgement day.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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