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Footage looks terrible when applying LUT to log footage in linear working space
Hi all,
I’m obviously missing something in my workflow.
I’m trying to use linear working space for my project and if I’m content to work with flat, log C300 footage, everything is fine.
The moment I apply a LUT to either an adjustment layer above the footage or the footage itself with LUT Buddy or the AE native LUT plugin while in linear workspace, the footage looks unexpectedly terrible.
If I’m not working in linear workspace, the footage looks as expected.
I feel like there’s either a colorspace conversion or something using the Cineon Converter plugin that I’m missing to fix this.
By the way, I’m trying to composite with the LUT in a guide adjustment layer for my displays and then render my comp as flat log footage. The LUT is meant to get me into the ballpark of what the actual graded footage with look like while delivering log comp to the colorist.
Any insight would be most helpful.
Thanks!
-Graham
OSX 10.9.4, Windows 7
Adobe CC, CC 2014
FC Studio 3
DaVinci Resolve 11
12-core 2.7GHz nMacPro, 64 GB RAM -
2 Replies
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ok, this might make your head explode, but some lut’s will NOT work with linearize workspace.
for example, with an alexa camera:
“To view Log C footage correctly inside Adobe After Effects, generate a Log C to Video photometric LUT using ARRI’s online LUT Generator and use an “Apply Color LUT” effect inside AfterEffects. This only works, when your project is not set to “Linearize Working Space”.”…and then some need it turned on as below:
if you want log to lin luts, you can get this free plugin
“Apply log-to-lin LUTs to your log-encoded footage in After Effects, just like in Nuke!”
https://aescripts.com/qp-nuclear-lut/
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actually, the really funny part is all film vfx’s done with linear rec.709 lose
information from the limited range of the color management spectrum. it is not as good as a non-destructive display LUT. aka you “sacrifice the maximum performance of DCP projection and as a result too much video look in our image.”
https://www.reduser.net/forum/showthread.php?62733-Comparison-of-CC-workflow%92s-Film-Log-vs-Linear-REC709the proper way to edit footage is work in a icc profile that is the same of your original camera, film(Universal Camera Printing Density or dcdm) digital(P3) then
simulate rec709 for your monitor. if you render rec709 and you imported film, well, you’re screwed. bye bye film master.“What difference does linearize actually make? It means that Add and Multiply modes are not broken outside of 32 bpc linear HDR. You can comp fire into a shot with Add mode and not have to compensate for it looking horrible even in 8 bpc.”
don’t forget that all cgi renders have to be linear too, if AE is linear or visa versa, I should say.
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[Chris Wright] “ok, this might make your head explode, but some lut’s will NOT work with linearize workspace.”
More like bang my head against my desk.
Oh well, not the end of the world.
I’ll generate my own LUTs to work with, since we’re not yet anywhere near the color phase. Nuclear gets me about 80% of the way there, a levels does the rest.
Thanks for the response!
-Graham
OSX 10.9.4, Windows 7
Adobe CC, CC 2014
FC Studio 3
DaVinci Resolve 11
12-core 2.7GHz nMacPro, 64 GB RAM
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