Log C 4:4:4

[Russell Lasson]

What is the source that you’re digitizing from? FCP really doesn’t deal with LUTs at all, which is unfortunate. In fact, it doesn’t really deal with 4:4:4 all that well either.

I can only think of a couple of ways to use LUTs in FCP. One is through DPX files using GlueTools. The other is by using a Kona 3 or BlackMagic card and adding the LUT through the output.

-Russ

Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT

[Gary Adcock]

[Peter Lee-Jones] “I need to digitise material shot in Log C 4:4:4 colourspace”

Peter,
I do a lot of this type of work and I have not ever seen something marked as “LOG C”

I have worked with Log footage from a dozen cameras and never run across this file type, is the DP including LUT’s from the shoot or are you building them from scratch (and why?)

Traditionally with LOG materials there is some sort of metadata passed with the files to assure that the camera intent is maintained. Using a 3D LUT from something like a Cinetal monitor or with Iridas Speedgrade offer you the ability to handle the viewing of that data in a controlled fashion.
To handle this footage as RGB LOG you will need to be working Dual Link to maintain that 4:4:4 color space.

“Are the some Red tools which would do the trick? “

if your content is not in the RED R3D data format, those tools will not help you.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

Inside look at the IoHD
https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php