LUT applied in camera by mistake – can it be fixed?

[Marc Wielage]

That totally sucks! Wish the AC much luck on his next job.

I hope you guys can find a way to salvage it somewhat.

[Robert Ober]

[Blaise Douros] “My company owns the FS7, and I work with it several times a week, both shooting and editing. It can apply LUTs selectively to different monitor outputs; but if you apply the LUT to the SDI-1 output, it will also bake it to the footage. This is pretty clearly labelled in the menu, so it sounds like this AC was not really paying attention. Not that I’m blaming and shaming, since I have done the same thing. My guess is that they were trying to get the waveform to display in the monitor, which it won’t unless you apply the LUT to all outputs.

Regardless, I think you’ll find that the footage is still eminently gradeable. At Rec709, it is still retaining a lot of usable color data at 10-bit 4:2:2. Good luck!
“

Well said.

I own and FS7 and an Odyssey 7Q+ . I would suggest buying or renting an Odyssey 7Q+ and using that for viewing thru SDI2 or HDMI when shooting in Slog with a FS7. Starting with the 2015.5 firmware, the Oddy can send different LUTS to the display, SDI A IO, and SDI B IO. One can feed a video village or DP monitor with a LUT and not the display. Or put LC709A on the display and a standard 709 on the feed to the Video Village large TV.

Not anyone’s employee, just very impressed with the LUT capability of the 7Q/7Q+. Convergent Design has a LUT explanation video on Youtube.

Y’all be cool,
Robert

[Bill Ravens]

Here’s a critical point to think about. Some LUTS are “extended” meaning they convert the entire color range, from 0 to 255. However, most LUTs are limited to REC709 16-235. If this is the case, any information below 16 and above 235 has been clipped. This would be non-recoverable and you will have lost detail in the super whites and super black. I would hope that however you deconvolve the footage in post, you are aware to use an extended LUT.

[Marc Wielage]

The other problem is that many LUTs are destructive, in that they clip the whites and blacks in a way that nothing can be recovered from them later on. For this and other reasons, I’d rather avoid LUTs in my workflows and instead come up with a more graceful kind of correction that doesn’t slam the whites and blacks so hard, even for dailies.

I sympathize with the o.p., particularly if you’re using a new camera for the first time and you’re trusting the operator to know what he or she is doing. I’ve been on shoots where we were suddenly surprised with a new camera and things went into unexpected, unanticipated directions…

[Jan Bensliman]

What is technically the advantages and disadvantages of the internal record of a Lut/3DLut.

It is clear that you have a look that can no longer be turned back.

But do you have the advantage of the larger (Cine EI) dynamic range?
I would think so.

I would do this for clients who edit themselves but do not have a good cororist. But want to have the advantage of 14 stops dinamic range.

Any comments?

[Tero Ahlfors]

Usually one would just use a camera LUT to normalize the viewfinder (not to burn the LUT in the footage itself) to something that’s not milky, low contrast log.