questions about color correction (conversion)

[Rob Davis]

[Glenn Sakatch] “The correction is not clipping as you move down the chain, as you can still add a correction in node 1 and ease back on the highlights, removing the clipping, (assuming the original shot wasn’t totally over exposed)”

Good point. I guess I see the value in that workflow then, though I personally would still prefer to start from scratch and use the scopes and my monitor to grade for 709. As a DP who just does color grading on some of my own projects, I’m by no means an authority on the subject and would love to know more about pro colorists’ workflows. Wish there were more resources available. The Lift Gamma Gain forum is pretty good but I’ve found limited info about slog.

[Glenn Sakatch]

You seem to be insinuating that only non-professionals use LUTs, and anyone using them is slacking off in the technical side of things, but you are missing the point. You are still using your monitor and scopes to grade for 709. The implementation of a LUT does not change that. The point is that if you want to use these luts, you are not necessarily handcuffing yourself. You are simply getting the footage closer to a technically correct shot sooner.

Having said that, using a LUT at the wrong spot could handcuff the user, and cause clipping and loss of information.

If you want to use node 1 to get your contrast corrected, and saturation boosted manually, you are essentially doing the same thing the LUT is doing, you are just working your way through the process a bit slower.

They should not be looked at as a one click and done solution, but in many (not all) workflows the use of LUTs can get you to a basic correction quicker than formulating your own starting point. You will still add a node, and adjust to your liking, but this way the picture gets a head start before you touch it.

Sometimes i use them, sometimes i don’t. Kinda depends on the footage, and the type of project i have.

Glenn

[Marc Wielage]

[Rob Davis] “Now, if you were planning on printing to film emulsion or something that’s another story and a good reason to apply a LUT right off the bat so you know how that specific emulsion will impact your image.”
Actually, it has been possible for some time to drop in the LUT as the front end for the film recorder, so the final record-out interneg image is precisely set for film color space. It can be done, and in fact I’ve done it on a half-dozen films released on film print. We worked this way at ILM (to name just one facility).

It doesn’t happen a lot these days, except for very wide-release studio pictures. For small indies and TV, they’re never gonna hit film in 2017 except in very rare, unusual cases.

I get that some people cling to LUTs as a way to get to a starting place quickly, but I honestly think a PowerGrade can do just as much good. I don’t have a problem working in the right color science (like RedColor or whatever), which is not the same as a LUT. DaVinci CTLs are another alternative that will hold up well and are actually better than LUTs in a lot of ways, but are not as widely used.