[Chris Wright]

that is a very useless video. *sigh*.
————————–
All cgi is rendered linear. Rec. 709 is not linear. if you “burn” in a rec. 709 lut, you won’t be able to composite correctly. The arri also uses whats called a wide gamut colorspace, much, much larger than rec 709. Using a “nuking” lut like this is for doing low end things like viewer luts, creating bluray or youtube, not vfx or cinema. it effectively cuts after effect’s colorspace down to rec. 709 while simultaneously burning in heavy contrast.

The general how-to is separated in three steps:
1. Converting logC data to linear data
2. Data preview using a Rec709-viewing-LUT”, composite in linear
3. convert linear back to logC after compositing

you want something akin to LogCToLin, work on footage with “viewer” LUT, LinToLogC export. you can go 3 ways
1. opencolorio ACES, the easiest and most platform compatible(recommended)
2. no working color space, everything converted with apply lut effect or color profile converter. cube,cdl
3. full color management, enabled in projecting working space as arri wide color gamut icm’s, icc’s

if using color management, you can go to view- simulate working space rec. 709 for your viewer lut. linearize workflow. if your working space is smaller than wide gamut footage, the adobe color engine will clip the color primaries before even compositing.

if not using color management, you can put the viewer lut on the very top as an adjustment layer as it won’t affect the final composite(AE renders bottom to top) note: disable it prior to rendering or use guide layer. Finally, export as EXR half float AP0 2065. example: https://generalspecialist.com/vfx-behind-akta-manniskor/

some other guides for the colorist:

alexa color processing whitepaper
https://samyscinemaworks.com/wp-content/downloads/ALEXA-Color-Processing-White-Paper.pdf

arri downloadable conversion tools
https://www.arri.com/support/downloads/searchable_downloads/

dailies creation resolve workflow
https://www.arri.com/?eID=registration&file_uid=15721

looks editorial meteadata guide
https://www.arri.com/?eID=registration&file_uid=15721

—————-
final note:
Premiere doesn’t have color management control. only lumetri with lut input. It’s engine is rec. 709 only unless you use jpeg2000 rec2020.

[Chris Wright]

woah, uh, that post is wayyy off, its saying to convert cgi from rec 709 linear to log to composite, haha! yea, good luck compositing something created in rec 709 and then faux expanding to wide gamut log. the correct workflow is render cgi 16 bit linear float AP0 2065 EXR master plates in ACEScg. if you render cgi in rec. 709, you’re clipping all your gamut colors before you even composite! you use rec 709 as viewer RRT luts, not compositing colorspace. See Step #3 VFX Magic, Step #4 Importing & Refining The Grade below.

if your colorist doesn’t know what ACES is, forward them these links and read a few times.
https://mixinglight.com/color-tutorial/getting-to-know-aces-part-3/
https://www.oscars.org/science-technology/aces/aces-documentation

[Chris Wright]

what you need is a sunny lut at 6500k lol. I recommend using a white balance card using 90% white. it makes post easier.

0% reflectance (black): 7.3 IRE
18% reflectance (middle gray card): 42 IRE
90% reflectance (white): 61 IRE
absolute clipped superwhite: 80 IRE

you can also try a chip chart and resolve’s color match or 3rd lut creator which reads the chip chart and builds a custom 3d lut.

[Chris Wright]

anything not supported in XML you need to duplicate sequence, turn off extras before exporting. cross dissolves should still work though. many effects won’t, sorry.

true vfx shouldn’t be graded until after they are composited because a good composite requires both ungraded vfx AND ungraded footage so they will match seemlessly in post. Just try to heavily grade an explosion and then later add the vfx elements, hehe, nope! they are seemlessly composited with a viewing lut, THEN graded as a single image.

finally, edit them later as a flattened VFX shot import as XML from nuke with 12 frame handles, or manually right click, replace with clip from bin.

[Chris Wright]

i’ve been using iwltap luts for months, almost a year now, and never seen any crashes. did you accidentally put them in creative folder? that will crash premiere all right. they need to go in technical in a subfolder or on your desktop and also need to be in adobe media encoder same folder structure. is lumetri crashing any other things? try software render.

also, hope your feeling better after that sprayer guy. at least they don’t use that old stuff anymore which is not sewer safe, you know, the crazy strong stuff.

[Chris Wright]

i can synthesize a lut from your property’s grass, sky and your own face. it has to be properly exposed, and not high contrast sunlight but it is possible, albeit, very difficult. I would have to extrapolate a 3D lut without a chip chart of two completely unmatching pictures. keep in mind, the colors would match, but the light diffusion would also have to match. ie. slightly diffused clouds around 15% cover. that’s one thing luts can’t do, mimic light diffusion.

btw:
i am curious, did that low light lut work for any other dark footage?

[Chris Wright]

gop length is from I frame to I frame so if that is 1. it should be all i frames (fastest editing)
closed is not using adjacent b frames.(somewhat fast editing)

i would select both and then test with ffmpeg’s ffprobe

ffprobe -show_frames videofilename.mp4 > outputfile.txt
Then you just look for the pict_type entries, which will be either I, P, or B. B denotes a b-frame.

[Chris Wright]

1. huh? just put the white matte above the adjustment layer. you can then use the adjustment layer for your lut on top of footage. or, depending on how many clips, nest the footage and its adjustment layer before adding composites or effects.

2. previewing and exporting sometimes run in different gamuts. premiere’s opengl program monitor runs at srgb 2.2 gamma, so you have to calibrate your monitor to that as well. vlc matches that if you set video output to opengl and change gfx control panel settings to 0-255 with enhancements turned off. quicktime runs at 16-235 gamma 1.8 and
a lot of monitors default to adobe rgb or P3. you can either use a transform lut or re-calibrate your monitor to srgb(rec 709 gamma 2.2).

[Chris Wright]

export a master at largest resolution needed and shrink down later for other devices. some may need black borders or stretch or scale or just punch in either set to frame size or scale to frame size.

All iPads have multi-touch IPS displays with a 4:3 aspect ratio. While the 16:9 aspect ratio is considered the best for watching high definition video, the 4:3 aspect ratio is considered better for browsing the web and using apps.
Devices Portrait Landscape
iPhone & iPod Touch 1st, 2nd and 3rd Generation 320×480 px 480×320 px
Retina iPad iPad 3, iPad 4 1536×2048 px 2048×1536 px
iPad Mini 768×1024 px 1024×768 px
iPad 1st and 2nd Generation 768×1024 px 1024×768 px

if you set preferences, by default it will create that action for either Set to Frame Size vs Scale to Frame Size
https://www.youtube.com/watch?v=OU9S2gjFyG8

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[Chris Wright]

i need a png that has grass, sky and a close face in focus to do a reference shot. at first glance, it looks like they moved the orange, red and green hues around. also, possibly, the white balance is offset a smidge. the other 50% is that in that place, you can’t make bad photos, the lighting is diffused, colorful, and well, that’s why people go traveling abroad and all consumer camera companies go to iceland and such places 🙂