Chris Wright
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Audio Coin
1
COW Coin
Forum Replies Created
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Log c and cineon use different gamma curves so I always try to avoid mixing and matching gamma curves due to posterization errors. I’d stay…
Log c and cineon use different gamma curves so I always try to avoid mixing and matching gamma curves due to posterization errors.
I’d stay away from rec 709 working space if indeed, the logc also is encoded in arri wide gamut which is much larger and rec. 709 could cause gamut clipping of colors.
If you are encoding in an ACES environment, you can use the opencolorIO plugin which they use to encode EXR files which supports color display mapping, but if you want to use luts manually, you can get all sorts of luts generated on the arri site, refined right down to the iso they were recorded at as there is always a shift in the gamma curve.(this is probably why it was clipping)
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Log c and cineon use different gamma curves so I always try to avoid mixing and matching gamma curves due to posterization errors.
I’d stay away from rec 709 working space if indeed, the logc also is encoded in arri wide gamut which is much larger and rec. 709 could cause gamut clipping of colors.
If you are encoding in an ACES environment, you can use the opencolorIO plugin which they use to encode EXR files which supports color display mapping, but if you want to use luts manually, you can get all sorts of luts generated on the arri site, refined right down to the iso they were recorded at as there is always a shift in the gamma curve.(this is probably why it was clipping)
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Greetings,
I believe that you can import all audio all into the same sequence, right click, and click synchronize. This may be messy if you have a feature film and hundreds of hours of audio, but it’s the fastest way short of using tenticle sync or timecode audio in production ahead of the fact.
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Greetings,
I believe that you can import all audio all into the same sequence, right click, and click synchronize. This may be messy if you have a feature film and hundreds of hours of audio, but it’s the fastest way short of using tenticle sync or timecode audio in production ahead of the fact.
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Greetings,
I believe that you can import all audio all into the same sequence, right click, and click synchronize. This may be messy if you have a feature film and hundreds of hours of audio, but it’s the fastest way short of using tenticle sync or timecode audio in production ahead of the fact.
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Greetings,
to make a lut, you would first need to know what input gamma,colorspace you are using, sony log, s-gamut, exposured at %. something like this is probably more done with curves in overlay mode as the brown-re-dish tint may not work in a lut (unless it’s encoded photo-metrically like a form of midtone whitebalance). PM me an ungraded .png of your source images and I’ll have a go.
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premiere is gamma 2.6. quicktime and chrome are 1.96. VLC is 2.2. adobe does have a free lut converter from premiere to quicktime/chrome here https://community.adobe.com/t5/premiere-pro/quot-why-does-my-footage-look-darker-in-premiere-quot-color-q-amp-a/td-p/4788414
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I mean 5,000MB total. Shutter’s build in bitrate calculator also includes audio for grand total. and yea, try the h.265 for vimeo. there’s even a 10 bit option in the colormetry-colorspace tab! I was thinking about if you gave them a h.265 screener on a blue ray disk/usb, their computer may not support it. If you can get vimeo to accept h.265, go for it! you can also use AAC as it sounds twice as good as regular audio compression.
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I wouldn’t use h.265 because their player may not support it. i’d use free shutter encoder and set filesize to 5000MB/sec. VBR 2-pass, preset slow, should look fine.
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i don’t think there’s something exactly the same. perhaps the closest would be the exposure slider in basic lumetri tab.