Daniel Williams
Forum Replies Created
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Holy. Crap.
After 10 months of absolute frustration i FINALLY figured it out.
WARNING: If you are are grading on a Mac and using your GUI display for at least a ballpark estimate of what you are doing, DISABLE the Mac Color Profile.
It literally darkens the Image, it’s like grading through a half stop ND filter.
Wow. Now my Exports almost match PERFECTLY.
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Freelance cinematographer/colorist
Alexa Mini Owner -
I understand that, but I was under the impression you can never get the same results from manipulating the Log from scratch, that you can with a 3d LUT that converts RGB values into other RGB values and makes them 709 legal
Please someone explain this to me?
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Freelance cinematographer/colorist
Alexa Mini Owner -
What is your process/order exactly?
Is it true that you can get Rec709 legal colors from log by just adding contrast and saturation?
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Freelance cinematographer/colorist
Alexa Mini Owner -
Interesting.
The above quote has escaped me in terms of complexity, but all i know is that my preview monitor in DaVinci, while on a new iMac 5k, looks EXACTLY like the end result when viewed on any apple or android device.
Isn’t the point of calibration to simulate the end user experience? if you are making content mostly for youtube, vimeo, Facebook, phone and macbook viewing, that will most likely not be broadcast, why WOULDNT you trust your Imac5k monitor over your 709 plasma??
In my experience its quite literally…more accurate. clients comment as well.
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I understand there are 3473285943285 ways to skin a cat in resolve, but the order of operations, node order, and the method of going about something, do truly matter, in my testing least!
For instance, I treat the 709 conversion node as a standardized non-changing layer, and manipulating the Log footage in node before it, produces consistent results. Because the 709 LUT is engineered by Arri to expect a healthy exposure at 800, I can manipulate the Log with the log wheels to make sure the levels are in the right place before being transformed by the LUT
This is much better and results in greater fidelity than, say, converting to 709 and using the primary wheels to play with the image once its already clipped!
And Yes i am aware a LUT isn’t entirely necessary as a starting point, but in my experience, Arris 709 LUT was designed with years of research and care in mind and makes the most of the sensor data in a more perceptually linear space. I feel the results are much more accurate and careful, than just blasting a LOG gamma shot with curves…
Also, it is a 3d LUT so you get saturation and hue in the proper legal ranges. impossible with just curves and saturation. Or am i wrong? (probably!)
Thoughts? What is YOUR procedure with balancing and correcting exposure for Log gamma shots?
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I man having the same exact problem, my exports have lifted shadows and a black gamma shift.
What are the specs of the source material?