(ACES works well for a lot of people, and I don't begrudge anybody who wants to try it.) There are pros and cons to using Color Space Transforms in the Node tree, so that's a third method. I tend to put the LUT first in the chain (if I have to use one), and at the moment I'm not happy with ACES because of the way it responds. You can take a tip from Patrick Inhofer of and put a node in front of the LUT node and use that to bring the signal down a bit if it's clipping or crushing. I have heard that ACES is really taxing on the computer though, so I have been reluctant to try it out.Īrt Adams had some good SLog3 LUTs that helped me a bit the last time I had an F55 job. you'll get all benefits of your Log footage, with a much better data transformation and nicer (and in my opinion more accurate) results. If you set a clip's IDT to 709 it will remain unchanged (for stuff that came this way, to check your log or for any other reason)Ħ. Or set IDT manually from thumbnails in Color room or in Media Pool.ĥ. (IDT) to sLog2 (if all/most of your clips are like that)Ĥ. Set Output Device Transform (ODT) to 709ģ. In Color Management tab in Settings - pick ACEScctĢ. It supports sLog 2, does it wonderfully well, and once you get the hang of it, you'll never want to go back to using LUTs.ġ. You should really look into switching to working with ACES color management over LUTs. I downloaded the official 3D lut from the Sony website but it limits the highlights to about 800 IRE. Mark_Rodriquez wrote:Is there a 3D lut for Sony SLOG 2 that works?
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