These are Post Base Luts that are used once you have converted to the proper color space, but we won't be talking about creative grading much in this video. They all assume the footage is starting from a certain color space like Rec709 which is the most common. That is why creative luts never work without normalizing your footage first. If you have a color chart this will help setting up your own luts or correcting for any locations, but don't worry I show you have to correct even without a color chart.Īll a Lut does is tonally remap colors from one place to another - "This value should be this, and that value should be that" and it's all based on the log footage you start with, that is why different luts don't work with different log footage. It's really powerful stuff psychologically. Color Correction, and Color Grading -Ĭolor Correction: is when you fix color issues, color space, color temperature or white balance, skin tones.Ĭolor Grading: adding color for creative purposes, to convey meaning, mood, locations, time of day, themes, character associations. Quick terminology recap we will talk about in this video. It can be done, but it'll never look great!Ĭheck out this video where I talk about correctly exposing your EOS R for C-Log footage.Īnd since you are here, give this video a Thumbs up, and subscribe if this video helps you. unless it's shot raw you will have a hard time correcting it. Just note: these steps assume your footage is exposed mostly correctly and it is within the right white balance - example - it is not balanced for indoor but it was shot in bright sun light. ![]() I will try to cut down to only the essentials things you need to know to correct and then grade your footage - cuz we all want to get to editing! But not we can choose if we want the brighter end, the darker end or a mix of both. So then we have to bring all the information back to a pleasant look. Rec709 color space looks pleasant, Log does not. LOG helps expand that distance to 12-16 stops. Rec.709 is designed to output between 7 and 9 stops of dynamic range. The darkest dark and the brightest bright. So let me ask this question: why do we shoot in LOG in the first place? it's to ensure that our camera's capture the most amount of detail in any scene. I did this exact walk through with Final cut pro, DaVinci Resolve and Adobe Premiere Pro, you can find those here: But it's a method I have found works really well to rough in a base grade and add some personality to it after. So this isn't the be all and end all to color correcting C-Log (or any log footage for that matter), there are many ways to do the same thing. I am still learning and tweaking as I go, but that's the nature of the creative field, it's always changing and improving. ![]() ![]() However for smaller projects and my own personal work, I learned the steps required to quickly get from Log footage to a base grade without using LUTs or expensive plugins. And how you will never have to ask for help again once you practice these stepsįull disclosure, I am not a colorist, for most of my client work I will gladly hire pros to be as precise as possible to grade the footage.How to save the preset to use on all your footage.How to check to make sure the skin tone is set to between 40 and 70 IRE and exposed properly.How to correct skin tone issues using the vector scope.how to easily white balance with and without a color chart using the waveform.How to set the exposure and contrast properly for Log Footage.This technique I am using in this video will work in any editor that has color correction controls This video shows how to do it without any special plugins or LUTs. ![]() And with a tiny bit of knowledge you will be able to go from FLAT to Grade in about 1 min. Color correcting C-Log footage from the Canon EOS R and C200 is actually much easier than most think.
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