Color grading Sat, 20 Jan 18 19:16:00 -0700 Color grading en-CA DIY basic colour grading Fri, 05 Jan 2018 00:23:44 -0700 MikeLinn 18650@/talks/discussions

Steve Yedlin ASC (Last Jedi DoP) - On Resolution and Colour Science Fri, 22 Dec 2017 12:06:20 -0700 Bernie 18555@/talks/discussions Here is a rich source of information on camera imaging and the importance of the pipeline from Camera to Display . The site belongs to Steve Yedlin, ASC cinematographer who recently shot Star Wars - The Last Jedi. This is a cinematographer with much more access to resources than the average videographer, but the principles he's trying to establish are important and relevant.

He has rigorously compared film and digital acquisition. The results have allowed him to choose the aesthetic properties of digital output and in doing so he dispels common assumptions regarding the superiority of one format over another, that leads to misplaced faith in brand allegiance and marketing in the camera industry.

Here are two videos where he compares formats and then goes into the details of his processing pipeline , before any traditional 'colour grading' is done:

Here is an accompanying article:

And further articles and videos found:

DaVinci 14 and older 12 and 12.5 Mon, 13 Apr 2015 18:00:03 -0600 MikeLinn 12799@/talks/discussions

DaVinci Resolve 12 features a new, modern interface with a lighter overall color scheme and new fonts that help reduce eye strain and make it easier to work for long sessions. The new interface is scalable and has been designed to look great on high DPI monitors, such as retina displays. New top down navigation speeds up layout selections and also gives users more flexibility to customize their workspace.

The new multi-camera editing feature of DaVinci Resolve 12 lets editors cut programs from multiple sources in real time. DaVinci Resolve 12 can synchronize camera angles based on timecode, audio waveforms, or in/out points. The source monitor displays a grid containing the camera angles and plays them all back in sync while the editor makes cuts to the audio and/or video.

In addition to multi-camera editing, DaVinci Resolve 12 also features several enhancements to the core editing tools. All trim modes, multi-slip, slide, ripple and roll have been extended and editors can now select multiple points for dynamic trimming and asymmetric trimming of clips, even if they’re on the same track. Timelines can be nested, edited together and expanded or collapsed in place to greatly simplify editing of large multi scene projects. New transition curves let editors create and edit custom curves for transition parameters and new on-screen controls let editors see and adjust motion paths directly in the timeline viewer.

DaVinci Resolve 12 includes an entirely new, high performance audio engine that offers higher sampling rates and greatly improved realtime audio playback performance, including reverse playback and tape style slow motion scrubbing during dynamic JKL trimming. Both VST and AU audio plug-ins, along with their custom interfaces, are now supported and can be used on individual clips or entire tracks. Audio parameter adjustments can be recorded and now contain editable automation and full curve editor support. For the first time, editors will be able to export projects directly to ProTools via AAF for audio finishing.

Media Management in DaVinci Resolve 12 has been redesigned to accommodate editorial workflows. Customers can now manage projects and media using new copy, move, transcode, relink and consolidate tools. Whole projects, including media can be archived and restored with ease. Resolve 12 makes it easier to find media in large projects by letting users create smart bins that can display footage based on metadata tags. Users can now import media by simply dragging it in from the Finder or Windows Explorer, or by using new “Favorites” for one click access to commonly used media folders on disk.

DaVinci Resolve colorists will find incredible new tools that give them even more creative grading options than ever before. Resolve 12 improves upon DaVinci’s legendary advanced color science by adding support for DaVinci’s own color managed timelines as well as ACES 1.0 transforms, making it easier to get consistent results, especially when working in facilities with managed pipelines.

The core grading and color correction tools have also been improved with a new, easier to use curves interface, automatic color analysis and matching between two or more clips, an incredibly accurate 3D perspective tracker, and a new 3D keyer with improved matte finesse options. Colorists can now define their own smart filters, convert any window to a bezier, collapse multiple nodes into compound nodes to simplify their view, ripple grades across multiple clips, and flatten pre and post-group grades into a clip’s individual grade.

DaVinci Resolve 12 also now supports remote rendering so customers working in larger facilities can distribute rendering jobs to other Resolve systems that are on the same shared database and shared storage.

With dramatically improved editing, DaVinci Resolve 12 now has the ability to integrate with other NLEs even better. Edit timelines can “round trip” to other editing software and more of settings, plug-ins and edits are preserved. For example when importing XMLs from Final Cut Pro X, DaVinci Resolve 12 can now import multi-cam clips and preserve all the original camera angles. Also, audio support is greatly improved to match the audio timeline in Final Cut Pro X. This makes collaborative workflows better and allows different people in a facility to use the tools they prefer instead of being forced into an inflexible company wide platform.

“DaVinci Resolve 12 is an incredible release that we think both editors and colorists are going to love,” said Grant Petty, CEO, Blackmagic Design. “We’ve built in the features customers have been asking for and, with the addition of multi-cam and some of the other great new editing features, we think that Resolve is perfect for both creative editing and finishing. It’s still the only system that lets customers switch from editing to grading with the click of a button, giving them the fastest, highest quality no compromise workflow. Best of all, customers can install DaVinci Resolve Lite and use it on real projects for free. There is no monthly subscription, you don’t need to be connected to the cloud, and you don’t need to buy any proprietary hardware!”

Cheap ColorChecker chart alternative Mon, 30 Jan 2017 04:40:14 -0700 Vitaliy_Kiselev 16385@/talks/discussions image

  • ColorChecker like colors
  • 24 colors
  • 21.5cm x 14.7cm
  • Package weight - 146g
  • $18 only including shipping

Note - do not use ColorChecker references for this, but for matching shots across different takes, places or cameras it works perfect.


ColorGHear [PART 2] Sat, 01 Dec 2012 16:40:03 -0700 shian 5346@/talks/discussions The old thread had grown too large so here's the new one.

To access the old thread - go here:

So as not to be misleading, ColorGHear is a system, and not so much a plug-in... a school of thought supported through the ColorGHear Toolkit -which is a set of MODULAR PRESETS for After Effects and ColorGHear Pro - which is a set of MODULAR LUTs for Davinci Resolve, FCP7, Premiere Pro, and Adobe Speedgrade, and is not what you'd consider a classical style plug-in.

The toolkit isn't a collection of drag and drop "looks" like Magic Bullet. It is a series of nodes which contain a set of grading instructions or "macros" (a set of operations), specially designed to work with each other to speed up your workflow. Along with these nodes, comes a system of grading which replaces having to perform the minutia of individual corrections by hand. Learned through the online tutorials, this system will give you speedy and precise grades. It is this precision that prevents you from "bending" your images like with standard methods which is what allows me to get such drastic and dramatic grades from normally flimsy DSLR codecs.

As a professional colorist, I noticed that because of the way the color channels in RGB video are tied together; that typical methods like the Color Balance tool, and the 3-way Color Corrector will actually bend an RGB image out of shape. So in order to maximize the full potential of any given image, I had to learn a method of grading that would avoid damaging the footage. I called this method "precision grading."

I also noticed that in executing these precision grades, I was performing the same operations over and over. I began taking notes on what these operations were, and trying to determine if it were possible to create a set of interacting preset nodes that would save me time in having to repeatedly perform these operations.

I soon discovered 37 distinct sets of operations that would serve to correctly grade any, and all footage. 6 of these macros cancel each other out, and only 1 of those 6 could be effectively used at any given time leaving me with 32 nodes - giving me 1,024 possible combinations. Over a thousand distinct grades. Over time, I added some other tools to the set which now sits at 74 nodes all of which are designed to be used in conjunction with the other nodes. (69, if you subtract the 5 canceling nodes) which brings the total to 4,761 distinct grades.

The precision method I mention above is demonstrated here. Along with how the 3-way Color Corrector damages your footage.

The power of ColorGHear is presented in the video demonstrations below.

ColorGHear is available at

(ColorGHear Pro not yet available to the public)

LUT for changing Rec 709 to look like VLOG Mon, 23 Oct 2017 17:37:17 -0600 Brian_Siano 18054@/talks/discussions I'm working on a project where I have to match some GH4 VLOG footage to that of another, non-VLOG, rec 709 Panasonic camera. It occurred to me that, rather than making the VLOG stuff match the other camera, I could take the rec 709 footage and make it appear more like uncorrected VLOG. This way, I could apply the same LUTs to all of my footage, and it'd roughly match.

I've done a few experiments, and the results are promising. Using curves, I raise the blacks and lower the whites, and make a few other adjustments. When I apply the basic Panasonic VLOG LUT to the footage, it's a fairly close match. But I'd really like a LUT that does this.

Are there any LUTs that reduce Rec 709 footage to something that's fairly close to uncorrected VLOG footage?

Looking for Davinci Resolve 14 Beta 3,4,5,6... Sun, 27 Aug 2017 10:06:49 -0600 TrackZillas 17618@/talks/discussions Hey guy's I'm currently looking for Davinci Resolve 14 Beta 3 - 4 - 5 or 6 for mac osx. If anybody could post a download link for me that would be awesome. Blackmagic don't have them posted any longer.

Logarist Color Correction for DaVinci Resolve, Vegas Pro, and Final Cut Pro X Sun, 01 Jan 2017 12:32:20 -0700 balazer 16259@/talks/discussions Logarist is a color correction system for video editors. Logarist enables the same types of corrections that you can achieve using raw images in Adobe Lightroom, but without the need to shoot in raw, and right inside your video editing application. Logarist uses look-up tables (LUTs) to transform your camera's video into a color space optimized for exposure compensation, white balance correction, and contrast adjustment, and then renders it for display on a standard computer or HDTV monitor. Logarist makes basic color correction easy and accurate, and enables advanced corrections that are difficult or impossible in standard camera color spaces. Logarist is free, and you can download it from .

Watch the Logarist introduction and demo/tutorial video on YouTube:

Logarist supports these camera color spaces:

LOG vs. LINEAR vs. LUTs vs. Math: Battle ROYALE!!!!! Tue, 08 Sep 2015 05:23:21 -0600 shian 13674@/talks/discussions Soooooo..... lotta debate going on, lotta maths and such being tossed about, lotta newbs trying to wrap their heads around the new color space. So let's get it on.

So when grading @driftwood's V-log Shogun footage, I discovered that the Panasonic provided Varicam V-log LUT did an ok job of remapping the luminance and color values into a linear space, but didn't put the highlights quite where i though they should go. (unless of course the footage was really that grossly underexposed, which might be the case, but maybe no)

So I remember Panny saying something about V-log being very close to Cineon, so I tried that, and it delivers a very nice image with a lot of density in the image, but pretty dark. (Again might be underexposure)

S-log did a really nice job of mapping out a full range, but until I shoot bracketed footage and determine just where the sweet spots are, there's no way to tell which LUTs are best for putting V-log L into Linear to begin grading.

Vigilante Diaries Sun, 24 Jul 2016 19:56:27 -0600 shian 15415@/talks/discussions As a colorist, your work does not often get reviewed... but if it does it's usually cuz you did something really right, or really wrong. In this case I smiled and gave ColorGHear a little punch in the shoulder. All the stills they presented are from the portion of the film I graded.

Discs like Vigilante Diaries are why people will spend tens of thousands on their home theater. It’s an in-your-face demo with perfect contrast and amazing color saturation. "

Logarist Color Correction for Premiere Pro Sun, 30 Jul 2017 15:26:32 -0600 balazer 17430@/talks/discussions Logarist now supports Premiere Pro and Premiere Elements with a free color correction plugin.

Supported Video Applications:

  • Premiere Pro
  • Premiere Elements
  • DaVinci Resolve
  • Vegas Pro
  • Final Cut Pro X

Supported Camera Color Spaces:

  • BT.709 (standard HD video)
  • Arri Alexa Log C
  • Canon EOS Neutral
  • Canon Log 1–3
  • Fujifilm F-Log
  • GoPro Protune
  • JVC J-Log1
  • Panasonic GH2 Standard
  • Panasonic GH4 Cinelike D
  • Panasonic GH4 V-Log L
  • Panasonic GH5 Cinelike D
  • Panasonic VariCam V-Log
  • Sony Cine1–2
  • Sony HyperGamma 2, 4, 7, and 8
  • Sony S-Log1–3

How to setup Dell U2410 wide gamut monitor for color grading in CS6 and Resolve? Wed, 24 Apr 2013 04:57:21 -0600 inqb8tr 6793@/talks/discussions As my main monitor I use Dell U2410 connected via DVI to a hackintosh OSX ML. Since Premiere CS6 is not color managed as far as I know, I usually switch to sRGB profile of the monitor to get normal color saturation. It is a simulation of sRGB color space, but it is somehow "mushy". If I leave it at AdobeRGB preset mode that I use for everything else, colors of the video are over saturated, like any other non managed srgb content on a wide gamut monitor.

I need some advice here, can I somehow adapt my workflow to stay in AdobeRGB profile of the Dell monitor, and to have an accurate representation of colors in my editing and grading software (resolve)?

I don't have an external grading monitor, nor I plan to get one anytime soon. I don't need absolute accuracy here, only some decent reference point.

AI-based approach to give you natural colors without much effort Sun, 21 May 2017 19:52:52 -0600 nomad 16980@/talks/discussions I recently tested a nice plug-in for FCP-X from Lemke Software (Mac enthusiasts might still remember Grafikkonverter from them). It's called EPICOLOR (the author insists on upper case) and is an AI-based algorithm to mimic what our brain does when we perceive colors correctly under changing lighting conditions – as opposed to our cameras. He claims 15 years of work went into it.
Currently it's available for FCP-X and Motion, but a version for DaVinci Resolve is going to follow – only MacOS for the time being. The effect is subtle on images where colors are already quite right, they'll just look a bit fresher, more natural and vivid (no, it's not a simple change of saturation). Have a look at what it can do to seriously screwed colors like film from decades ago at their website ( ). BTW, if it comes up in black on an iOS device, just tap that again.

Apart from screwed colors it can handle log just as well, and there it begins to shine even if your colors are already correct or in the ballpark. IMHO it's a perfect solution when you don't have the time and money for serious color grading and just want natural colors. Of course it can also be the starting point for stylized grading, like all professional colorists would first make a neutral look before going into style.

Just check it out, they have linked an article of mine too in German, but the site is in English. For disclosure: I don't get any money from them, just got one reviewer's license for my article. I also helped him with a few suggestions, like handling superwhites (e.g. from Sony cameras) gracefully.

"If it's purple, someones gonna die" - a useful guide to cinematic colour use Wed, 19 Apr 2017 07:03:09 -0600 andyharris 16765@/talks/discussions I bought this book and read it over the weekend:

It's a useful guide to why colours are chosen, and, how they have worked their way into our visual literacy. It reads easily and one can easily see the points raised in the context of each film discussed.

Putting that new knowledge into practice seems way more difficult, since you'll find orange and green used in many different ways - context is everything (probably).

I would say the PDF is well worth a glance over a cuppa.

Has anyone else had problems with VisionColor's after-sales support? Mon, 27 Mar 2017 08:50:03 -0600 a_fulda 16646@/talks/discussions I am posting this since I am really frustrated with the after-sales support from VisionColor. I bought their product ImpulZ - Ultimate for €99 in January 2015. Since I got a new MacBook Pro with macOS Sierra I can not reinstall ImpulZ. When contacting VisionColor for support on 17 March -- which is ten days ago -- I received an automatically generated email that read

"Your request (xxxx) has been received. Due to our current development schedule response time can be up to 21 days. If your request is urgent please go through our knowlege base articles or post to our forums at To add additional comments, reply to this email."

Based on comments on their website other users have encountered the same problem ( It is difficult to understand why it should take three weeks to email out a link to a properly functioning working installer for ImpulZ. Btw, my follow-up email from 21 March was ignored.

So be mindful that when you buy software from VisionColor. If you are bit unlucky -- just like me and many other users who upgraded to macOS Sierra -- you may not be able to use your product very long.

Automated color grading Fri, 10 Feb 2012 00:10:13 -0700 pwc 2237@/talks/discussions A while ago I came across a technique to transfer the look of one photo onto another.

It was described in the following paper "Automated Colour Grading using Colour Distribution Transfer” by F. Pitié & al.

Although there already were other similar techniques, none of them seemed as promising as this one because not only was the color palette of the source image transferred to the target image, but also its average luminance and contrast. I decided to give it a try. I programmed the algorithm with of few tweaks of my own and applied it to a bunch of random photos taken from the Internet.

Below is a Vimeo video showing the results of the experiment:

  • in the first part I applied the look of 70 different source images onto the same target image,
  • in the second part I did the opposite: I applied the look of one unique source image onto 70 different target images,
  • finally in the last part I cross-processed a few pairs of images, exchanging their roles as source or target,
  • all photos were processed with the same standard parameters and the results are raw without any post-processing.

Bottom line: although the technique doesn’t work every time, it has a high success rate and delivers very convincing results on stills.

Next step: see if it holds up on real footage.

Vimeo clip (password: photolook) :


Color Grading Discussions Tue, 07 Feb 2017 12:19:29 -0700 shian 16428@/talks/discussions So I've been put in charge of the color grading area of this forum... I only accepted because VK and I share a vision about the discourse of this particular portal. So let me "lay down the law" so to speak.

I believe in free speech, the open exchange of ideas and information. I believe in a free market, and competition. And I value those who are unafraid to challenge established methods and platforms; ColorGHear would not exist without these windows of freedom. I came out of the dark with a lot of crazy ideas and techniques that many scoffed at, but were again and again proven effective. As have others with their ideas.

That being said; the downside of free speech is that everyone believes their opinions and ideas are just as valid as everyone else's, and should carry equal weight. But there are such things as bad ideas and bad opinions. Add in trolls and those whose aim is not to add to the discussion, but to just fan the flames of discourse, and the result is a frustrating forum and a lot of bad information you have to waste time sifting through.

I hope to change that. I won't act against anyone just because they disagree with me, only if I feel that the posted information is counter productive and will erode the integrity of the discussion. In the past I have myself engaged in inflammatory posts in an effort to get people to really question things. I can't say I won't ever do that again. If you allow yourselves to get locked into one dimensional thinking, then I may become inspired to pry your minds open again. :) But for the most part, I'm passed that.

Let's try to make this category a valuable and reliable resource people can count on for solid info and techniques along with the crazy ideas that push the envelope. Just be able to back up your crazy idea(s) with some evidence that it is actually effective... or you'll likely meet with some pushback.

So here's a few things I think are important to focus on to keep the art of color grading moving forward:

Reliable and consistent ACES workflow ideas.

Reliable and consistent V-log and S-log (and any other log) Workflows.

Complete abandonment of outdated linear video capture for Log.... and accordingly; complete abandonment of platforms and capture systems that don't utilize LUT viewing technology.

Complete abandonment of 8 bpc and 16 bpc workspaces for 32bits per channel workspaces.

Abandonment of H264 codecs for H265 and better.

Abandonment of rec709 for rec2020.

Abandonment of 422 8bit capture and delivery, for 10bit 422 and better capture and 444 delivery.

I'd like to see the focus of this category pushed heavily into these areas, as they are the future of what we do with regards to color.

My reasoning for such high quality workflows is that you want to start your delivery with the highest quality file you can possibly produce and then downgrade only as necessary.

Panasonic Vlog: matching non-Vlog footage Mon, 13 Feb 2017 10:40:50 -0700 Brian_Siano 16451@/talks/discussions I'm working on a project where we shot with three Panasonic cameras: a GH4, a GH2, and a GX7. On the GH2 and GX7, we used the Standard setting, but I decided to try using Vlog on the GH4.

Obviously, my question's about matching the color grades. I can't see to find a set of settings or a LUT that would take my GH4 footage and conform it to the standard Panasonic curves in any consistent way. The LUTs that are closest-- the standard Vlog to v35, Balazar's luts-- have two faults: they're a bit greyish in the low end, and they're actually kind of dim, so I have to adjust the floor and boost the low-to-midranges.

Seems to me that there ought to be a LUT that accurately brings the Vlog footage to something very close to Standard. Any suggestions?

Reference level white card Mon, 30 Jan 2017 04:54:52 -0700 Vitaliy_Kiselev 16386@/talks/discussions image

Among everything you can use for white balance card PTFE is usually best. Just make sure that it is not too shiny to reflect light spots.

Reason for this is


In visible range it has exceptional uniformity, so it reflect exactly only light source spectrum, contrary to most white paper that can play trick due to UV agents added to boos perceived whiteness. Here is sample of paper (they are all different, btw):


Do not use too thin PTFE items - use 2mm or more.

Price is around $6 for 100x100 sheet.

Using Neat Video on GH4 VLOG footage Tue, 13 Dec 2016 10:08:42 -0700 Brian_Siano 16173@/talks/discussions I have some V-log footage where color grading and applying a LUT has made it a bit grainy. I'd like to reduce that with Neat Video. But my question is, which do I apply first?

Do I apply Neat Video on the V-log footage, and then apply a LUT? Or, do I apply a LUT and color correction, and let Neat go to work on the more visible grain and noise?

Seeking feedback for a new video color correction system [closed] Mon, 28 Nov 2016 14:22:03 -0700 balazer 16114@/talks/discussions The early feedback period has closed. Thanks to everyone who participated. The system will be posted publicly when it is ready.

I'm working on a new color correction system, and looking to do a bit of market research and get user feedback. Participants will get early access to the system.

Please send me a private message to participate.

3D LUT Creator Thu, 14 Nov 2013 20:02:49 -0700 maxr 8783@/talks/discussions In my never-ending search found this nice application by Oleg Sharonov and though it was worth sharing

I really like the concept of this plugin / standalone and how easy to use it seems. As far as I know exist integration with photoshop, lightroom and AE. Here's the AE version at work (русский)

3D LUT Creator is color correction software. It can transform colors in LAB color space and save corrections as 3DL file, that can be loaded to Photoshop CS6 or other image and video editing software.

3DLUT Creator is a standalone program, that can load images in TIFF, JPEG and other formats, and can save TIFF, JPEG, 3DL files. It requires a PC with Windows x32 or x64 installed. MacOS users are known to be able to run it with Wine and Crossover. 3DL files are platform-independent and can be used in variety of image and video editors, such as Adobe Photoshop, After Effects, DaVinci Resolve and others.

and some photoshop action and explanations (русский with subs)

3D LUT Creator is currently in a closed beta testing stage. If you want to try beta version with limited functions, contact me at 3dlutcreator at gmail . com You can preorder the full version for $50 and you will also be getting current fully-functional beta versions.

Funny enough I found this through VK ;-)

Color grading in FCP X with Color Finale Wed, 02 Nov 2016 19:09:14 -0600 MikeLinn 15985@/talks/discussions

Cost of Grading a 90 min feature Sun, 30 Oct 2016 23:00:48 -0600 zcream 15964@/talks/discussions So I tried for pretty much this last year to CC and grade my feature. But I have realized its better to get it done from a professional. Have to warn you - about 6 mins of the film use footage that is incorrectly exposed and WB'ed.

So what will it cost me ? I would have to send you the hard disk and then get back the finished film.

8 bit vs 10 bit Cameras from Two View Points Fri, 21 Oct 2016 21:59:13 -0600 MikeLinn 15918@/talks/discussions

Boomerang Thu, 13 Oct 2016 15:44:25 -0600 shian 15881@/talks/discussions It's nice to finally be getting clients who are educated in the realm of color, and just want to turn you loose. In this case JW had a very specific vision and a 40 page PDF that scared away every other colorist... I had fun with it. Shot on A7S, 1080, graded using ColorGHear in Resolve 12.

Sorry there's no vimeo or youtube link to embed yet... exclusive world premiere nonsense.... as soon as there is a link, I'll embed it.

Any tips on getting this look? Sat, 24 Sep 2016 13:45:22 -0600 suresure123 15789@/talks/discussions If you don't know the show I recommend it. The Night Of has a great credits intro. I know some is slowed down and is mainly a slider. But how do you think it could be replicated in editing? The things I like are the uneven moving light and the snowflake effect going on. I assume they used a plugin and was wondering how I might get at least 90% of the look in post and does anyone recommend any plugins.

The ColorChecker Video Workflows Mon, 11 Jul 2016 18:33:54 -0600 MikeLinn 15345@/talks/discussions The ColorChecker Video Workflow - Premiere, FCPX and Resolve

The ColorChecker Video Workflow with DaVince Resolve

The ColorChecker Video Workflow with Premiere Pro

The ColorChecker Video Workflow with FCPX

About LUTs - VLOG - SLOG2 - SLOG3 - CLOG Thu, 25 Feb 2016 00:40:41 -0700 apefos 14650@/talks/discussions while hdr video is not real, it seems the best way to increase dynamic range is to use slog, vlog and clog.

When we record video using vlog, slog or clog, does sony, canon and panasonic provide luts for we apply in post production? or we need to develop our custom luts? or we need to buy luts?

I ask this because I think if we need to develop luts it will be a long waste of time... and if we use third part luts maybe it will not have the look we want...

so main question is about if manufacturers provide luts for post production. and, if not, what would be the easy solution...

if someday I surrender myself to slog, vlog or clog, I would like to have easy solution for luts in post... not a waste of time in each scene...

please share your experience with luts,

thanks in advance!

(observation: when I say luts I just what to recover the correct look from the log image, not different grading)

Color matching of two cameras Wed, 29 Jun 2016 01:50:59 -0600 MikeLinn 15294@/talks/discussions