![]() ![]() Working with LUTsĮditors and colorists can use the tools at their disposal, such as Blackmagic Design’s DaVinci Resolve or Adobe Photoshop, to create their own LUTs. However, because of the large range of colors in the cube, 3D LUTs use a fixed number of points for its input and output, while extrapolating the data between those points for full color correction. This allows for a much more nuanced and diverse range of color grading options. 3D or Cube LUTs are based on a 3D cube of the color spectrum and is inclusive of all colors. ![]() 1D LUTs are limited in what they can do, but they they work well for basic adjustments and simple modifications. It does this without crossing over from one channel to the other. ![]() 1D LUTs map the RGB channels individually, and for every input value there is a definitive output value. The two common file types of LUTs are 1D and 3D (cube). Editors and colorists use LUTs as a way to interpret log footage and get the image they want.īefore and after scopes – with and without LUT applied. A LUT (Look Up Table) is a mathematical array that takes the input color and luminance values of an image and translates that into a desired desired color and luminance output. Learn more about color correction:Ī term that many novice video editors see but might not be familiar with is LUTs. It means that the footage will need a post-production process to bring out the dynamic range and vibrancy of the color in the image. This does not mean that the footage is uncompressed or RAW. Appearances are deceiving log footage actually holds greater detail within the image’s dynamic range. As a result, a log recording will look flat, with little color, when played back on a normal monitor. This is different than how the dynamic range and tonality of an image are normally recorded. Log recording takes the dynamic range of the source image and redistributes it across the log curve. In video, log recording uses a logarithmic function curve to preserve a higher quantity of dynamic range and tonality from the image sensor. Although they have different names, the function is still the same. Many camera manufacturers have their own names for their log format: Canon’s C-Log, Sony’s S-Log, Panasonic’s V-Log, Technicolor’s Cinestyle, etc. The use of a logarithmic function to maximize the retention of visual information is what connects the log footage of today’s cameras with the Cineon System. The recording of log footage can help to preserve these details, and is the right choice if those details are needed in the final image. However, this doesn’t mean the image retains all the visual information that the editor desires, especially in the details of the image’s dynamic range. When a video camera is setup and used correctly to shoot a well-lit scene, the results are going to be favorable and usable for the editor. This is the look produced by a video camera that is white balanced and exposed properly. 709 is the standardized format for color in high definition video. The logarithmic function Kodak used maximized the visual information retained in the digital image. The Cineon System used a logarithmic function to capture, record and transfer color information to the digital format. Eastman Kodak developed the Cineon System, a digital film system that involved scanning motion picture film into a digital format for post-production work. Logarithmic (Log) footage has its roots in the world of film. ![]()
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