![]() You may need to create the following folder structure on the SD card, so first you have a PRIVATE folder, in that there is a SONY folder and so on. cube LUT file created by the grading software on an SD card in the PMWF55_F5 folder. Then once your happy with your look, right click on the clip in the timeline and “Export LUT”. Once you have used the chart to move you into the correct gamma range just tweak and fine tune the image to get your desired look. The big benefit of this approach is that Resolve will provide a very good gamma correction moving your footage from Slog3 to Rec-709. Then use Resolves excellent chart matching tool to get create a starting point for the grade. A very good way to do this is to include a MacBeth chart or DSC Labs OneShot or CDM chart within the test shot. Import the clip in to Resolve and grade it as you wish the final image to look. You must use the same Gamut as you intend to use in any other productions that will use this LUT, I recommend SGamut3.cine. Simply shoot a correctly exposed Slog3 clip at the native ISO. cube LUT (this is what Resolve creates by default). The LUT should be a 17x17x17 or 33x33x33. That, and the process of on-set grading and assigning of custom LUTs and custom grades to shots in the hope they'll make it through into post is time-consuming, expensive, and fraught with error.It’s very easy to create your own User3D LUT for the Sony PXW-FS7 using DaVinci Resolve or just about any grading software with LUT export capability. That's not to query your creative intent or to put the manufacturers on a pedestal - they make unfathomably stupid decisions all the time - but they will generally give you something that won't screw you over in an unanticipated situation. When you use a custom LUT you are essentially redesigning the camera system and second-guessing the manufacturer, which is fine, but something that should be entered into with a great degree of trepidation as you probably don't have the equipment, experience or time that the manufacturer had when they designed the camera. But extreme looks can cause people to bake in decisions that are later regretted, especially as it is actually very difficult to come up with custom LUTs, especially extreme ones, which are adequately tested in a variety of conditions (overexposure, underexposure, inside, outside, backlight, soft light, high and low con scenes etc, etc) and which don't cause people to make very bad decisions. Use a custom LUT cautiously, to get people used to what you're going for or to assist in your exposure and lighting decisions, or to help the production design people get things looking as they should in context of the final intent, again, fine. Light for a decent 709 picture that's near what you want, fine. I am not a very big fan of overcomplicating this. This, of course, raises the spectre of coming up with an extreme LUT which causes you to make extreme exposure decisions which cannot be made to look less extreme at a later date. Generally your LUT will be designed to target a 709 display and you can waveform monitor that. ![]() If it looks as you want it to coming through that LUT, it's correctly exposed. I’d also like to hear about common workflow practices structured around working this way, like what is the basis of the creation of a custom LUT for a project? Is it Raw footage from a pre-light for the project? Or just random test footage?īy defining a custom LUT, you are intrinsically defining what correct exposure is in terms of that LUT. I just want to hear about common practices for creating these show LUTs and how each created LUT relates to exposure in camera. That’s worked fine for me and I have no problems doing that at all, but I’m very interested (for commercial, film and music video work) in looking into developing a look or a series of looks beforehand and sticking to it throughout. Right now, I do what most people do when shooting log on cinema cameras: I use the go to 709 LUT the camera has to offer (Arri 709 for Alexa, 709(800%) for Sony and so on), expose looking at that (as well as my exposure tools of course) and toggle the LUT on and off to double check the log every now and then to make sure I’m not loosing certain things. ![]() ![]() I haven’t really dabbled into that too much yet but I’m hearing a lot of DPs who work this way for many reasons: exposure, nailing down a look early on and committing to it, making sure director/producers/clients have a nice image around the monitor that’s close to the final graded look, etc. I’m curious about working with custom LUTs in camera during productions.
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