![]() I've been playing around taking and analysing test images on an a7s the result of which is my estimation of the Cinegamma 3 and Cinegamma 4 curves (Cinegammas 1 and 2 being renamed Hypergammas). This update features a couple of new curves, some important changes to the way others work, a new tool for targeting different displays and the start of changes to the interface.įirst, a relatively simple new feature. LUTCalc v3.1 Update - 1t June 2017 - HDR, Cinegammas, Display Colourspace Conversion and responsive design More details about LUTCalc can be found in the ' Features' section Back To Top This is an ongoing process and I am grateful for the help I have had in checking results and discovering when I have made mistakes! LUTCalc allows you to set all levels as you wish, but also offers simple presets to help consistency in various applications. I have also come to realise that at present it is far too easy for LUTs to behave inconsistently between bits of software (or cameras). I have worked to make the tools familiar to me in my work with film and video cameras for example colour temperature can be set directly but also with a CTO / CTB slider akin to lighting gels. Many of my clients do not currently want or need log, and I frequently bake-in my personalised looks developed with LUTCalc. The charts and exposure values have also helped me to understand the way that modern cameras handle wide exposure ranges giving me good, consistent results. If shooting log I also make grading versions so that post can start off working with 'my' look. I use it to create MLUTs for the Sony F cameras I currently most often use. I have written LUTCalc from scratch to help me with my day to day work. My name is Ben Turley and I am a professional lighting cameraman and DoP in the UK. What began as a hobby gradually became more of an obsession which has developed into a flexible tool for creating and then shooting with 'looks'. It started out as a simple spreadsheet for generating S-Log2 exposure shift LUTs for Sony's F5 and F55 cameras. Alternatively map it to ARRI Log C gamut and use popular film print LUTs.LUTCalc is a desktop app for generating, analysing and previewing 1D and 3D Lookup Tables (LUTs) for video cameras that shoot log gammas. In post, use a BT.2100 HLG to Alexa 709 3D LUT for grading, HLG uses BT.2020 gamut so you should map it to a BT.709 gamut first, do not grade directly and simply add saturation, the colours will be wrong. Ideally you should shoot HLG with external ProRes HQ 10bit 422 codec due to the aggressive tone curve manipulation in post. Another reason why a colour accurate external monitor/recorder would be extremely helpful when shooting HLG.ĥ. Factor this in when lighting and developing looks for your film. HLG has a slightly cooler white balance compared to F-log and film sim, so be careful setting the kelvin value. You need custom LUTs to help you preview final exposure, otherwise it's hard to see what's going on in the scene and may lead you to overexpose.Ĥ. X-T3's HLG implementation follows ARIB STD-B67 NHK spec which places middle grey much much lower than BBC spec. An external monitor/recorder with custom 3D LUT feature is a must. In low key scenes (like the one above), shadow area will have visible grain, with ProRes HQ 10bit 422 recording, the noise pattern is pleasing and monochromatic with a fine 35mm texture, turn in-camera noise reduction off (-4) and "interframe NR" off to preserve the texture, otherwise you get blotchy patterns.ģ. HLG wasn't intended to be an acquisition format so there's very little room for error.Ģ. Respect the ISO1000 rating and be extra careful, do not over/under-expose more than 0.5 stop, ideally should be spot-on. Observations for working with HLG on X-T3:ġ. HLG mapped to ARRI Log C Wide Gamut using LUTCalc: Here's a graded frame from a feature film I'm currently shooting, entirely using X-T3 outputting HLG to Ninja V. ![]() Also, HLG makes full use of 0-1024 10bit code value, while F-log throws away 0-95 which could contribute to banding. Reds are deeper and richer with very little orange shift seen in F-log images. It's clear that HLG completely removes the magenta hue in F-log and renders shades of blue in a way that's reminiscent of Alexa. HLG with Alexa LUT generated by LUTCalc, no grading, WB 5300K, Shift 0: Here's a better comparison than the one from my previous post:į-log with Alexa LUT generated by LUTCalc, no grading, WB 5300K, Shift 0: To me, X-T3 now feels like a completely new camera shooting with HLG. I'm pleasantly surprised by the refreshingly new colorimetry and better (not higher) dynamic range distribution. I've been exploring the power of HLG picture profile introduced two months after X-T3's release.
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