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    I’ve done a lot of looking around, I don’t believe there is a way to change the way FCP interprets the clips. I might just switch over to Resolve.


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    Senior Member TheTrickster's Avatar
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    Doesn't the color space override work as required?
    Rich
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    Underwater BMPCC4K and Lumix GH5/Atomos User


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    Senior Member visceralpsyche's Avatar
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    For everyone using FCPX and Premiere 2018 with my Panasonic HLG or Cine-D LUTs, could you please download the following file which contains two new "Fixie" LUTs, one for Full to Video Range and the other for Video to Full Range.

    http://www.visceralpsyche.com/downlo...LUT_Fixies.zip

    They are designed to place BEFORE the corrective LUT in the case where your footage is not properly being seen as full range and clipping highlights and shadows as a result.

    For FCPX users in particular, you need to place the Video to Full Range Fixie LUT in front of the Panasonic HLG LUT, to have the HLG LUT work properly.

    I haven't tested it with Premiere, but I suspect that wherever I've mentioned to use the Full to Legal Range 12 bit Lumetri plugin in front of the main Lumetri panel, you can probably substitute the Video to Full Range Fixie in place of it.

    Please give feedback on this, and if everything is working as it should, I'll update the Installation and Usage Manual with new instructions.

    Thanks in advance, and cheers to Jim Robinson for your suggestion
    Paul Leeming
    Writer/Director/Cinematographer/Actor
    Visceral Psyche Films
    www.visceralpsyche.com
    www.LeemingLUTPro.com

    Mobile NL: +31 6 2095 2590
    Mobile JP: +81 80 8439 4635
    Facebook: Paul Leeming


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    Thank you Paul, your Fixie LUT did the trick! No clipped highlights or crushed shadows anymore. In a Driftwood/Leeming HLG LUT comparison deep shadows appear to be darker after the Leeming combo is applied, which is okay for me. This is how I set up the LUTs in FCP 10.4:

    LLFixie.jpg
    Last edited by mrcodec; 01-02-2018 at 08:49 AM.


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    Senior Member visceralpsyche's Avatar
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    Quote Originally Posted by mrcodec View Post
    Thank you Paul, your Fixie LUT did the trick! No clipped highlights or crushed shadows anymore. This is how I set up the LUTs in FCP 10.4:

    LLFixie.jpg
    That looks perfect in terms of workflow. Thanks for sharing!

    If there's anyone with English FCPX who can do a similar screenshot and test, and with a short text guide as to how one puts the LUT effect onto a clip, please post it below and then I can update the guide.

    Cheers,

    Paul
    Paul Leeming
    Writer/Director/Cinematographer/Actor
    Visceral Psyche Films
    www.visceralpsyche.com
    www.LeemingLUTPro.com

    Mobile NL: +31 6 2095 2590
    Mobile JP: +81 80 8439 4635
    Facebook: Paul Leeming


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    Yay! I wish I had a chance to try it out, but I’m on my way to Thailand this morning to pick up a Bright Tangerine Titan arm for the Inferno. Can’t wait to try this out on my latest project. Thanks, Paul!
    Last edited by jonpais; 01-02-2018 at 03:50 PM.


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    Quote Originally Posted by jonpais View Post
    Yay! I wish I had a chance to try it out...
    Be sure to give it a try, Jon. In FCPX 10.4:

    1. Apply the Fixie as your CAMERA LUT. No need for "Color Space Override" as that popup appears to be disabled whenever you apply a CAMERA LUT.
    2. Go to your effects browser and drag Custom LUT onto your clip.
    3. Set that Custom LUT to "Leeming LUT One - Panasonic HLG v501" (leave Convert settings at their defaults, Rec.709, Rec.709 and 1.0)
    4. Grade
    5. Admire your handiwork (thanks to Paul's LUT)!

    I did side-by-side comparisons using Paul's FIXIE LUT & HLG LUT with the Driftwood HLG. Paul's FIXIE LUT brings up the darks almost to the level of the Driftwood, but not exactly. It is very close though. I asked Paul about this and he told me that was by design, saying:

    "I'm doing a manual rolloff to ensure that a single RGB channel clipping rolls off smoothly instead of hard clipping. When you have a strong source like LED, it can often clip one channel before the others, and my rolloff helps recover some of that information and give smoother edge transition, which looks more organic."

    So give the FIXIE a go and see what you think.

    Lastly, I would encourage everyone reading this to send Apple feedback on FCPX so we can avoid this kind of trouble in the future. Specifically, I submitted feedback to Apple asking them to add a feature in FCPX akin to what Adobe Premier and DaVinci Resolve offer; namely, the ability to switch between the Legal range of 64-940 and the Full Range of 0-1023 (for 10-bit).

    https://www.apple.com/feedback/finalcutpro.html
    Last edited by JDW; 01-03-2018 at 07:18 PM.


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    @JDW Thanks much. How does CAMERA LUT work? I’m not familiar with that... I guess you’re just saying that when using the Fixie LUT, there’s no longer any need to manually change the color space in FCP?
    Last edited by jonpais; 01-03-2018 at 08:29 PM.


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    Jon, the only way I've found to use "Color Space Override" is to leave "CAMERA LUT" set to None. Otherwise, if you do add a Camera LUT, that LUT will override whatever you have chosen in "Color Space Override."

    In terms of ORDER, the CAMERA LUT gets applied first, which follows Paul Leeming's advice. He said we need to use his FIXIE LUT "first." That's why we must subsequently use the Leeming HLG LUT as a "Custom LUT" (Effects). After that, we apply our grading.

    Are there disadvantages to using more than 1 LUT in FCPX 10.4? Apparently there is a small one. The CAMERA LUT seems to get applied without any extra rendering required. But EFFECTS, including the CUSTOM LUT, require rendering. On a fast Mac you may not notice the rendering because it goes on in the background, but it does happen nonetheless. Rendering in the background may also result in dropped frames, especially if you've not transcoded your imported footage to ProRes. Because of that, it would be ideal to have a single LUT as the CAMERA LUT which converts Rec.2020 to Rec.709; but since Paul's HLG LUT is designed for 0-1023 (Full Range in 10-bit), and since Panasonic forces use of the Legal Range (64-940) when shooting HLG, and since FCPX won't allow us to change ranges, we must either use Paul's HLG LUT alone as the CAMERA LUT and get smashed darks (no thanks!), or use his new FIXIE LUT as a CAMERA LUT effect and also use Paul's HLG LUT as the CUSTOM LUT. That's why I suggest every FCPX user send FCPX feedback to Apple to ask Apple to add a feature like Premier and Resolve which allows us to switch the range (Full <-> Legal) on footage as we see fit. If we could switch the range to 0-1023, the FIXIE LUT would no longer be needed and we could just since the HLG LUT as the CAMERA LUT, add our grading and be done!

    I hope this helps!
    Last edited by JDW; 01-03-2018 at 11:35 PM.


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    I wonder why the GH5 HLG Leeming LUT wants to use full range because the GH5 HLG always records limited range?

    I also wonder when the video industry will get rid of data levels/video levels confusion? Editors and new standards like rec2020 and HLG should start using full range. It would be much easier if the computer monitor and photo systems would be compatible with video world. Now we must all the time think luminance levels and superwhites/superblacks. All editors works differently when combining video and photo files. 8bit video has also banding issues when it uses only limited range.


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