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    #11
    Senior Member Grug's Avatar
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    Quote Originally Posted by Cristian Mihai View Post
    Hey there. I was more interested in the post production workflow, luts ( if any ), color grading. I have seen a lot of F3 footage but your results are by far among the best if not the best :-)
    Well thank you mate, that's very kind

    The grades are a mix. Some using conversion LUTs I made from the F3's SLOG/Sgamut to the newer LC709 or S709 SLOG3-based LUTs; some the Impulz LUTs, and some just tweaking the saturation and contrast from scratch. I'll generally try all three options and go with whichever seems to get me closest to the end result I'm after with the minimum amount of fuss.

    For tweaking colour balance, these days I tend to work with the Hue vs. Hue and Hue vs Saturation curves most. They help me to rein in the colour palette, when there's too much going on (generally due to an insufficient art dept budget).


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    #12
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    Thank you


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    #13
    Senior Member starcentral's Avatar
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    Mark great s*%te! you definitely mastered the F3.. I gave up long ago prematurely, and then moved to the F55, which I still haven't mastered
    Dennis Hingsberg


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    #14
    Senior Member Grug's Avatar
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    Quote Originally Posted by starcentral View Post
    Mark great s*%te! you definitely mastered the F3.. I gave up long ago prematurely, and then moved to the F55, which I still haven't mastered
    Thanks mate

    I'm just in the middle of a short at the moment that we're shooting on the F55, I'm loving having the beefy 4k 16-bit masters again. The quality is insane!

    Not loving the fiddliness of using LUTs with the camera though (I'd forgotten how messy they made the process). At least with raw I can shoot in SLOG2 (to get false colour in the EVF) but can switch to SLOG3/Sgamut3.cine in the grade.


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