FS7: 3D LUT - Translating Over/Under exposure Chapman FS7 LUTS for use with C300

V

Vintegreo

Well-known member
Hello,

I do all of my shooting these days with a Sony FS7. On occasion, I hire a shooter who uses a Canon C300. I would love to be able to have him shoot for me in C-Log, and then apply a look is very similar to the exposure compensated LUTs that Alister Chapman has created:

http://www.xdcam-user.com/2015/02/over-and-under-exposure-luts-for-the-pxw-fs7-pmw-f5-and-pmw-f55/

A couple of possibilities have occurred to me regarding doing this. One, is that perhaps a program like Lattice could do it:

http://www.shopfsi.com/Lattice-LUT-Editor-and-Conversion-Software-p/lattice.htm

Finally, with the over/under exposure LUTs that Alister has created, how would I go about creating additional LUTs that might be less than a full stop increment? His are 1 over, 2 over, 1 under and 2 under. So...perhaps 1/2 over and so on.

Thanks!

Tim

P.S. Maybe someone has already done this and you can point me to a download.
 
Lutcalc could be useful for matching luts though you have to be careful and it might not work quite as easily as it seems it should.

Sony catalyst browse is very handy for making luts correctly designed for Sony's slog1/2/3 that adjust exposure and whitebalance and output 709 or 709a.
 
Frankly I'd say stop messing about with LUTs and put two clips up side by side with an RGB parade scope up and match them to the scope. Super fast and works every time instead of trying a lut and then having to tweak and getting farther and farther away from the target.
 
Ben Scott said:
Frankly I'd say stop messing about with LUTs and put two clips up side by side with an RGB parade scope up and match them to the scope. Super fast and works every time instead of trying a lut and then having to tweak and getting farther and farther away from the target.
Click to expand...

Fair enough; I've done that on many occasions with great success. I'll look forward to additional replies that answer the original question.
 
Sorry I misread and thought you wanted a Lut for the Canon to match the Sony.

If you want a set of exposure compensated Luts then LUTcalc will automate an export over and under in 1/3 stop increments. It's brilliant.
 
Ben Scott said:
Sorry I misread and thought you wanted a Lut for the Canon to match the Sony.

If you want a set of exposure compensated Luts then LUTcalc will automate an export over and under in 1/3 stop increments. It's brilliant.
Click to expand...

No worries. i put too many questions in one thread! You just answered an important one. Thank you!

As for the Canon vs Sony issue, when I have my colleague shoot on a Canon, I thought it would be nice if I could apply a look (i.e. LUT) that would be similar to the one I prefer when I should with an FS7. So...to further clarify, this isn't a shoot that uses both cameras, it'a Canon only shoot, so there's no matching per say. It's just that if you apply a LUT that was built for an FS7 shooting SLOG3 and apply that to Canon footage it isn't going to look even remotely similar.

That's what I'm driving at. You might like the ___________ LUT made by Abel Cine for the Sony FS7, to which I might say that I like that LUT, too, but I shoot with a Canon C300 in C-Log mode. It seems more complex than simply lining up scopes, I would think. Anyway....enough blah blah blah from me. I hope that makes some sense.
 
Genuinely sounds like lutcalc is going to be your friend for a lot of things. I assume it wouldn't be too hard to perform a transform on that lut you like to fit a canon gamma/gamut with it too.

That said, lining up scopes is probably the single most powerful and overlooked method of matching one shot to another. Start by matching contrast and then by dialling in the rgb values. You can fool your eye but you can't fool the scopes.
 
Ben Scott said:
Genuinely sounds like lutcalc is going to be your friend for a lot of things. I assume it wouldn't be too hard to perform a transform on that lut you like to fit a canon gamma/gamut with it too.

That said, lining up scopes is probably the single most powerful and overlooked method of matching one shot to another. Start by matching contrast and then by dialling in the rgb values. You can fool your eye but you can't fool the scopes.
Click to expand...

So I did some testing, and Lutcalc worked well. Only oddity is that for some reason regardless of what sort of output LUT I create, the Avid Media Composer isn't happy with it. I can get Davinci to import those LUTs that I create, but the Avid is a NO GO. I have had success importing other LUTs into the Avid, so I'm not sure what gives. We shall see with more research.
 
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