FS7: Anyone using an NLE that automatically detects FS7 LUT metadata?

[bengiles]

Suspect the answer is not, but just wanted to check if I've missed anything.

I edit all of my own material (some poor sucker has to) and the one constant niggle I've had in 2 years of FS7 ownership is the lack of a proper joined-up workflow, in which the NLE sees the EI metadata and displays it as I saw it in the (MLUT assisted) viewfinder.

As Aperture does with my raw stills - reads the picture profile metadata and snaps the picture "into the ballpark."

I can continue with Prem Pro - it's otherwise relatively stable and works OK. Just wanted to check if I'm missing a trick.

I'd rather avoid proxy workflows, such as doing a first light graded proxy and re-linking later etc - too many years of doing that with 16mm negs.

Also, my work is often for clients who can't "read" an offline cut and will get bogged down in the detail of how it looks, rather than how it scans editorially. So, I'm doing a near-as-dammit grade at each stage of client viewing.

Any suggestions as to the current state of the art? I've caught myself thinking about baked-in camera workflows, such as the Cion or C300ii. But I love the flexibility of SLog3 - just find the presentation of it in the NLE a hassle.

 

[Ben Scott]

I don't believe Sony has released their sdk to 3rd parties so we're still in this same situation. I assume Sony's Catalyst Edit will do it.

 

[markfpv]

Nope - don't believe you are missing much either... which I agree is a bit frustrating. The best thing for my own workflow recently - has been Color Finale Pro for use inside FCPX. It now has ACES support built in. Only begun to have had a play with it... it doesn't read Sony metadata - but allows you select color gamut and output display and then offset exposure with slider adjustment and this really gets you "into the ballpark" extremely quickly. Seeing this as the way forward perhaps.

 

[chappelldigital]

Its not from the Metadata, but Avid will auto-apply a LUT when it detects certain sources - Can't recall if you can choose which LUT for it to apply (must be a way), but I know there are options there.

 

[morgan_moore]

I think cat browse might do something.

 

[thirdyearff]

I use both Smoke & Flame from Autodesk and while they do have an "auto" feature within their color management system...I haven't found it to be terribly reliable. However, I do like the potential of it...just need to snoop around a bit more and see if I can get it to come up with better results.

 

[Liam Hall]

I assume you have your chosen LUTs loaded into the PP contents folder so they are available from the drop down menu in Lumetri?

 

[stokstad]

Im using adjustment layers to quickly put LUTs on/off. Maybe depends on how much you fiddle with your EI-value when you shoot. I usually have few scenes where I need to muck around with lots of different EI-value LUTs but when I do have to do that its a pain and I try to avoid doing it when I edit.

 

[deltoidjohn]

I was going to suggest 2 things but Stokstab beat me to one of them: Place an adjustment layer on your timeline with the correct LUT to get you into the ballpark for viewing and editing.

My other suggestion was to place the appropriate LUT onto all of your source media in your project window. When you come to do your grading/CC you then apply a completely new Lumetri effect so everything stays streamlined and simple.

 

[moldcad]

I'm using Resolve - and while it makes very limited use of FS7 footage metadata, using it in RCM mode snaps my Slog picture right into the ballpark of Re.2020/ST.2084. If - on the other hand - I need just the Rec.709 version of my footage, the free Catalyst Browse does it perfectly...

Piotr

 

[Nirv]

I have my CineEI gain settings as 2000, 1000, 500 and in FCPX/Color Finale Pro create 3 exposure presets and it's just drag n drop the right preset on the footage.

I have a feeling in the water that the next update of FCPX will allow the user to setup automatic associations to filter based on metadata. We currently have great support for finding and sorting clips via metadata but the next logical step would be to automatically group clips, apply filters and colour corrections based on their metadata which could get as granular as the metadata itself. Just a hunch.

So the consensus is no NLE is utilising metadata to its full extent.

 

[wschmid]

The Catalyst Prepare and Catalyst Edit use the metadata of the FS7, as far as I have seen. So from that side those tools are great for FS7 users.

Another tool the recognizes the color space seems to be Edius in the actual versions if one applys the new color correction filter. But there is still the issue that the luminance range must be adjusted manually in Edius, what is not necessary in Prepare and Edit.