Let's discuss Odyssey's LUTs for FS700

gumonstro

gumonstro

Well-known member
Hi.

I've been shooting with FS700 on Slog2 mode exposing for SL2 L709A-2 new LUT from Convergent Design. This LUT is great to avoid noise, as it compensates the overexposure you're actually doing in camera. Though the exposure solution is great, I noticed colors are sometimes strange. Depending on the scene, it can become pleasing and often times very annoying, pushing towards a twisted hue. It causes, as I noticed so far, blues to become cyan/emerald and skin tones waay red.

As I said, it sometimes can be great. You apply the LUT and bum, there's a look there. But sometimes you only need real world colors and neutrality.

My idea:

If Convergent Design could fix SL2 L709A-2 - or release an alternate version - with better blue tone reproduction and a slight improve on skin tones, that would be nice. I like the idea of trying to achieve an alexa-like skin tone (subtracting the yellow: is this what you guys aimed for?), but I think it's a little overdone.


See some examples. As you'll notice, SL2 L709A-2 blue tones became almost emerald and skin lacks yellow. This take was shot using a LED panel for the man's face with a warm color temp on daylight. His face should push to yellow.

SL2 L709A-2 is also the worst LUT to hold highlights. The last frame is Slog2 Cin709 LUT from Odyssey, not kodak.

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In fact this one above is Sony EE Slog2 Cin709
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gumonstro said:
It's a random Kodak LUT I picked.
Click to expand...

These or something else? http://juanmelara.com.au/print-film-emulation-luts-for-download/

PS. This is a thread I thought about starting a few days ago. Very interested in hearing what other people are doing with the LUT's. It's a whole new ballgame alltogether and the possibilities are endless. I would like to create a few "stock looks" for myself to use so as not to get buried into the wilderness of possibilities. That Kodak look seems like a great start...
 
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The LUTs we provide should be used as a starting point. It's very easy to alter one to create your own personal preference. A number of programs are out there for this. Resolve is a great one with the benefit of being free. In fact, Nick Shaw made a video tutorial showing exactly how to do it that's on our website.

http://www.convergent-design.com/su...ok-from-resolve-as-a-lut-for-the-odyssey.html

Everyone wants the magic bandaid that can be placed atop their footage to make it perfect. But perfect varies from one guy to the next. So we give you a solid basic version to start with and then you can roll your own. Remember, you can't ruin anything with a LUT -- it's just a suggestion of a way to color your footage, but it is not baked in. At least not yet.

I for one find experimenting with such things a great joy and a huge freedom I did not have available to me until recently. I'm no colorist, but with a decent starting point I can generally get to where I want to go without too much fuss. The CD preset LUTs are that starting point.
 
Mitch, I got your point. When CD released its LUTs, I thought there was a science behind it that had something to do with infos about Slog2 signal that only your engineers had. Now I see it's less complicated than I thought. Everyone can achieve a great result with DaVinci.

This next week I'll try to export this Kodak LUT based on CD's idea of slight overexposure.

And I also think more experienced Davinci users should post their LUTs for Slog2.
 
What was special sauce was how we coaxed the most out of the RAW signal from the camera to create the S-Log2 as well as the REC709 and REC709 (800%) looks. We feel we do a really nice job of it, better than anyone else. After that, it's all about you and your LUTs.
 
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