FS7: Matching an Fs7 to a C300 picture profile by importing a LUT

vladwolodarsky

vladwolodarsky

Active member
Hi Everybody,

I am trying to match an Fs7 to a c300 picture profile. I know that the Fs7 can import LUTs. I was thinking about shooting a color chart on the c300, creating a LUT from the c300 in resolove, and them importing that LUT into the Fs7. The more I think about it, the more I doubt that approach will be productive at all. Do you know of a way to take advantage of LUT imports when matching cameras?
 
I think that LUTcalc by cameramanben could help you. Although Im not wise enough to tell you exactly how transform like that would work out in the end.
 
I’ve used Ben’s LUTcalc to get you close to matching an F5 (same sensor) to a C300, but only when it’s set to WideDR, not the individual picture profiles.


Best way using Resolve is to shoot your colour chart with both cameras under the same conditions. The C300 should be set to the profile you want to match, and the FS7 should be set to SLog3. Then use Resolve to match the SLog3 footage to the Canon and save that as a LUT. You can then load the LUT into the FS7, burn it in over SLog3 and it should be as close a match as you previously got on the screen.


On the F5 we can now use noise reduction in CineEI mode… I presume you can with the FS7? It’s worth remembering to have this set to at least medium when burning in LUTs.
 
Thanks! This workflow makes sense for the FS7 and thank you for the tip on noise reduction when baking in a LUT.

On the Fs5 it looks like we're cornered into using a cine gamma profile since there isn't a way to bring in a LUT into the Fs5.
 
That's a good point. On the Fs5 we could record the s-log3 onto an Odyssey and bake in a LUT. Not the ideal workflow, but it's an option. Thank you!
 
PaulReam said:
I’ve used Ben’s LUTcalc to get you close to matching an F5 (same sensor) to a C300, but only when it’s set to WideDR, not the individual picture profiles.


Best way using Resolve is to shoot your colour chart with both cameras under the same conditions. The C300 should be set to the profile you want to match, and the FS7 should be set to SLog3.cine Then use Resolve to match the SLog3 footage to the Canon and save that as a LUT. You can then load the LUT into the FS7, burn it in over SLog3 and it should be as close a match as you previously got on the screen.


On the F5 we can now use noise reduction in CineEI mode… I presume you can with the FS7? It’s worth remembering to have this set to at least medium when burning in LUTs.
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Hi Paul

Im wondering why noise reduction should be set to medium when baking in a LUT.. IM not questioning it at all.. just interested to hear why.. as Im very often burning in a LUT over Slog3.cine, with my F5..

Thanks
 
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LUTCalc Has the ability to build a LUT with the Canon WideDR gamma and Canon CP IDT gamut. A cursory test by me makes footage look like that pasty face, overly warm with lack of contrast that seems to be so popular amongst BBC pre-primetime 'we've got a C300 and we're gunna use it' package show producers at the moment. So the OP may be in luck...
 
Donny 123 said:
Im wondering why noise reduction should be set to medium when baking in a LUT..
Click to expand...
Hi Donny,

If you're burning in a LUT because you want to deliver usable rushes to a client without the need for post grading, then you'll quickly realise how much NR these cameras use by default in Custom Mode. The thing about CineEI is it's all supposed to happen in post, including noise reduction. You still people hear moaning about how noisy Slog is without realising why... but that's the way CineEI was designed to work.

Luckily for us, Sony added exactly the same NR to CineEI mode that is used by default in Custom mode... and it's made a massive difference to anyone burning in LUTs. It's really very good at reducing noise without softening the picture too much - try a few tests with it off/low/med/high and look at the noise in the blacks on any LUT.
 
Thanks Paul.. Have learnt something new.. so the NR has very little softening effect.. which would be the main draw back I guess..?
 
Lenilenapi said:
How about for creating a LUT to match an FS7 to a C300 in C-log rather than Wide DR?
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^That would be a whole lot simpler but all of the previous interviews have been shot with a picture profile on a c300 and the new interviews need to match. The other twist is that the client isn't going to grade the footage; so we need to nail the look in the camera.
 
I'm asking for myself. I have a client that shoots Canon C300 C-log and wants me as a second camera with FS7 . A similar LUT would be great.
 
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