F3: Truelight slog1 to rec709 LUTs

H

Harry Lime

Well-known member
Has anyone ever used the Truelight slog1 to rec709 profiles? Are these even still available? I've never actually seen them.
I emailed Truelight in the UK for further information.


http://pro.sony.com/bbsccms/static/files/mkt/cinematography/TruelightPlugin.pdf

"To integrate S-LOG Gamma into highly efficient color correction and editing workflows, FilmLight™ offers the Truelight™ plug-in for Adobe®AfterEffects®, Adobe Photoshop®, The Foundry™ Nuke™, Apple®Shake® and Eyeon™ Digital Fusion™ systems. The plug-in converts the S-LOG colorspace on the fly into conventional Rec.709 video, color corrected Rec.709, film print emulation and more."


Thx
 
ACES offers such colourspace conversion and a lot more possibilities. Use OpenColorIO if you rely on After Effects, Premiere or Nuke.
 
marvinhello said:
ACES offers such colourspace conversion and a lot more possibilities. Use OpenColorIO if you rely on After Effects, Premiere or Nuke.
Click to expand...

Is there an IDT for the F3? I haven't see one, yet.

There is an article by Alister Chapman and he mentions that ACES works best with linear RAW, which the F3 and slog of course aren't. So, even if you linearized the slog footage you're still missing the IDT to really make this work. Therefore sLOG -> rec709 seems the best way to go. Technically speaking the F3 is a broadcast video camera, not a RAW digital cinema camera.

http://www.xdcam-user.com/2013/08/aces-whats-it-all-about-do-i-need-to-worry-about-it/
 
Last edited:
Harry Lime said:
Is there an IDT for the F3? I haven't see one, yet.

There is an article by Alister Chapman and he mentions that ACES works best with linear RAW, which the F3 and slog of course aren't. So, even if you linearized the slog footage you're still missing the IDT to really make this work. Therefore sLOG -> rec709 seems the best way to go. Technically speaking the F3 is a broadcast video camera, not a RAW digital cinema camera.

http://www.xdcam-user.com/2013/08/aces-whats-it-all-about-do-i-need-to-worry-about-it/
Click to expand...

IDT is not camera specific, you only need the IDT with the correct colour space (eg. F5 FS7 all shoot SLog3)

In this case, ACES IDT has the entire SLog and SGamut family you can access. Effectively it's IDT (Slog1 SGamut) - RRT/ODT (BT.709 or sRGB), ACES ODT has very smooth highlight roll off so even with BT.709 it does not look like blown out video.

I'm talking about ACES 1.0 production release.

With a correct IDT, no matter its RAW or Log or Video, everything can be linearised properly.
 
Interesting. I was under the impression that the IDT was camera specific. I'll have to take a look at that. thx
 
You must log in or register to reply here.
Back
Top