![]() ![]() Long story short, it really looks like Adobe needs to implement an actual CinemaDNG native support feature! It is useless as of right now. ![]() The issue is Premiere defines them as something like Rec709, and that is technically baked in (although still with the raw file) when sent to Speedgrade. For my own projects, I created my own default LUT for the 4K Pocket. That look may or may not be what you are going for. That is what the 'Extended Video' LUT is for it preserves more of that data for REC709 display. If I use Direct Link (Import in Premiere, then send it to Speedgrade), the timeline configurations (colorspace, etc) are greyed out as they dont let you edit the options, as it is 'linked' and Premiere predefines those settings. However, we all the know the 4K Pocket can capture much more dynamic range than a traditional television camera. not supported) I am trying to mess around with the Timeline Colorspace, and get nothing close to a usable image. You start with the rec709 image, in the first node you apply the rec709 to linear lut. ![]() In addition the A6300 like most cameras cannot see the full S-Gamut or S-Gamut3 range. Blackmagic 4.6K Film Gen3 to Rec.709 LUT. Blackmagic 4.6K Film Gen3 to Arri Log-C LUT. You also will receive these in every LUT pack you buy from us. However, here is the kicker! As of right now, when I import clips to Speedgrade, they come out as a very dark or messed up image! (ie. A LUT cannot separate one from the other, so a LUT is designed to work with a combination of the two. True Basic Log Conversion LUTs (Including Rec.709) You can grab our free Conversion LUTs at the button below. One is to do it directly, the other is to do it thru Premiere first. All of our Creative LUTs are provided in Rec709 color space for better compatibility as finishing LUTs, accurate color matching & multi-camera shoots. So there are two ways to import footage into Speedgrade. Thanks a lot for the input Adam, that sounds like it would be what I need done. ![]()
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