Thread: Getting Pocket 4k to (mostly) match Arri Log C Rec 709

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  1. #21  
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    Lol.
    Last edited by GeranSimpson; 08-09-2019 at 03:21 PM.
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  2. #22  
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    Quote Originally Posted by GeranSimpson View Post
    There's your first problem XD

    Hue vs hue is a very messy road to go down. I've only ever used it when nothing else worked in very specific, difficult situations. If you want a shift in color towards a direction, use the wheels
    .
    Interesting.
    I'll give the wheels a spin ( )

    Hah. Anyhow, I'll still have to do a bunch of discreet operations because the only way to limit wheel influence to specific hues is to use qualifiers. So still a lot of nodes. Perhaps not as many as before in total if they're that much more effective at the task at hand, negating the need for additional bits and bobs. Either way, thanks for the suggestion. I'll see how it work for me.
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  3. #23  
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    Quote Originally Posted by keithlango View Post
    Interesting.
    I'll give the wheels a spin ( )

    Hah. Anyhow, I'll still have to do a bunch of discreet operations because the only way to limit wheel influence to specific hues is to use qualifiers. So still a lot of nodes. Perhaps not as many as before in total if they're that much more effective at the task at hand, negating the need for additional bits and bobs. Either way, thanks for the suggestion. I'll see how it work for me.
    Yup, qualifiers are the key (badum ts). You typically separate into primary and secondary corrections. Primary being your black level, sat, contrast, brightness etc and secondaries being your qualifiers and any creative adjustments. Qualifying skin for adjustment always happens after the primary color. Matching two different cameras with a lut can be difficult, it's much, much easier to just match them from scratch, and match the final look. Don't try to match log conversion to log conversion. It's not going to work the same way in a different scene so it's kind of a waste of time.
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