i really dont get how people are fixing color balance in after the cineon conversion. Its too flat for me. Anyone have any tip? Basically i am doing Cineon (Flat) lut > cineon conversion to FPE.
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i really dont get how people are fixing color balance in after the cineon conversion. Its too flat for me. Anyone have any tip? Basically i am doing Cineon (Flat) lut > cineon conversion to FPE.
Some more GoPro aerial footage with the Impulz LUTs. It's the stuff I posted screen grabs from a couple of weeks ago.
Lots of jello in there. Didn't know about the trick with the ND filter back then.
https://vimeo.com/105431281
Normally you would grade "under" your output LUT so you can see the actual results.Originally Posted by jsfilmz
So your node list would look something like this:
Node 1 - Cineon (Flat) LUT
Node 2 - Colour Corrections
Node 3 - FPE LUT
All 3 nodes are in place when you make changes to Node 2.
Personally I prefer setting up my structure like this:
Node 1 - Basic colour correction (Exposure and White Balance)
Node 2 - Cineon (Flat) LUT
Node 3 - colour and saturation adjustments
Node 4 - Grade, power windows, etc
FPE LUT on my Output in the Project prefs
So basically you do your exposure and WB in bmd film log image still correct? Thanks.
Correct but while viewing it through the 2 LUTs. So what I see when doing my exposure and WB changes already has the look of those LUTs applied.
If your doing RAW adjustments the exposure setting shouldn't matter I believe.
on the vision color website, there is a tutorial on how to process the footage to receive a so called "digital negative"..there they describe to use neat video to remove the noise, and after it adding some noise. i guess this is only for high compressed footage like h264.
did someone tried that out and can tell if this really brings better results?
and if yes, would it make sense to do this with RAW/dng footage or Prores footage out of the bmcc?
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