Because of the fact that they can regenerate the colors but not those details, filmmakers use Log to get the best out of their shadows and all other details. S-LOG made its debut on the Sony F35, a workhorse of Hollywood. To get the colors back into the Log footage, it is necessary to color grade it in post-production. Only a few years ago S-LOG was a 3800 upgrade for the Sony CineAlta F3, itself a 15,000 camera.
Colors are missing from this recording mode. Getting the most out of the camera’s dynamic range is the goal of Log footage, which captures highlights, shadows, and whites with the highest level of precision.
It needs further alterations to be used as final footage because this kind of footage cannot be used without editing. The logarithmic footage, often called Log, contains more details of the scene it’s baking into the image. These LUT’s were tailored for use with the FX3 and FX6 but will also produce great results with other Cinema Line cameras such as the FX9 and VENICE. If you’re on a MAC go to this file path : /Users//Library/Application Support/Adobe/Common What is REC.709 and how to Log to REC.709 download Download LUTs > 00:00 00:00 Space Adventure and Super Hero LUTs Here are two new LUT’s for use with Sony cameras that shoot with S-Log3 and S-Gamut3.Cine. If you’re on a PC go to this file path (Windows) : C:\Program Files\Adobe\Adobe Premiere Pro 2021\Lumetri\LUTs\Creative Here you can import one of Gal’s free log to rec.709 conversion LUTS by selecting “Browse”. A new “Input LUT” can be selected from the dropdown menu in the Basic Correction section. Premiere Pro requires you to open the Lumetri Color Panel in order to import LUTs.
0 kommentar(er)
