11/9/2023 0 Comments Leeming lut one vs proI edit in PPcc, and use the current Nikon LUT appropriate to each camera for an initial grade. Be sure to use the False Colors view and nail middle gray at 35 IRE. ![]() I shoot everything at 4Kp30, 10-Bit NLOG into Atomos Ninja V recorders using the DNxHR HQX capture/intermediate codec. Here's what I have found works : my workflow now is 2x Z6ii's and one Z6 -which is used as a C-cam. Hope the following may help, as prolific Nikon video shooters are scarce. I have also made a lot of mistakes switching over to the Z line +/- 2 years in now, so I know Nikon video can be tough. There’s been a major development! Paul Leeming has just issued two new ‘Fixie LUTs’ for those working in Final Cut Pro and Premiere 2018 – one for Full to Video Range and the other for Video to Full Range.Not directly analogous to your work but I shoot a lot of location corporate videos. Go ahead and choose choose a LUT from your computer. You may either select a clip in the timeline and double click on Custom LUT, or drag the effect directly onto the clip.Ĭustom LUT will now appear in the Inspector. Open up the Effects Browser, and under the Color Tab, you’ll find Custom LUT. Now, you’re ready to do color corrections and add a Leeming LUT Quickie for a more stylized look.Īlternatively, you could use Final Cut Pro’s own Custom LUT utility. In the Inspector, I choose Leeming LUT One – Panasonic HLG v501.Īt this point, there might be a more scientifically sound method, but I just choose the percentage that looks best to my eyes. I drop the adjustment layer over the clips in the timeline, open up the Effects Browser, and double click on LUT Utility. You can use the look up table in Final Cut Pro, but I’m still using the adjustment layer and LUT Utility I purchased from Color Grading Central way back when. The clips will then take on a flatter, greyish cyan appearance and the scopes should hopefully be in the safe zone again. What you’ll want to do now is to select all the clips in your project and hit the ‘Basics’ tab at the bottom of the Inspector, then select ‘Settings’. You will even see a warning in the upper left corner of the app alerting you to connect an external HDR monitor!Ĭhecking the info for the clip in the Inspector, it becomes immediately apparent that even though we’ve chosen Standard Gamut for our project, the media is still rec. ![]() 709 and the image still looks overly bright. The scopes far exceed the safe limits for rec. Reading further on, I see that it’s possible to view the clips in the browser by going into preferences and selecting ‘Show HDR as raw values’.īut this feature has no effect whatsoever when viewing clips in the timeline. The first of those will undoubtedly be the appearance of imported clips – whereas in FCP X v.10.3.4, the clips looked rather normal, in v.10.4, they’re all going to look blown-out.Īpple’s White Paper, Working with Wide Color Gamut and High Dynamic Range in Final Cut Pro X, recommends first selecting your project and pressing Control + Command + J in order to change the color gamut from SDR to WDR (or vice versa), but doing so just reveals that the color space in the pop-up window is greyed out – at least it does for me. 709 delivery using the Leeming LUT may be in for some unpleasant surprises. ![]() ![]() But while on the surface, the UI looks reassuringly familiar, those who shoot HLG for rec. The latter is of especial interest to me, since I’m looking forward to diving into creating HDR videos for YouTube. Update: See new workflow with Leeming Fixie LUT here.įor those looking to work with Sony’s HLG, here’s the workflow.Īpple has gone ahead and and released what can only be described as a humungous update for Final Cut Pro, including the ability to edit 360° video, advanced color grading tools like curves and wheels, look up tables without the need to use third-party plug-ins, support for high dynamic range video and a whole bunch more.
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