My understanding is that CST will non-destructively transform my media to rec709. I am going from slog2 to rec709 and delivering for sRGB and DCIP3.
Good morning I've been digging through the Reddit and Hurkman's Color Correction Handbook and I'm wondering if you all can help me. Bounce Color: SLOG2/3 TO REC709 CONVERSION / CLEAN LUT PACK: Convert your high. Help a Noob: SLog2 to Rec709, Deliverables are sRGB and DCIP3. I noticed there’s multiple versions of the slog2 to rec709 for Sony - does that mean it’s just someone’s interpretation of what they think it should look like or is rec709 a. The slog to rec709 I got from here was much better. This means that LUTs designed for S-Log2/S-Gamut (such as the LC709A one from Sony) will not give a colour accurate result.Ĭoncatenating the LUTs should not be an issue, as the LUT provided with the tutorial is actually a 1D LUT, and the BMD Film output in Resolve should be well within the input range of the LUT, so there should not be any clamping or interpolation errors. Il y a 24 Sony Cine-4 Film LUTs et 24 Rec 709 LUTs dans BT.709 (Rec. The first slog2 to Rec709 LUT I downloaded was for as7ii so when I applied it to my 6300, it looked weird as hell. It is in the camera's native colour space, which is similar to S-Gamut but not the same, particularly the red primary. It is also worth noting that the S-Log2 of the FS700 is not in proper S-Gamut colour space. The tutorial video I made to go with it is here: There is an out of date version of the article on their website which should be ignored.
SLOG2 TO REC709 HOW TO
I wrote a workflow guide for Convergent design on how to deal with 7Q DNGs in Resolve. You need to transform it if you want it to match the internal S-Log2 recordings of the FS700. It's worth noting that FS-RAW recorded on the 7Q is not S-Log2. Is there no technical LUT to bring the files from BMDFilm -> sLog2 -> Rec 709 or is it literally a matter of creating your own custom LUT to bring files into spec? Convergent Design also provide a bunch of 'creative LUTs', but I'm not interested in that. This is the LUT that is/was used in all of my footage prior to creating a Look, essentially bring the LOG footage back to a REC-709 color space. Some web searching hasn't really given me the answers I'm looking for. This LUT was built in Davinci resolve and was built for footage that is overexposed by 1.5 to 1.7 stops. I know stacking LUTs is not the best practice, but one could assume that would be the way to get there? Will post screenshots soon. sLog2 to Rec709) for the dailies look the results are completely unexpected.
but then say we decided to stack another LUT (eg. i cant figure out how to work around this.
Im even creating the timeline from the clip and still getting the same result. Im going crazy trying to figure out why premiere is adding a color grade to my slog2 footage when i drop in in my timelines. Essentially what it seems to be doing is converting one gamma/space to another. Slog2 footage imports to timeline with automatic color grade applied. Convergent Design's website has a couple of links, and both are asking end-users to use a provided LUT that transforms the 7Q cDNG from 'BMDFilm' to 'sLog2'. I'm perfectly happy with grading from log gamma with primaries as usual, but my understanding is that the 7Q's use of cDNGs (sLog2) vs Resolve's expectations of cDNGs (BMDFilm) are different- because of open standards. 709 dailies, and to grade sLog2 when accessing the original files.įor the life of me, I can't find any solid information on color managing this particular form of sLog2. FS700 with the 7Q, 4K raw cDNGs in sLog2. Sony E Mount, Sony A Mount, legacy Minolta A mount, our spiritual cousins in the RX series. This is a Reddit's best source for talking about the Sony Alpha photography system. Proud to be the #1 Camera-Brand Subreddit!
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