Try this LUT with preconditioning set to Cineon. It will give you the
extended dynamic range that a log file can provide.
https://dl.dropboxusercontent.com/u/399522/TEMP/Lin709_to_LogCWidegamut.csp
Cheers.
On 27-Feb-15 21:14, Pierre Schiller wrote:
Hi everyone. My usual workflow is to recieve a REC709 live video to
match my cg elements from softimage (all good, I grade, compose,
voilá). Editor gets his material all colors are there for him to play.
This time, director and cameraman want to see their LOG C (raw
quicktime clips with no color correction) composed against my cg
elements on SET.
Question:
What´s the workflow to approach this?
I can think of asking the Rec709 on set, but that would mean an extra
step of reconverting the material. Thus delaying their work to film.
Is there a way to render out a LUT corrected as ALEXA raw directly
from softimage?
Modo does it. And it´s incrédible to work in SRGB or Linear , then
just select the ARRI RAW preset (or LOG C) and watch them both
monitors: editor´s and 3d compositor side by side. No difference on
colors.
Does anyone have a workflow for this that could help us out on set?
Thanks.
David.
ps: I placed: AlexaV3_K1S1_LogC2Video_Rec709_EE_aftereffects3d.cube
on the
$default\Data\Preferences\Default\ColorManagement
folder. But I don´t know how to take it from there (I see the color
correction being applied on the render region).
--
Portfolio 2013 <http://be.net/3dcinetv>
Cinema & TV production
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