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From the menu, select Color Wheels ( bottom red arrow).At the top of the Inspector, click the Color Inspector ( top red arrow).Make sure Color Conform is set to Automatic. If you are using Final Cut Pro 10.6.6 or later, open the Video Inspector ( Cmd + 4) and scroll toward the bottom.Select the timeline clip you want to adjust.Since we don’t need to worry about color – as the Log footage is color-accurate – we can concentrate our attention on the Waveform Monitor. NOTE: When adjusting Log video, you can ignore the Vectorscope, displayed on the left. As you can see from the Waveform Monitor (the scope on the right), all the grayscale values are concentrated in the middle. Let’s pretend we don’t know what camera shot this. If your Waveform monitor does not look like the image above, click the small icon in the top right corner of the scope ( top red arrow), choose Waveform ( bottom red arrow), then choose Luma. Mid-tones can go anywhere that looks good to you. IMPORTANT: For SDR video, shadow levels MUST NOT go below 0%.
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Mid-tones (33 – 66%).This adjusts the emotion and/or time of day in an image.Grayscale values are divided into three sections: (The Vectorscope tells us everything we need to know about color.) The Waveform Monitor tells us everything we need to know about the grayscale values in an image. The Waveform Monitor is the key video scope to making Log video look good. NOTE: If you need more screen room, type Control + Cmd + 1 to toggle the Browser on or off. To display the video scopes, open Final Cut and type Cmd + 7.
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Here’s a short video that explains how to color grade Log video using a LUT.Here’s a tutorial that explains the difference between the terms HDR, RAW, Log, LUT & 10-bit Media.The good news is that log video is, in almost all cases, shot with accurate color, but inaccurate grayscale – and fixing gray scale values is easy. However, in some cases, LUTs may not be known or available. The easiest way to start color grading is to apply a LUT. (Native log footage looks washed out and gray.) However, it requires color grading to make the image look its best. Having flat footage to work with gives us more flexibility in editing, but requires a bit more time to get the colors just right.Shooting log video is a great way to preserve highlight and shadow detail in an image. That means if something was over-exposed, under-exposed, or if you have a high-contrast shot, LOG footage will give you more flexibility in post.Īt Wistia, we shoot in LOG for more mission-critical videos. With LOG, you can push and pull your color grade way further than with a default color profile. When you shoot in LOG, your camera is capturing even more color information and latitude than you would with a normal color profile.Īll of this extra information allows you to fine tune your footage in post. These color profiles look pretty bland as raw footage, but what’s happening behind the scenes is magical. Many cameras can shoot in flat color profiles, often called LOG. The other way LUTs are used is to convert flat, desaturated footage back into a typical color space. In this example of a creative LUT, the blues are pushed to a cyan, and the shadows (darker parts of the frame) are pushed from being black to slightly cyan as well.Īt Wistia, for videos that we’re moving fast on, we shoot with a default color profile… and apply a creative LUT in post, to add some visual flare. Notice how much the colors shift after it’s applied to the footage. One type of LUT is a “creative LUT,” and it’s used to add a specific look to your footage. LUTs are used in a couple of different ways - here’s a breakdown! Creative LUT Simply put, LUTs are like a filter, but more accurately, a color-grade-preset for your footage. A LUT is like a spreadsheet that accounts for every possible color an image can have and says this color should actually look like this color. The term “Look Up Table” sounds a bit mathematical–and in a sense it is!Ī digital image is made up of pixels, and each pixel is made up of colors. Let’s discuss all things LUTs, shall we? What is a LUT? In this guide, our Senior Video Producer, Stephen Petto, explains the basics of LUTs, types of LUTs and how they’re used, as well as how to apply and adjust a LUT in Adobe Premiere Pro and Final Cut Pro. If you’re wondering how you can get started with color grading to speed up your workflow and produce better looking footage for your business, we’ve got you covered. We’ll have you know you don’t need to be working on a film to use LUTs to help personalize and brand your videos.
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That’s why many filmmakers, editors, and colorists who are working on a film use Look Up Tables, or LUTs, to save color grades as templates to help speed up the process. Color grading is one way to improve the appearance of your footage and serve your storytelling vision.