![]() I will say, I am fully anticipating this set up will work on future projects, assuming I use similar settings on the camera. The only actual color grading I had to do was just adding a smidge of boost to the shadows. The end result was exactly as I was expecting.a nearly perfect match with virtually no effort (not counting the research since I can use this on future projects). It took me a bit of research, and some very minor adjustments. Thus, logically, I should be able to get freakishly close to final product with a properly set CST. In my situation, I filmed the software on the monitor I was using to edit the clip I filmed. It is supposed to be setting the color space to prep for the actual color grading. There's a freedom within the color space, not some fixed result. The potential for "accuracy" (or whatever you're after) will be there, but is unlikely to instantly appear. 709 color space, so it's suitable *for* color grading. The CST is supposed to transform the Canon log color space into rec. But, I'm not a professional colorist, so.maybe brute forcing it is the easiest way and I just don't realize it.ĪnthonyReno wrote:The whole point of using a CST, at least in my situation, was to avoid having to do any more color-grading work than necessary.īut applying a transform is *not* "color grading" or intended as a substitute for it. It just seems like that would be the worst possible way to go about it. I mean.sure, I could have done it the hard way, and tried to brute force the log footage into rec.709. The whole point of using a CST, at least in my situation, was to avoid having to do any more color-grading work than necessary. At least, I am pretty sure that is what CST is used for, at least in part. I think this entire thread is about the issues of the transforms not working correctly.so, I mean, yeah.these transforms definitely have some issues. What are my expectations for a transform from log to rec.709? same as my above answer, only with the added point of making the exported footage youtube friendly. I was literally trying to match the footage segments to the screen and software I was editing it in. Closest match to the actual screen that was video'd. If that's the only objection, why not just adjust it? 709? These transforms commonly over-saturate footage. What are your expectations for a transform from log to rec. The "closest match" to what? And what is the logic behind using settings designed for a completely different color space? So far, this is the closest match I have managed.ġ) Project Settings: Davinci YRGB Color Managed I am working with footage from my Canon R6 mk II (which is to say, clog3). But the Creator is pretty experienced with Color-Correction.AnthonyReno wrote:Maybe a few other people can give this a test and see if it works for your footage. This S-Log Video was graded with Halon and Ezekiel. When purchasing digital products (lightroom presets, LUTs and other digital goods in the form of software or files), the buyer automatically waives the right of withdrawal, since digital goods/downloads become the property of the buyer after downloading. There are no refunds on digital products what so ever. You might need a little more skills to get good results. However, if you plan to use this with S-Log and N-Log Footage I can't guarantee the "one-click" effect. ![]() This LUT Pack has been created for Canon C-Log Footage especially for Canon EOS R, R5, and R6. If the LUTs ever will be updated, you will receive a free update Download Link for a lifetime. Those LUTs work just fine with any Video Editing software out there which comes with a LUT Loader. Please be aware, you know what a LUT is and know how to use a LUT. Included are 7 LUTS for LOG profile Video Footage. ![]() You will receive a Download Link immediately after purchasing. The C-Element LUT Collection for Canon C-Log is a Digital Product.
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