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Pelle Asselbergs
Known Participant
March 7, 2019
Question

LUT data levels full range, video or auto

  • March 7, 2019
  • 5 replies
  • 5540 views

I am working with slog files and I have  a custom made LUT by a colorist.

How can I adjust the way ppro is handling this LUT.

It should be 'full range' instead of 'video'. But I cannot find the settings for this.

It looks like ppro is showing it in 'video'....

In Resolve it looks perfect for instance where I can adjust it in:

Project Settings/Master Settings/Data Levels/Video or Full

Thanks!

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    5 replies

    R
    rodneyb56060189
    Legend
    March 7, 2019

    BTW, your hero is wearing a lot of hats.. might be worth looking into.

    R
    rodneyb56060189
    Legend
    March 7, 2019

    Probably some acid bath stuff or whatever...   Or just plain " insecurity" , shooting wide gamut and wanting to narrow it down to a look, without using pre roll color and tonal range kodak stuff with specific color temp lighting for that.

    whatever, the options are now amazingly ( potentially) really good from lots of cameras.

    The audience is less critical ( pro audience) than it used to be now. Almost anything that is projected or broadcast, within legal range ( your definition of "standards" , smpte) is fine.  The audience doesn't know as much as they used to.

    They do about how they 'feel' but they don't re: tonal ranges and color saturation and so on.

    That's just my old man opinion.

    I'm shooting stuff that I could never have imagined 20 years ago with a film camera, using raw, and editing some S log friend's stuff recently.

    Thank god young people can do cool stuff if they have the money to buy decent cameras and use the tools for post now available at home.

    I hope they don't tell stories that upset me. You never know, with kids, what the heck they will end up doing.

    R
    rodneyb56060189
    Legend
    March 7, 2019

    Neil, stand on your own and don't keep referring to Van Hurkman so often. You are probably more able to tell good stories, shoot them, edit them, and color them, than he is, if you had the money ( backing ).

    It gets tiresome and you deserve more credit for your own progress.

    Just a suggestion.

    R
    rodneyb56060189
    Legend
    March 7, 2019

    maybe export a small section of timeline from resolve of same stuff in PPro and export same section from there.. open both in something you trust as being color aware and correct... look at both side by side ( using calibrated primary monitor and SDI out to video monitor) and see what you got.

    guessing is not very accurate.

    ???

    Good luck, I'm outta here !

    It's the old 'color' can of worms again.

    R Neil Haugen
    R Neil Haugen
    Legend
    March 7, 2019

    Pr handles media in the "standards" for each format/codec. Except for some few image sequences like DPX and a couple of the high-bit 4444 format/codecs, everything else by standard is video levels not full/data levels. Ergo, they don't have controls outside standards.

    Pr takes media as-is by standard, converts to 32 bit float, and starts working.

    Resolve, as mainly a grading app with media coming from everything and with a colorist's need to be able to "break" stuff,  does have color options per clip that Pr doesn't  ... yet. Many of us keep pushing for that to be added to Pr.

    Within Lumetri, to me, the way all LUTs clip, the better way to apply them is in the Creative tab's slot, where you can:

    1) Trim the media's tonality before the LUT to avoid clipping as Van Hurkman and nearly everyone else teaches and

    2) Adjust the "strength" of the LUT with the controls for that in the Creative tab.

    The Basic tab's Black control is wonky, so I'll often drop an RGB Curves in front of (above) Lumetri in the ECP and adjust black point there.

    Hope that helps.

    And ... what media are you pushing into full/data levels and ... why? Not that it's wrong,  I'm just as always curious.

    Neil

    Everyone's mileage always varies ...
      R
      rodneyb56060189
      Legend
      March 7, 2019

      Looks to me like you can't use the LUT. If you have to adjust your clip before applying the LUT and then adjust the "strength" of the LUT, it sorta defeats the purpose of having the LUT as a starting point.

      So, offhand, I would say, " NO, you cannot adjust your video and full range option ( as you can in Resolve) using PPro.

      Why you would want to do that ( using S log or Raw ), considering the desire to close blacks and blow out whites and adjust pivot accordingly, is none of my business. To ME it's a matter of having more control over subtle things. For all I know you may have an acid bath bypass in your LUT. It's none of my business.

      Good luck !

        R Neil Haugen
        R Neil Haugen
        Legend
        March 7, 2019

        As explained by Van Hurkman and so many others ... ALL LUTs will clip data that is on the edges, they are "dumb" controls.

        LUTs for technical corrections or even to create a Look, doesn't matter. They are created under a specific set of data ranges. And will work properly only fed that set of data ranges.

        To apply them to other clips, you need to get the clip into the data range the LUT is designed to work. Which requires getting the LUT applied to the clip, then trimming the media prior to the LUT while viewing scopes and image through the LUT.

        In Resolve any LUT is applied as the last processing step of the node it is applied to. Automagically when you apply a LUT to a node then do corrections in that node, you are trimming before the LUT, viewing through it and post LUT.

        Pr applies the LUT as the first step of the process in each Basic and Creative tabs slot. So to do the same process as Resolve you need to either apply the LUT in the Creative tab and trim in Basic,  or if you apply in Basic tab, either use an RGB Curves effect prior to Lumetri or another Lumetri instance prior to the Lumetri with the LUT.

        It's easy to work with multiple Lumetri layers, rename them, all sorts of things.

        Neil

        Everyone's mileage always varies ...
          R
          rodneyb56060189
          Legend
          March 7, 2019

          I'd be interested in seeing answer to this too, so I'm posting reply so I get the link to see responses.

          I just did S Log stuff (4k) in resolve ( no custom LUT provided) and even in resolve I had some problem assigning color space to source, timeline and output ( basically about 4 different S Log variations available to choose from) .. I made the timeline S Log and source I left at Rec 709 2.4.

          Then for each clip made serial node and did color on that using scopes to get legal for full range etc.

          It was weird.

          I don't think Adobe stuff is even remotely color aware to that point, where you can assign specific camera stuff ( ARRI, RED, ETC.) the same way, and it's not node based. So I would try a clip in timeline leaving stuff at default (probably sRGB) and apply LUT to that one clip and see what your scopes show you, etc. ????  Someone else probably has way better answer and I look forward to seeing it.

          Thanks for posting this mssg, as I am also curious.

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