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Hi There,
Months ago I found a download here I think for the QT Gamma Compensation LUT ... I just updated my mac and now the file is a .cube and I don't know how to change it to a usable file again. Help? Does anyone know where I can find the file again to download & use?
Why are you still trying to use that LUT? Have you tried the QuickTime/gamma 1.96 option in Premiere's color management?
Oh, and have you properly setup all the color management settings now in the 24.x series?
As nearly everyone who's posted here having troubles has unfortunately not set their color managment up consistently. Well, very understandable, as so many things are new.
Although I do wonder why so many Apple users expect Adobe to somehow magically fix what Apple chose to break ... and
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On your own monitor, make sure the settings are both in the GPU if available and on the monitor, 'auto' or 'video' levels for Rec.709. Do NOT set anything to 'full'. Nvidia's GPUs have a control panel available on the computer, and you can mess with video settings there. Again, do not set that to Full.
And if the monitor has them, do not set those to 'full' either.
The other thing I can comment about is ... what cameras are you using? Do they have a 'full' setting for Rec.709 media? If so, do not use that. It is incorrect for Rec709 media, and it does nothing to get wider dynamic range or more levels, it just changes how the levels are encoded to the file.
And ... all monitors and TVs expect Rec.709/YUV (Y/Cb-Cr) media to be encoded 'legal', and automatically 'expand' the display of that to full. So if your media is full to begin with, then you get too much expansion of data, perhaps dark/crushed shadows and blown whites.
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as cameras, am using the sont fx6 , s-log 3
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For the camera, which gamma curve? And XAVC Intra or Long?
I presume in Premiere's color management you have auto detect log and auto tonemapping on, Display color management, and viewer gamma 2.4, sequence is 2.4?
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Right off, auto detect log should be on. That's interactive with auto tonemapping, by the way.
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am keeping the auto detect log color space off because i add the phantom lot ( log to rec 709 )
isn't better ?
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When are you applying that ... at the export? Because if so, no that is not a correct place.
Color space conversions need to occur as part of the working space process. Need to be visible as you are working. Or you cannot possibly get a correct output.
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For sure , yes exactly this what i do , i apply the lut log to rec709 on the lumetri creative panel ,, some time i keep it 80% or little or more little less depends on desired color i want
is that ok ?
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Which precise LUT ... and got from where?
And I'm curious why you prefer that over the tonemapping in Premiere. And ... if you don't have auto detect log on, I'm not sure auto tonemapping does anything useful.
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phantom luts - Fx6 Phntm ARRI LUTs-G6 - Neutral Fx6
seems that by auto detect log and auto tone map looks better
may i had old and not updated workflow !!?
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LUTs and tonemapping are different paths that can be attempts to get to similar places. But tonemapping is based on algorithms not pre-cooked charts, so more options of if this then that not that can be incorporated. And at times it can be safer for your pixels.
So I do recommend trying the detect log/tonemapping pairing and seeing if that gets you to as good or better a starting space. In my testing, for most media, it does. For some high-end work, they do need to still use very specific LUTs for specific cameras.
The conversion LUTs, just like the tonemappings from various makers, all have a certain amount of aesthetic choices in them. None are "the only proper and correct view of this camera's sensor" ... they are all one potentially useful view of that camera's sensor output/internal math processing.
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Dearest Neil,
You Just saved me totally 🙂
looks like with monitor advices you gave it to me and auto detect log + auto tone mapping every thing is totally different right now 🙂
Million thanks are not enough 🙂
the only issue that i have to dig deeper for now is the color banding on youtube 🙂
Again : Really Thank you so much
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Hey, it's just nice to help things get out better for people! This stuff can be so flipping complicated ... sheesh. You just wanna get stuff out, right?
And for banding on YouTube that you don't see on your computer before upload, that's typically a recoding issue as to what they do to it after they get it. Wait at least 12 hours to a day to check as they can take some time to fully recode stuff ... which they always do.
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i will try that and i will let you know about it
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Is it possible, that the Link/Download doesnt work anymore? 😞
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I am also trying to find the LUT download! The link no longer works -- I'm getting a "Something went wrong" error. 😞
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You can make your own, pretty easily. Far faster than trying to find and download one. And actually more useful for your media. It actually takes longer to read how to do it ... than to do it.
With the Display Color Management (DCM) preferences option on, go to the Color workspace, with the Lumetri panel and the Lumetri scopes visible.
Do your color correction as you normally would in Premiere.
Now use the Lumetri tab 3-bar menu options to add another instance of Lumetri. This will appear in the Effects Control panel below the one where you corrected your clip. You might even name them separately.
Or you could add an Adjustment layer, over the clip, and use the Color workspace while the AL is the selected clip. Either way does the same thing.
In the second Lumetri instance, either 'below' the first on the clip, or in the AL, you will drop the shadows and some of the mids tones. There are several ways to do this, use whichever one is most normal for you. I'll list the different ways to do this here in bulleted separate points.
Now ... export, and check the view of that file in say Qt Player against the image in Premiere.
If the file is too light still, darken a small amount more. If too dark, lighten a small amount. If saturation is different, adjust Sat until they visually match.
Once you've matched, go back into Premiere. With the second instance of Lumetri active ... go to the 3-bar menu system at the top of the Lumetri tab.
Click on the tab, and select "create LUT" ... however it's phrased. Save the LUT in the proper locations listed for user added LUTs ... I prefer the Program{package} files/Adobe/Common/LUTs folder area.
Whichever of the two listed places you choose, you may need to create subfolders if you haven't already. "Technical" will go to the Basic tab's Input LUT dropdown list, "Creative" to the Creative tab's dropdown Look list, "Input" for color management purposes.
Now ... will you be applying this only at export, as is likely? Then any of the folders will work, as you navigate to the folder it's in during Export.
And now, you've created your own, precisely set conversion LUT, which will do a better job for you than the Adobe created one would anyway.
Of course, on using that ... your clip will now be way, way too dark on any broadcast compliant system, and on most PC and Android devices, many TVs.
But if all you care about is how it looks on Apple controlled screens, this will float your boat.
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Thank you so much for this unexpectedly quick reply and detailed breakdown! For some reason I have an aversion to fixing technical issues "by eye," when it seems that a precise colorspace transform is what the situation calls for. (Also I don't trust my own eyes lol. I guess my non-calibrated monitor isn't an issue as we're only making tweaks relative to another source on the same screen.) In lieu of some magic LUT that just pops everything into place, this method will certainly get the job done. I'll try it out -- thanks again. 🙂
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There isn't actually a precise "color space" transform available. No matter who makes them, it's a process of checking on the varied screens to see if it ... seems to work.
If you could have say scopes from the monitor screen, that would be helpful to make this. Or ... after applying it, check a gray scale on the monitor from within Premiere with say an Xrite 1d3 probe, and compare to the same file after export via Qt player, for that monitor, you could get a more tight setting.
Would that greater accuracy be notable on any other screen? Highly, highly doubtful.
You noted your screen isn't calibrated ... most aren't, and the manufacturer calibrations are complete garbage. Typically monitors with a "Rec.709" setting will come somewhat sort of close to the sRGB color space response, but ... the D65 will either be closer to D60 or D70 than D65, and the brightness of 'white' will be somewhere north of 350 nits.
An actual Rec.709 calibration with good gear will limit all colors to within sRGB, and set white point at D65 +/- a very few single-digit points, and set 'white' to 100 nits.
Well ... that's good for working in, because if your setup is actually calibrated and profiled (a run after calibrating, to check accuracy) ... and meets the standard ... then your stuff will look like unto other pro stuff as a relative thing on all screens out there.
As all other screens will vary from moderately to a lot from standards.
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I downloaded the LUT (which appears to be a load of text, but it works) from the link below then set export to h.264 (high-resolution 1920x1080) went to effects in the export window, selected the LUT from where I had saved it, and it worked perfectly. Thank you for the advice!!!
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Hi - how did you get Media Encoder to recognize the LUT? I placed the cube files in a location and selected them, but it says there is a low level exception (see screen shot). I tried saving the cube file on my desktop as well as our video server, but it won't apply. I used the vimeo preset first and then tried the match source high bitrate preset, but it still shows as none. Thanks for the help.
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They have a bug where that line says "none" even though the LUT is applied ... so if you complete the export, is it applied?
And of course ... if that LUT does get applied, understand the file will be very dark when viewed on a non-Mac display. Due to the underlying nature of the problem.
Neil
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Thanks Neil - so I just did what you said and it said "applied" the encode looks good on the mac. I didn't realize that it would be very dark if viewed on a non-mac. So for review and approval the mac users will like what they see, but the PC users will see a darker encode?
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Yes.
Because the problem is specifically caused by Apple's choice to use the camera tranform function ... essentially gamma 1.96 ... as the only tranform, skipping the also required gamma 2.4 display function added in Bt.1886.
The "original" Rec.709 was created while 'we' were still all using CRT monitors. Which had a specific native curve to the shadows of the signal.
As digital "flat panel" monitors came into existence, Bt.1886 was addended to Rec.709 to compensate for the flat response of the digital panels. So that 'we' still got essentially the same image.
That was back in the area around ... 2008 or so? Something like that. And all broadcast specs require the 'full' Rec.709 ... sRGB primaries, D65 white point, gamma 2.4 display transform, around 100IRE/nits total brightness.
So my Rec.709 compliant system will display that file as you see it within Premiere, pretty close. As will any fully Rec.709 system.
It's only lighter when viewed on a Mac, with apps that allow the Mac ColorSync utility to handle color management. Such as QuickTime Player, and Chrome & Safari browsers.
VLC player and Firefox normally do not allow ColorSync control, so they can be easier to use to check non-Mac 'views' of a file.
Neil