![]() ![]() The next step is to then adjust the power window to cover the saturated color chips. ![]() The first step is to create a power window around the exposure chips and then checking the waveform, you can then manually set your black and white points. I'm using power windows in resolve, but this can be done with masks in Premiere or Final Cut. There is an automatic feature with most NLEs to work with charts like this, however, I prefer to do it manually to get more accurate results. I've talked about this chart before and if you'd like to hear more information about it, you can watch that video here: 709 in mind and so it can not only help you get your log footage within range, but it can also help with exposure, skin tones and white balance. The second method we're going to take a look at is with the help of a color checker, such as this one from X-rite. If you have exposed to the right with S-Log, you can use contrast and pivot to edit your image to within range. If this is the final step you may want to consider, enabling luminance mapping and saturation mapping as these options will make your levels within legal range and brings colors that fall outside of the working color space back within range. ![]() If you are going to do further grading, you will want to leave tone mapping and Gamut mapping set to none. There are a couple of things to take into consideration here. 709, and the same for my Output Gamma Rec. My Input Color Space will be S-Gamut, my Gamma is Sony S-Log2,Īnd I want the Output Color Space to be Rec. S-Log can be more difficult to work with than other log formats as it is often exposed to the right. I'm using S-Log2 and so I will choose the appropriate settings. Once you drag it onto your footage, it will give you several options. This can be found in the Open FX menu in DaVinci resolve.Īs the name suggests, color space transform will convert one color space to another. First, We'll take a look at color space transform. The first method is only available in DaVinci Resolve as far as I'm aware, however, the second and third method can be used no matter what software you are using. 709 is always my first step when it comes to grading. Shooting in log is great for maintaining the dynamic range of your camera, but it can be a bit tricky to work with when it comes to colour grading, if you're not familiar with the conversion process.Ĭonverting my footage from log to Rec. The workflow for each version of log is slightly different, however, these three methods can be transferable to any variation that you are using, whether that be, Arri, Canon, or Sony for example. Let's take a look at three different ways to covert log footage to Rec. ![]()
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