Interesting to see. You say at the end you weren’t blown away by the difference, but your grade was very subtle and true to life. My understanding of 12-bit 4444 footage is that you could apply a really stylised look without the image breaking apart. Maybe if you tried to really push the grade hard you’d see the difference more?
Great video, Harv! So, you recommend the Phantom LUTs to be applied to any log footage, not just S-Log? Would it make sense to do any color space transform first?
Many thanks, it was lots of fun! The LUTs seem to work well on almost everything, I use them on C-LOG too and I find the result to be very typically 'Canon'. Regarding the colour space, I've never had any trouble when rendering down as FCPX displays in REC709 so I'm grading with this in mind. Would you instinctively do this?
@@HarvVideoAudioStuff I used to have a6300 and I applied the Phantom LUTs on S-Log2, S-Gamut3.Cine footage and I think they were the best LUTs ever! Now I have Fuji X-T4 and I have used them again on F-Log, but this time with Resolve's CST function, because I thought that's the "correct" way. Waste of time and processing, I suppose?
I don't work in FCX, but interesting to see how you do it. I would move quicker into the actual grading here, you love to talk too much. I feel the Arri LUT applied in FCX has more contrast and saturation than the one that gets applied in Premiere. Have you compared? Also, in my opinion, you really don't need the LUT you used to get the result you got in the end. If you thought the Arri LUT was a bit punchy you can always dial that back a bit and grade it from there. Don't need a LUT from a 50 dollar package... I understand that LUTs make people lives easier, but it really doesn't help you becoming a better colorist. I would much rather watch you grade the footage without a LUT entirely. Cheers.
You lost the plot on the last sentence. It'd make no sense to grade log footage without a LUT, as it'd be incredibly difficult to unpack, as simply adding contrast would drastically distort what is supposed to be a fairly linear final image. There's a reason LUTs are math formulas and not just taste.
Interesting to see. You say at the end you weren’t blown away by the difference, but your grade was very subtle and true to life. My understanding of 12-bit 4444 footage is that you could apply a really stylised look without the image breaking apart. Maybe if you tried to really push the grade hard you’d see the difference more?
Hope you enjoy :) be sure to get your grading knowledge below. I might try grading RED RAW next...😛
Cant wait for Raw video to be more readily available. Give me raw 1080p over none 4k or 8k any day.
Nice video hope you get some arri raw footage
Great video, Harv! So, you recommend the Phantom LUTs to be applied to any log footage, not just S-Log? Would it make sense to do any color space transform first?
Many thanks, it was lots of fun! The LUTs seem to work well on almost everything, I use them on C-LOG too and I find the result to be very typically 'Canon'. Regarding the colour space, I've never had any trouble when rendering down as FCPX displays in REC709 so I'm grading with this in mind. Would you instinctively do this?
@@HarvVideoAudioStuff I used to have a6300 and I applied the Phantom LUTs on S-Log2, S-Gamut3.Cine footage and I think they were the best LUTs ever! Now I have Fuji X-T4 and I have used them again on F-Log, but this time with Resolve's CST function, because I thought that's the "correct" way. Waste of time and processing, I suppose?
It would be perfect if someone could make a comparison between 8 10 and 12bit where u push the grade to see where it breaks
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Hi, What is the software name you using in this video for grading ? it is FCPX ?
Yes it is indeed final cut 👍🏻
How do you send such large files over the web
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Ronaldinho
I don't work in FCX, but interesting to see how you do it. I would move quicker into the actual grading here, you love to talk too much.
I feel the Arri LUT applied in FCX has more contrast and saturation than the one that gets applied in Premiere. Have you compared?
Also, in my opinion, you really don't need the LUT you used to get the result you got in the end. If you thought the Arri LUT was a bit punchy you can always dial that back a bit and grade it from there. Don't need a LUT from a 50 dollar package...
I understand that LUTs make people lives easier, but it really doesn't help you becoming a better colorist.
I would much rather watch you grade the footage without a LUT entirely.
Cheers.
You grade arri footage ?
You lost the plot on the last sentence. It'd make no sense to grade log footage without a LUT, as it'd be incredibly difficult to unpack, as simply adding contrast would drastically distort what is supposed to be a fairly linear final image. There's a reason LUTs are math formulas and not just taste.