11 Killer Tips For Switching From Lightroom to Capture One

11 Killer Tips For Switching From Lightroom to Capture One

Getting used to new software is rarely easy – but it doesn’t have to be frustrating. If you are considering switching from Lightroom to Capture One, here are 11 tips for making the transition easy.

1. Interface

There are a few things to take notes of when switching from Lightroom to Capture One:

  • No modules! The interface in Capture One uses one main window, where all tools are organized in Tool Tabs.

User Interface Overview
The main Capture One User Interface elements are a Tool Tab bar, a set of Cursor tools, a Viewer and an Image Browser.

The Viewer displays a large preview of one image or a number of selected images.
The Image Browser displays thumbnails of selected images from a folder, Album, Smart Album, Project, Group as well as a Catalog.
The Cursor tools provide easy access to a number of closely related sub-features, referred to as Tools.
The Tool Tabs give access to all of the core tools needed to edit images, such as color balance, exposure and sharpness.

Overview in detail
The main Capture One User Interface elements are a Tool Tab bar, the Viewer and Image Browser.
The Toolbar provides graphical shortcuts to some of the most useful functions of Capture One.
Tools: Each tool tab has a number of related tools to help adjust an image file.
Viewer Modes: Access the Multi view, Primary view and Toggle Proof Margin Viewer modes.
Browser Modes: Access and select the Filmstrip, Grid View and List View browser thumbnail viewing options.
Search the Browser: Insert text into the search field at the top of the Browser to filter
Sort the Browser: Choose the order of thumbnails in the Browser from a number of criteria including: name, star rating, ISO etc.

 The default layout has tools to the left and browser to the right of the viewer.

  • To choose a layout more similar to Lightroom, simply select ‘Window > Workspace > Migration’. This will provide a workspace that more closely resembles Lightroom’s layout.
  • Most tools in Capture One can be re-organized, moved freely around and even scaled, by simply clicking the Tool Title and dragging. Parts of the interface can also be hidden. For an easy overview, use the View menu.→「表示」

ブラウザを下に表示させたいとき↓

f:id:cinemato:20180616211722p:plain

 フィルムストリップモードの時は↓

f:id:cinemato:20180616212035p:plain

「ブラウザズーム」でサムネイル画像の大きさを変えることができない。

そのほかのモードの時はサムネイルのサイズを変えられる。

Static Image
Different layouts in Capture One

 

2. Catalog or Session?

Capture One offers two ways of organizing your images. Catalogs and Sessions. What are they?

Catalog

Just like Lightroom, you can import your images to a Capture One Catalog. You can choose to keep your images in their current location, or copy them inside the Catalog. A Catalog is a database that contains information about metadata, keywords, ratings etc. for each image.

When importing, organizing or editing your images, Capture One updates the database with this information. This is a very useful way of working with larger image collections.

You can even import your Lightroom Catalog directly into Capture One!

Session

A Session provides a more simple, folder-based workflow with a default structure and the ability to browse any folder on your computer without having to import. Adjustments are placed in a subfolder next to the images. Sessions are suitable for tethered shooting, individual jobs etc.

You can use one or the other – or both. Watch this webinar (60 minutes) to get a full overview of the mechanics and benefits of both types.

3. Presets = Styles

What’s called presets in Lightroom is called Styles in Capture One. They work in a similar way and are easily adjusted after applying. Capture One also features Presets, which only includes one tool, making them accessible from within the tool they use. To summarize:

Style: Pre-defined adjustments including multiple tools.
Preset: Pre-defined adjustments including only one tool.

 

To learn more about Styles and Presets when switching from Lightroom to Capture One, watch this tutorial (5 minutes).

www.youtube.com

4. Layers

Layers in Capture One provide similar functionality as Brushes in Lightroom. However, they work more like Layers work in Photoshop, where each layer has a mask. If we stick to Adjustment Layers, you have two initial options:

  1. New Empty Layer – The default option when clicking the plus-icon in the tool.

f:id:cinemato:20180616214742p:plain

 

This will create a new layer without a mask on it. To apply the effect of any adjustments, you need to mask the desired area with the brush.

  1. New Filled Layer – By long-pressing the plus-icon, you can choose this option. This will create a new layer with a solid mask on it. Any adjustments will show on the entire image, but you have the option to erase parts of the mask or decrease the opacity of the whole layer.
Static Image
Adding a new Layer, masking and adjusting exposure

 

 

5. Color Editor (HSL)

The way to adjust Hue, Saturation and Lightness (HSL) in Capture One is a bit different from Lightroom. The Color Editor is split into Basic, Advanced and Skin Tone. The Basic part is split into six color ranges, but they don’t quite match Lightroom’s HSL tool.

For an easy transition from Lightroom to Capture One, download this Color Editor Preset, which provides the same eight color ranges as you know from HSL in Lightroom. They will show up in the Advanced part of the Color Editor.

HSL Color Editor Capture One

Unpack the zip file. Install from ‘Adjustments > Styles > Import Styles…’ and select it from the Preset menu within the Color Editor. Select any of the ranges from the list to easily adjust Hue, Saturation and Lightness.

Static Image
Installing and using the HSL Preset

 

6. Copy adjustments

To copy adjustments from one image to others, click the arrow-up icon in the top right corner. Capture One automatically detects changed adjustments and puts them in the clipboard. Control which adjustments you want copied from the clipboard, and click the arrow-down icon to apply these adjustments to the selected images. The process of copying adjustments makes your transition easier when switching from Lightroom to Capture One.

For example, crop settings and Layers might not always be useful on other images.

Static Image
Copy all adjustments except Crop

 

7. Color Balance

The Color Balance Tool will make color grading easy and fast. It’s like Split Toning, but with more options.

The Master channel works like an overall visual White Balance tweaker; the whole image will be affected. Shadow, Midtone and Highlight will tone each part of your image with the hue and saturation of your choosing.

The luminosity slider to the right provides additional control of the contrast of the image while color grading.

Static Image
The Color Balance Tool

 

 

8. Process Recipes

Process Recipes work a bit like Export Presets – but you can select multiple at a time! Each recipe will export a variant of the image to a size, format and location of your choice.

The real power of Process Recipes comes from Tokens. You can export images into multiple folders, give them specific sub names and much more based on dynamic information. Once Process Recipes are set up to your workflow, they will save you time!

 

9. Edit All Selected Variants

When exporting, deleting or adjusting multiple images at a time, make sure to enable ‘Edit > Edit All Selected Variants…’. Otherwise you will only export/delete/adjust the highlighted image in your selection. You can also toggle the feature on this icon:

Edit All Capture One

You might think “why would anyone need to disable this?!” – but there are surprisingly many instances where it’s useful.

 

10. Shortcuts

In any software, shortcuts make lives easier. This is no different in Capture One. In addition to an extensive default list of shortcuts, you have the option to add shortcuts for almost anything. Including changing all the default shortcuts.

Go to ‘Capture One Pro 11 > Edit Keyboard Shortcuts…‘ if you’re on a Mac, and ‘Edit > Edit Keyboard Shortcuts…‘ if you’re on a Windows computer. First step is to duplicate the default and create your own list. Then you can edit away!

 

11. Instant tethered capture

Capture One was initially designed 20 years ago as a tether software, meaning it would transfer an image from a connected camera to the computer, and show it on the screen.

For an industry-leading tethered workflow, simply create a new Session, connect a supported camera and start shooting.

 

If you don’t already own Capture One, you can download a 30-day trial and discover the power of it!
 
 

Want more content?

 

 

captureone11 tips 01

11+1 tips and tricks for Capture One

Following the previous blog post about 11 tips and tricks for Capture One, here is another post stuffed with tips and tricks to ease your workflow!

If you don’t already own Capture One, download a 30-day trial and follow along.

 

1. Apply a Style or Preset as a Layer

Capture One 11.1 introduced a simple way of applying a Style or Preset as a Layer.*

Right-clicking a Style or Preset will open a menu, allowing different options. Selecting ‘Apply to New Layer’ will create a new Layer with the name and adjustments of the Style or Preset. From the Layers tool, you can now adjust the opacity of this Layer, controlling the impact.

Static Image
Applying a Style as a Layer and changing the opacity

 

*This feature requires that the tools included in the Style or Preset work on Layers. Black & WhiteFilm GrainBasic Color Editor, Vignetting among others don’t work on Layers. If a Style includes tools that don’t work on Layers, a warning will show.

 

2. Show / hide / move the Browser, Tools and Viewer

Shortcuts in Capture One are among those things many photographers don’t take the time to learn. Continuously investing time in learning, remembering and using shortcuts will inevitably improve your workflow.

Here are five of my personal favorite shortcuts that quickly make the interface of Capture One highly dynamic and flexible:

  • [Cmd / Ctrl + b] : Show/hide the Browser
  • [Cmd / Ctrl + t] : Show/hide the Tools
  • [Cmd / Ctrl + Shift + b] : Switch the Browser below/to the side
  • [Cmd / Ctrl + Shift + t] : Switch the Tools left/right
  • [Cmd / Ctrl + Alt + v] : Show/hide the Viewer

Like any shortcut in Capture One, these can be customized:

Mac: Capture One 11 > Edit Keyboard Shortcuts…
Win: Edit > Edit Keyboard Shortcuts…

 

3. Adding the same tool multiple times

Are you tired of switching back and forth between the RGB and Luma curve? Or maybe the Shadow, Midtone and Highlight in Color Balance? Fear not, this trick will help!

As the interface of Capture One is customizable, you can simply add the same tool multiple times and have them next to each other. You can do this in the current Tool Tabs or create your own. Right click anywhere in an empty space in a Tool Tab to add new tools.

Static Image
Adding the same tool multiple times

 

4. Film Curve – Extra Shadow

Some images are a bit heavy on the contrast or saturation straight out of camera with the Auto curve applied. This is of course a subjective matter, but if you like your images to have a slightly more flat starting point, there is a trick for that!

In the Color Tool Tab, go to Base Characteristics. Change the Curve from ‘Auto’ to ‘Film Extra Shadow’. This will provide a starting point with less contrast. Bringing back the same contrast level if needed is a quick pull in the Contrast slider or some Levels adjustments.

This Film Curve can be saved as a default option for your camera, which is applied when importing images going forward. Go the tool submenu [•••] and select ‘Save as Defaults for…’

Film curves - Auto vs. Film Extra Shadow

 

5. Two different Auto Levels methods

Auto Levels (the tiny ‘A’ in the top right of the Levels tool) is a quick method of getting a fairly decent contrast with a single click. Within ‘Preferences > Exposure’, you can select between two different channel modes:

RGB Channel: Will move the RGB channel, affecting overall contrast and luminosity.

Red, Green and Blue Channels: Will move the channels individually, affecting contrast and correcting for any color cast there might be present in shadows, midtones or highlights.

Auto Levels channel modes

The Clipping Thresholds can also be set from the preferences, allowing control over the strength of the Auto Levels adjustments.

Auto Levels

 

6. Select by filename list

You send a large number of images to a client for them to make a list of their picks. You get a list of filenames back in an email. How do you most easily find those images in your Session / Catalog? Select by filename list.

Go to Edit > Select By > Filename List… and copy the filenames into this window. Click OK, and the images from the list are instantly selected within your active album/folder. With this selection you can simply give the images a rating, color tag or create a new Album (Right Click > Create Albums From > Selection…) for further processing.

You can create keyboard shortcuts for both ‘Select By Filename List’ and ‘Create Albums From Selection’. With this workflow, selecting and managing any number of images from a filename list will take as little as 15 seconds.

Select by filename list

 

7. Single Pixel noise reduction

Within Noise Reduction, there is a slider called ‘Single Pixel’. This will take care of most instances of hot pixels in your images. A hot pixel is a dead pixel on your camera sensor that typically shows up as pure white.

Static Image
Single Pixel Noise Reduction – Removing hot pixels

 

 

8. Advanced Color Editor, hue rotation

If you’re familiar with the Advanced Color Editor, you might have encountered the limit of 30 degrees with the Hue slider. Does this mean you cannot change a color range more than 30 degrees around the hue wheel? Nope, there is a trick!

The tool allows up to 30 color picks – per layer. With this in mind, you can simply pick the color range again (and again and again…) and change the Hue in the same direction, effectively pushing the change 30 degrees per color pick.

The reasoning behind the 30 degrees limit is to make sure precise adjustments are fast and easy.

Color Editor Hue Rotation

 

9. Crop settings

In ‘Preferences > Crop’ you can decide what to show and when to show it when working with the Crop Tool. You can mix and match your settings as desired. The easiest way of finding out what works for you is to select an image, select the Crop Tool and make a tight crop, then go to Preferences without switching to another cursor tool.

Static Image
Changing the Crop Tool visuals

 

 

10. Sub Folders in Process Recipes

If you use Process Recipes (if not, then you should!), you might have seen the field ‘Sub Folder’. It’s a nifty little feature that allows you to specify a sub folder for each recipe, automatically placing images exported with the recipe in the respected sub folder. You can, for example, add a ‘TIFF’ sub folder for your TIFF recipe and a ‘JPG Preview’ sub folder for your small resolution JPG recipe.

Process Recipe Sub Folder

 

 

11. Toggle cursor tools with the same shortcut

This is not specific to Capture One, but the trick to toggle between cursor tools with the same shortcut is to hold down Shift as well. For example, toggling between the rotation cursor tools is [Shift + r].

Toggle rotation cursor tools

12. Creating custom ICC profiles

Is the skin tone of a specific camera model too red, or do you need the blues of another camera to be permanently less saturated?

If you are unhappy with a color profile of a supported camera model in Capture One, you can create your own. Any color adjustments made in the Color Editor can be saved as a custom ICC profile and used on future images.

To learn more about how the Color Editor works, you can watch the webinar, Color Editor Master Class (60 minutes).

Static Image
Saving and using a custom ICC profile

 

What are your favorite tricks in Capture One?

If you missed it in the beginning, here are another 11 tips and tricks for Capture One.

If you don’t already own Capture One, you can download a 30-day trial and discover the power of it!

sony a7mk2でテザー撮影する際のカメラ設定

captureone11でテザー撮影する際のカメラ側の設定。

 

①「画質」で「raw」のみにしない。必ずjpegのデータで記録されるようにしておく。

②「usb接続」で「pcリモート」に設定しておく。

以上二点でテザー撮影が可能になります。

ETC sourcefourについて

誰かが改造したETCソースフォー。

ストロボチューブが入っています。

cometのジェネを使ってストロボとして使えます。

世界に一台しかないかも、と思い立ちヤフオクで数万円かけて落札しました。

ETCは舞台照明の世界標準なのでアクセサリーが豊富にあります。

まずはテストしてみて、使い道を考えます。

太陽光をストロボで簡単に再現できます。

 

f:id:cinemato:20180221135138j:plain

 

top base light  s-125  asa200  t-11.2( 1/1.5)

ジェネの出力 「200」

レィフレクターなしベアバルブ(クリアのガラスグローブあり)

3ft*6ftのアートレ枠越し 

灯体は天井近く、枠は被写体の近くに寄せる

 

 

keylight s-125 asa200 t-22.3(*2.5)

sourcefour (ホルダーにアートレ) フォーカスはジャストピン

うち枝ぼかし(被写体に近い位置から)

 camera

s-125 asa200 t-16.0

 

 

注意点

濃い影を出したい場所でフレネルレンズのフォーカスを合わせる。

ディフューザーを入れないと、光源のむらが大きい。

光源のむらは調整ができる。

 

アクセサリ等の資料

アイリスシャッターの最安値。

以下で購入

www.kupo.jp

大手代理店。いろいろ親切に教えてくれる。

http://www.kenpro-inc.com/sourcefour/S4.html

 

 

condensation effect on pint glass

グロスバーニッシュスプレーを表面をきれいに掃除したパイントグラスに吹き付ける。

 f:id:cinemato:20180217155214j:plain

artist gloss varnish spray 

バーニッシュを吹いてから30分ほどしたら、

液体グルコースを温水で溶いたもの(あまり緩くしない)をスプレーで吹き付ける。

f:id:cinemato:20180217155257j:plain

liquid glucose / corn syrop

vaporizer spray bottle         

 

乾くと水滴が固着する。

温水で洗うと元に戻るらしい。

面白そうだから試してみたいね。

f:id:cinemato:20180217155948j:plain

f:id:cinemato:20180217155956j:plain

f:id:cinemato:20180217160005j:plain

gamut

 

 

 

Canon DLC: Article Print: EOS C300 Mark II Looking Forward: Wide Color Spaces

 

 

EOS C300 Mark II Looking Forward: Wide Color Spaces

April 27, 2016

As both the industry and consumers begin to adopt 4K and UHD into their daily lives and diction, multiple conversations are beginning to form in parallel; “How will people consume UHD in their homes?” “What is the 4K Standard?” “What comes next?” Those are just some of the questions you can hear buzzing around the conferences and technical seminars. However, one of the most prevalent topics that comes along with the discussion of UHD is color space.

For a lot of us in the filmmaking community, color space is either an entirely new concept or a distant idea not given much attention to up until now. The reason for that lies in our HD-past. Cameras like the EOS C300, DSLRs, and broadcast cameras, in reality had only one color space. So, little attention was paid to it, and filmmakers just accepted their given color space as an ultimate fact. Color Space is a relatively simple concept at its core. The basic idea behind color space is “how red are my reds, how green are my greens, and how blue are my blues?” This has been a limitation of both the HD cameras and HD displays of the past. Devices like laptop screens, televisions, and projection systems all have set color spaces that try and replicate human perception of color as closely as possible, within their technical limitations. The standard in color spaces for consumer devices over the last decade has been ITU-R BT.709, or more commonly referred to as Rec.709. In the chart to the left, it’s clear just how small of a segment of a human’s perception of color BT.709 actually represents.

As technology pushes forward though, a new color space is being introduced that will allow consumers to view much more vibrant and truer colors on their home devices. However, to go along with this wider color space being introduced on TV’s and other devices, we are going to need cameras that can actually capture and encode more colors, and that’s where the EOS C300 Mark II comes in.

Inside the EOS C300 Mark II, Canon has now included four different color spaces, each larger than the last. The question of which color space to choose from is at the forefront of many filmmakers’ minds now that they have actually been given the choice. Here is a brief description of all the EOS C300 Mark II’s color spaces and their practical applications.

BT.709: The Standard in HDTV. Most televisions, home projectors, and computer displays are designed to show colors within the BT.709 space. This is the recommended space when shooting for HD Broadcast or Web Video Content.

DCI-P3: The Standard in Theatrical Projections. Theater Projection systems can show a wider range of colors than consumer displays, so when filming something with the intent of finishing to DCP (Digital Cinema Package), DCI-P3 is the recommended minimum color space.

BT.2020: Set to be the standard in Ultra HD, just like BT.709 is the standard for HD. Whenever capturing 4K or UHD content, this is the recommended color space. Although currently very few televisions support this standard, so projects may still need a BT.709 pass.

Cinema Gamut: An incredibly wide color gamut, this is a Canon proprietary space that captures more colors than any current display technology can replicate. It encompasses the colors of all known film-stocks. This is recommended for use when content is being finished to multiple formats and future proofing is desired.

Now, with all that said, these recommendations are just that, recommendations. An important note is that the colors captured in the larger color spaces like Cinema Gamut or BT.2020 can in some cases be “squeezed” and modified to fit into any of the smaller spaces. We could shoot 1920x1080 in BT.2020 or Cinema Gamut, and there won’t be anything technically wrong with that image. Not only that, but in some cases this pairing is actually preferred - granted additional time in post can be allotted for the extended color management.

So let’s look at that. What could we be gaining by shooting Cinema Gamut in say 1920x1080 even though most HD delivery formats can only show us BT.709? There are quite a few reasons actually. By shooting HD in Cinema Gamut, we will have the ability to make optimal versions of our work for all different delivery formats in post-production. Since Cinema Gamut encompasses all of the current standard color spaces, we can make multiple passes of our project optimized for different platforms: a version with colors mapped to DCI-P3 for our theatrical projection premiere, a version in BT.709 for HD web streaming, and even a version in BT.2020 to take full advantage of the color space on UHDTV’s even though the footage itself is not UHD.

So with that information you might feel that Cinema Gamut is the right choice for any production, better be safe than sorry, bigger is better, all that jazz, right? Well, there is one major consideration that must be taken into account when shooting Cinema Gamut. Since the space is so large and the RGB primaries are so wide, when looking at ungraded Cinema Gamut on a BT.709 panel, such as a computer display, the image appears drastically de-saturated. Which makes perfect sense - reference the CIE chart above and you can see BT.709 is only showing us about 40% of the colors that Cinema Gamut has captured. The colors are still there and captured of course, but our screens just can’t show them. The image would be like someone has turned the saturation level of your footage down over half! Check out the two images below.

So that brings me to the biggest factor to consider: Cinema Gamut footage always requires color grading. A professional Colorist wont have any problem utilizing Cinema Gamut, but the one-stop-shop shooter/editor/colorist that many filmmakers have become might find that they may not be able to properly reap the benefits of shooting in Cinema Gamut when compared to something like BT.2020. To get the most from Cinema Gamut, it is ideal for content to be graded on a display that can properly show all of the subsequent color spaces - BT.2020 , DCI-P3, and BT.709 - such as the Canon DP-V2410 and DP-V3010. That way, the Colorist will have a proper reference of what the final image will really look like on all of the varying formats the content could be displayed on.

Choosing which color space to capture is as important as choosing a resolution, and incidentally it requires a lot of the same line of questioning. “Where will my footage be seen?” “What’s the longevity of my content?” “How much time do I have in post production?” -- All are important questions when making these decisions for your next project.

Whether you are producing a vignette for a local broadcaster, a nature documentary with 4K deliverables, or a narrative style feature film, the EOS C300 Mark II has looked far into the future to assure all of your needs are met.

The CDLC contributors are compensated spokespersons and actual users of the Canon products that they promote.

http://learn.usa.canon.com

 

 

C100mk2 viewing LUT

gamutは色域 gammaは階調(カーブ)

f:id:cinemato:20171029212357p:plain

 まずはc100のおすすめ設定について

 

Before shooting:

1. Set minimum ISO to 850. Unlike with a traditional DSLR, choosing a lower ISO will NOT result in a better image on this camera. Instead, it will rob you of dynamic range. So always always always set a minimum ISO of 850. In low light you can go higher – much higher, in fact, and get great results. But never go lower.

2. Shoot Canon Log (CP Cinema Locked). This is the only way to get the full 12 stops of dynamic range out of your camera. The footage will initially appear flat when you view it. But you have plenty of quick options for giving it snap, crackle and pop by applying LUTs. More about that momentarily.

3. Enable View Assist. The image on your LCD will appear flat, and to fix that and give you an approximation of the final image while shooting, you’ll need to turn on the view assist. It’s located in the LCD menu. TIP: I add this and several other settings to the custom menu, which makes finding them much quicker than hunting through the menus.

After shooting:

4. Use a LUT. A LUT (Look Up Table) is an automatic color correction designed specifically for your camera, which is applied to your footage in post. Which LUT to use? I recommend these free EOS Cinema LUTs from Able Cine. To apply them to your footage, you’ll need an inexpensive plugin like the $29 LUT Utility. These will work as a plugin to the NLE of your choice (i.e., Premiere, FCPX, etc).

5. Adjust LUT intensity to get desired look. Using LUT Utility, you can adjust the effect from zero to 100 percent. I often find that dialing in 60-80 percent of the effect is just about right.

Here’s an example, an interview shot in front of a window. The challenge is we’d like to make her skin look awesome, while at the same time retaining as much highlight information as possible in the background. So we shoot in CP Locked, and…

Screen Shot 2015-08-26 at 11.56.56 AM

Above: CP Locked footage looks flat prior to grading.

Screen Shot 2015-08-26 at 12.11.14 PM

LUT applied (no other color correction). As you can see above, this instantly does wonders for our footage. But it still needs a little work.

wideDR gamma

wideDRで収録するのか、c-logで収録してから「wideDR」のLUTを当てるのか?その違いは??

wideDRで収録すると、収録された素材には「600%」までしか記録されない。それ以上のハイライトのデータはセンサー上で捕えていても記録されない。

他方、c-logで収録すると「800%」まで記録される。

情報量の多い素材を、収録後に情報を切り捨てることになる。

 

CANON純正LUT

記事の項目「4」についてはメーカー純正のLUTが現在は配布されている。該当する機種を選択して、進むとファイルが見つかります。

 

f:id:cinemato:20171029151655p:plain

 

ZIPを解凍するとフォルダ内には以下のようなファイルが入っています。

f:id:cinemato:20171029221611p:plain

 各言語の説明書のPDFファイルと「1Dlut」「3Dlut」のフォルダ。

カメラが3グループに分かれていて、それぞれに対応したLUTがどれなのかわかるようになっています。

 

1dLUTはガンマの変換(カーブ)のみで、

3dLUTはガンマと色域の変換ができます。

但し、c100のデータでは色域(709)の変換はできません。

709の色域が一番狭いので、業務的な都合がないかぎりあまり意味もないですが、、、

 

5dmk4のc-logはグループ3で「1Dlut」にのみ対応しています。

c100mk2はグループ2で「1Dlut」「3Dlut」に対応しています。

細かなことは説明できませんが、「3Dlut」の方が複雑なLUTであることは間違えないようです。

 

以下参照

https://is.wowowent.co.jp/download/lut_and_hdr2017.pdf

f:id:cinemato:20171029223841p:plain

f:id:cinemato:20171029223922p:plain

 

canonの3dLUTには「格子点」→「グリッド数」と表記されている。

グリッド数が「17」「33」「65」のLUTが用意されている。

「65」が一番細かく計算している。

f:id:cinemato:20171029224341p:plain

 

 変換後のレンジが「Full」と「narrow」の2種類あります。

「Full」は文字通り0%から100%までを使います。

但し、TVの信号には適合しないので「narrow」レンジが容易されています。canonの人は「full」は映画用、「narrow」はTV用と説明していました。

 

AEでLUTを当てる。

以下のエフェクトでLUTを当てることができます。

 

f:id:cinemato:20171029233133p:plain

 「カラーLUTを適用」をクリックすると、LUTファイルを選択するウィンドウが表示されます。

 

 

あるいは、、、

f:id:cinemato:20171029233512p:plain

 「基本設定」の中でLUTを選べます。

f:id:cinemato:20171029233629p:plain

 プレミアからだと、、、「color」でLUTを当てることができます。

f:id:cinemato:20171029233908p:plain

 

f:id:cinemato:20171029234023p:plain