JulioD

LUT’s and color are about TASTE. Most conversion LUT’s are for a standard like REC 709 and guess what…they don’t look that great. But they are accurate. So they make a technically correct transform that accurately maps a larger than REC709 gamma and gamut from their sensor into a very limited TV ENGINEER STANDARD transform that is super accurate (to REC 709). And even though we all say we want accurate color we really don’t, and not accurate color in a small restrained container like REC709. We complain. Fuji have at least some other transforms they ship with their camera and that’s the right way to do it. But if it’s a REC709 transform, it’s never going to look good. It’s not meant to.

It’s impossible to have a one size fits all LUT or else we would all be buying it. There’s so much variation in lighting and even sensor to sensor copy variation. Most people don’t realise that the color of a lens is usually DIFFERENT you shoot it wide open compared to three stops down. There’s no magic bullet for this. AI can maybe take over the color balancing at some point. Maybe.

I don’t find the tone condescending at all. And color correction can work for opportunistic shots just as well. Maybe even better. I see so many LUTs being advertised packaged and sold and it’s actually not THAT hard to create your own unique individual look with only a little bit of effort. The thing no one seems to talk much about is MATCHING a look shot to shot. That’s where it gets difficult. And that’s where you are helped or hinder by the person shooting it.

Things worth knowing. 1. The Director operated most of the time. 2. They mostly operated with a kind of hybrid Ronin hand held on the shoulder. Imagine the ronin inverted and with a shoulder pad and handles. 3. The film only cost 8 million to shoot and the rest of the 80 million was post. Once you know that, and the lenses used, it makes more sense that they made these choices.

But it doesn't stream your files straight into a DaVinci cloud project nor do they record 4444 ProRes?

Actually in the Q5 mode it goes even to higher compression rates. And it's 12Bit. ProRes is only 10 bit remember unless it's 4444. A lot or peeps don't seem to realize pixel for pixel, BRAW is usually the same size or smaller than ProRes at a higher bit depth. Now that's it's supported on everything except FCP, I don't miss prores. I love ProRes, but I love BRAW more.