Software Sony Look Profile (3d Lut)
Lorri Dent
The Preview color space setting in Options is also applied to the waveform, histogram, and vectorscope so you can to check your video using scopes. For more information, see "Editing Catalyst Browse options."
The waveform monitor displays the luminance values (brightness or Y component) of your video signal. The monitor plots luminance values on the vertical axis and the width of the current frame on the horizontal axis.
The histogram monitor displays the number of pixels that exist for each color intensity. The vertical axis represents the number of pixels, and the horizontal axis represents the RGB color range from 0 to 255.
The vectorscope displays targets for broadcast-legal saturations of red (R), magenta (Mg), blue (B), cyan (Cy), green (G), and yellow (Yl). Individual colors in your video signal are displayed as dots in the vectorscope. A dot's distance from the center of the scope represents its saturation, and the angle of the line from the dot to the center of the scope represents its hue.
For example, if an image has a blue cast, the distribution of dots in the vectorscope will be concentrated toward the blue portion of the color wheel. If the image includes out-of-range blue values, the vectorscope display will extend beyond the blue target.
The Vectorscope Settings menu allows you to toggle a monochrome view of the scope, change the scale of the scope, adjust the brightness of the colors displayed in the scope, and adjust the brightness of the scope's guide (graticule).
Click the Preview button in the top-right corner of the video preview to choose a preview mode. Split-screen previews allow you to split the video preview and waveform/histogram/vectorscope monitor so you can see your affected and unaffected video at the same time.
In the Adjust Color workspace, the bottom of the Catalyst Browse window provides color wheels for Lift, Gamma, and Gain. The wheels provide a visual representation of the current adjustments and allow you to adjust color quickly. As you adjust the controls, the waveform/histogram/vectorscope monitor and video preview will update in real time to allow you to check your adjustments.
Drag the point in the center of the color wheel to pick the hue and saturation you want to add to the video, or drag the slider on the side of the color wheel to increase luminance for all RGB components simultaneously. You can double-click the point to reset the color wheel or double-click the slider handle to reset the luminance.
Click the Inspector button in the toolbar to display the Inspector pane if it isn't already visible. In the Adjust Color workspace, the Color Space section in the Inspector pane provides color space controls that you can use to choose the source and conversion color spaces.
Click the Unlock button and choose a setting from the Source drop-down list to choose the color space that should be applied to the source media. When you choose a setting, the video preview is updated. The source color space should be detected automatically and does not need to be changed in most cases.
When an HDR or wide color gamut color space is selected in the Source drop-down list, you can choose a different HDR/WCG color space from the Convert to drop-down list to apply grading in the selected color space or apply a look profile that is available in the selected color space.
Furthermore, when the source is [S-Gamut/S-Log2], selecting [Convert to] > [709(800)] allows you to convert HDR/WCG clips to Rec.709 as well. The [709(800)] setting applies a 1D curve. When using a 3D LUT to transform HDR/WCG clips, it is necessary to apply a look profile.
The Preview box displays the color space that will be used for the Catalyst Browse video preview window. Click the Options button and choose a setting from the Preview color space drop-down list to change the setting.
If an external monitor is enabled, the External monitor box displays the color space that will be used for the external monitor. Click the Options button and choose a setting from the External monitor color space drop-down list to change the setting.
Click the Inspector button in the toolbar to display the Inspector pane if it isn't already visible. In the Adjust Color workspace, the Source Settings section in the Inspector pane provides the Exposure, Temperature, and Tint sliders to adjust the color content of your clip.
Drag the Temperature slider to adjust the color temperature (in Kelvin) of your video. Adjusting the temperature modifies the red and blue gain by adding an offset to the temperature setting saved in a clip's metadata.
Click the Inspector button in the toolbar to display the Inspector pane if it isn't already visible. In the Adjust Color workspace, the Look section in the Inspector pane contains controls to apply a LUT automatically based on metadata, manually, or to turn off LUT processing.
If you want to set a default look profile to be applied when no look profile is specified in a clip's metadata, click the Manual button, choose a setting from the Look profile drop-down list, click the Look Tools button in the LOOK heading, and choose Make default.
Click the Inspector button in the toolbar to display the Inspector pane if it isn't already visible. In the Adjust Color workspace, the Tone Curve section in the Inspector pane contains a color curve you can use to adjust the red, green, and blue channels graphically. As you adjust the controls, the waveform/histogram/vectorscope monitor and video preview will update in real time to allow you to check your adjustments.
As you adjust the controls, the waveform/histogram/vectorscope monitor and video preview will update in real time to allow you to check your adjustments. Click Delete Point to remove the selected control point.
Click the Inspector button in the toolbar to display the Inspector pane if it isn't already visible. In the Adjust Color workspace, the Color Correction section in the Inspector pane provides Brightness, Contrast, Saturation, Lift, Gamma, and Gain sliders you can use to adjust video levels. As you adjust the controls, the waveform/histogram/vectorscope monitor and video preview will update in real time to allow you to check your adjustments.
Brightness and contrast are not saved explicitly with ASC-CDL files. When exporting an ASC-CDL file, the Brightness and Contrast settings are incorporated with the other color-correction values. When you reload an exported ASC-CDL file, the Brightness and Contrast settings will be set to 0.
When exchanging color settings with Catalyst Browse and Catalyst Prepare, click the Tools button at the bottom of the Catalyst Browse window and choose Save preset from the menu to preserve Brightness and Contrast settings.
To adjust lift, gamma, and gain, drag the R, G, B sliders to adjust the red, green, and blue components of the each parameter, or drag the Y slider to adjust luminance for all RGB components simultaneously.
There are so many LUTs, film stock emulation and scene files available today that it can be hard to know what will work best for you. I am also going to look at some of these available options and provide some tutorials on how to use them.
Looks, Picture Profiles and Scene Files:
The majority of cameras available today are designed to be able to record a rec.709 video-compliant signal. The reason cameras do this is that rec.709 is the current television broadcast standard. Rec.709 produces video that could air on television without any post-production color grading. Rec.709, sometimes known as BT.709 was implemented in 1990 with the introduction of 16:9 broadcasts. Rec.709 compliant signals are broadcast in an 8bit colour space and squeeze all the camera information into around 5 stops of dynamic range.
LUTs:
LUT stands for Look Up Table, but what is a lookup table? A lookup table should be viewed as a sort of electronic business card and your computer, camera or monitor is the rolodex that stores all those business cards. Just like business cards, LUTs contain information that can be organised or filed in whatever way you like. In the video world when a LUT is applied to an image, the information from that LUT is read and the camera, computer or monitor changes the look of the image based on the information it reads. If your material is going to be broadcast,you use a LUT to normalise or correct a Log image to see what it will look like when it is broadcast as a standard HD Rec. 709 image. A LUT is a shortcut for applying this offset to a image. You could manually adjust the image in post, but this is a time consuming process. A LUT allows you to do this step quickly and more accurately.
The other big benefit of using a LUT is that you can have a LUT loaded into your camera or monitor and then have the same LUT in your edit or colour correction program. This gives you complete confidence that what you are seeing when your recording can be recreated precisely later on.
The other reason I use Picture Profiles or Scene Files is that if I am doing a multi camera project, it gives me the ability to load up the same look on all the cameras. Please note though, that this usually only works on cameras that are identical. There are a lot of Scene Files out there that have been designed to mimic the look of another camera to help you try and match them together. Some of them work better than others.
Log has been around for a long time, way before the introduction of digital cinema cameras. Kodak developed Cineon, a 10 bit quasi-log system that was used for scanning film into a Log format. This helped maximise the information from the film that could be stored in a video format. The Log information contained many shades of grey and had very low contrast. This Log material could then be corrected to be viewed on a monitor. In 2004 Panavision and Sony introduced the Genesis, a Super35 sized CCD imager camera with a dynamic range six times greater than that accommodated by the nominal Rec. 709 standard. The Genesis used what the company called PanaLog, which was based on the Log curve created for the Sony F900 back in 1999. Panalog eventually would become S-Log.
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