Great video, thanks for the effort. As for the colors it's tricky, because different monitors have different color reproduction, so it's all very relative, because in the end most of us are watching this video on budget uncalibrated monitors at home. Leeming pro and Phantom lut looks best on mine 4k IPS monitor.
I use Leeming for monitoring in camera. I know it will be ETTR properly and I can totally judge if I underexposed or overexposed too much without even looking for zebras.
@@ferrygelluny9093 you do now that Emotive color is developed to be as scientifically accurate to Arri Alexa color science as possible? Much more so than Phantom? But then again you might not have worked with real Alexa footage…
I love the exercise. CST is still, for me, the best overall. Aces does a great job as well. For luts I guess I go with Cinematools B or Leeming Pro. S709 V200 is just horrible specially on Skin
I prefer Leeming LUT my only issue is to get proper exposure (they recommend exposing to the right) its like 3 stops brighter than a standard in camera slog3 to 709 display assist. You're video shows you're using the same iso for each of the LUTS.
Great Video ! I love the use of the different Luts 😊. Especially the Phantom ones. I would like to ask you: what lens did you use for this video ? Thank you very much
Very very helpful video. Sadly I don’t have the eye to spot the subtle difference in some cases. I’m trying to decide between Leeming and Phantom Luts. Swaying towards Leeming as I also have an a6600 which I believe Leeming does a corrective lut for as well giving them a similar look. A newbie to LOG and actually a little nervous getting off Auto😮 (I know, I know…). But as I’m a realtor making my own videos, I want to get the most out of the dynamic range of the a7siii Any advice from the creators or audience?
Sony A6600 records 8-bit video therefore you can only use Slog2 or HLG to avoid banding and artifacts. Leeming LUT expects you to overexpose the footage by 2 stops, which can be tricky to monitor especially if not using external tools. I recommend using Slog2 with the official LUT from Sony or using HLG with the gamut conversion LUT.
@@cinematools9621 if I'm not too late, may I ask you to skip the first few frames in each clip when you export images? Or take the stills from the middle of the clips to be safe. The chroma channels have a bit worse quality in the first few frames in Fuji's recordings, at least that was the case before the X-H2s
Which of these look closest to what your eye saw when you recorded these shots? My guess is Leeming? I was surprised that ACES to REC709 transform doesn't look the same as directly transforming to Rec709. Is that because of your contrast adjustments?
Resolve CST or Cinematools Base LUT which are pretty much identical give you the most neutral image. Leeming makes skin tones look pinkish and the yellows are very harsh with it. ACES was developed for Venice or some other high end camera, that's why it might look a little off on A7SIII.
@@TouchToneDSG No worries. It means that we judge our exposure based on the skin tones instead of overall scene. Caucasian skin tones in well lit scenarios are around 70 IRE on the histograms, so we exposed it using that. A LUT was loaded on external monitor but using Slog3 to REC709 preview in camera can also work.
@@cinematools9621 so i think what my friend above is trying to say is who's lut is aces. to add to that i also whated to understand what aces is, is it a step in the process you do before you add a lut? thanks
@@WolfMediaImaging it transforms LOG image to ACES for grading. similar to what LUT does but with benefits of working in wider color space. I highly suggest watching Cullen Kelly videos on youtube on the subject. He can describe it way better than I.
hi, Most of the day scenes are probably +1 on the camera meter. I typically set zebras to 95+ and judge it by eye using view assist if an external monitor is not involved. Also, note that the contrast was adjusted. All LUTs and CST have slightly different curves, and leaving them as-is would be distracting.
Nice comparison, however, In the year of our lord 2022 when an HDR grade is becoming increasingly required, particularly on larger projects, these LUTs will quickly become dated. Better to work with a LUT that is compatible with rec709, P3, rec2020 and everything in between. Which is why Filmconvert, VisionColor and Paul Leeming are at work developing LUTs for the 21st century
@@get_spanked240 Your nick says it all! 🤣 At the time I left to teach in Korea in 2007, practically everyone in the USA was watching miserable interlaced SD on crap CRT displays. Even today, many are still watching on filthy uncalibrated displays in vivid mode. So what? There’s absolutely zero comparison between an SDR program and an HDR one on an OLED or miniLED, in spite of tone mapping. Billions of ppl around the world are carrying in their pockets a device with perfect tracking of the ST 2084 PQ curve and over 97% coverage of P3, some of which can achieve as much as 1,600 nits. Many, if not all streamers now require projects be mastered in HDR.
@@JonPais The difference is that most tvs have gotten much better at color and most hit the rec709 range unless you are buying a cheap ass monitor/tv. Not even the top consuming tv's like LG OLEDs or sony's can hit the correct peak brightness range. My roomate's lg oled's ABL was distracting and its quite obvious that there still is a lot to be worked on. Micro led is the closet thing to perfection we have right now and its gonna cost a ton of money. Is there a need/demand for hdr? Sure! Of course there is, but it doesnt mean sdr is outdated or will be anytime soon. That's just stupid talk. Plenty of customers will still choose sdr for years to come. ffs, we still have so many clients that ask for 1080p exports
@@get_spanked240 80% of televisions sold cost < $500 USD, so no, you’ll never see the director’s intent on a cheap uncalibrated WalMart TV - not even in SDR. Steve Yedlin had to calibrate his set, then adjust, confirm or disable some two dozen settings on his LG OLED just to meet his exacting standards for SDR! And few prefer an SDR picture once they’ve seen it in HDR, even straight out of the box. It’s not necessary to have microLED to appreciate HDR, it will not be in affordable consumer TVs for well over a decade. LG OLED TVs are used as client reference displays in high end post-production, so if the picture looks bad (hint: it doesn’t), there’s either something wrong with your settings or the ambient lighting. The most widely used reference monitor, Sony’s BVM X300 can only hit 160 nits full screen. Just because a TV picture doesn’t look identical to the reference display is no argument at all, otherwise no one would even go to the theater. SDR is an aberration, HDR is the default condition.
