This video helped but the menu options are all in the lumitri color panel since the last update not under modify. Update vide may be useful to your followers if you haven't done so already :)
Today, after years of misunderstanding how to color correct SLOG and obtain horrendous results, I've learned to do it the proper way and I finally understand it. THANKS!
WOW bro. One of the most usefull tutorials I have seen in years. I tried it. I used to put the lut in Lumetry panel, and the resaults were really good. But now, with this method... wow!! Colors are much more rich!! I dont know why. And the workflow much easier. Thanks mate
Im glad you discovered something new. To deal with your issue, remember to slightly overexpose when shooting slog3 and you still need to correct the footage - for example, decrease the shadows a bit etc and your noise should go away.
@@TomsJurjaks Hey there! Sorry mate, when I tested your way my settings were not on 10 bit, but 8. Thats why the issue with the noise. In ten bit this way works FANTASTIC! thanks again and sorry for the comment above. My mistake. Keep up the good work!
Great video, right to the point. Provided new information. Thank you for sharing. Lastly, if anyone chooses to do method one, I don't recommend using adjustment layer above the video. Just have the first lumetri incorporate the correction through the input lut for your technical color correction and then use the options below to adjust clipping -> creative lut to use a lut you downloaded -> hsl secondary to correct skin tones.
Maybe I misintepret what you wrote, but the 709 transformation lut must be placed at the very end of your pipeline. By putting it in the first lumetri tab under input LUT and adjusting hightlights etc. underneath you are already in rec 709 and not benefinting from your wider vlog or slog color space. You should actully put a second lumetri on the clip and add the transformation lut so all the adjustments are happening BEFORE transforming your footage to rec 709.
@@Bordsteinpflaster I think you read my comment right. So you're saying that if you make adjustments after you place the rec709 conversion, you're color grading with less data because it's already converted? So you're no longer (in theory) editing the raw colors/raw footage anymore? I've been doing it first for a long time but everything turns out fine. I will try that way if you are correct and see what results I get, then compare
@@CSPRfilms that's what I believe how things work in Premiere, Lumetri and the overall colormanagement is really messy compared to resolve. But, they just recently added a feature that premiere can auto detect the color space your footage is in and automatically transform it. It's in the preference menu under the general tab (auto detect log video...), so I think and hope that we don't have to mess around with lumetri anymore.
In a world of clickbaity titles “Wait till the very end” Ten minutes worth of filler I truly apreciate short videos like these that tell you exactly what you’re looking for
this actually saved a video im working on as we speak... its for a magazine and my 2nd shooter shot in SLog (I obviously dont) and a lot of the shots weren't exposed right for the log
Thanks a lot Toms, I really appreciate this insightful drive through , tell me can you b able to share your Picture profile settings? like Slog 2 and Slog 3 .thanks
Thanks a lot my friend! Its quite simple actually, I just use the PP (Picture Profile) which has the Slog3 and I don’t change anything else. Im using it as it is
the Lut is great to have in your monitor just to give you the preview that the gamma assist gives on your camera screen that is not transmitted to the monitor
Its been a while since I made this video and Adobe keeps updating/changing things. I think now these settings are under Lumetri Tab when you are in the Color Workspace.
Always useful information like usual !! Thanks man I was hoping that you make a video about slogs luts etc because the way you explain it are so simple !!
Does this apply the conversion before or after other Lumetri effects? Ideally you adjust the log footage and the transform happens at the end, right? I'm confused as to where I should make adjustments. In the past I've applied my CST to the creative LUT option to be able to control exposure, contrast, etc BEFORE the conversion to rec709. Otherwise you're adjusting a rec709 image and you lose all that data you have in the log video.
When comparing method 1 with method 2 I see small differences in color and contrast. It must be because one LUT was made by Sony and the other by Adobe, right?
Hello, thanx for this tip man. My english is crap so i hope you will understand me. Once you interpret your footages, can you insert some effect layers to grade the footages? Like WB, Exp, Sat, skin and so on? thanx a lot
Yes of course! The interpretation is just to get the colors right for rec709 timeline so you dont have to use a LUT for it. After the color correction is done, you can go ahead and do color grading and apply a creative LUT, adjust colors, WP or whatever is needed. Interpreting footage is just the first and basic step.
For DJI products you still need to use the “old method” unfortunately where you gotta apply the conversion LUT. Not ideal but it is what it is. Hopefully Adobe will include their D Log in the list soon as they are constantly improving the product
dont have sony s-log in the list "color space overrode", the last in list "DCIDM XYZ". Do u know how fix it? or download smth? (UPD: PR 2022 20.4.0 ver 57, do u have higher ver? )
Most of the times, yes. Especially outdoors. In these examples, I controlled the light with my studio lights so I didnt use filters. And when filming indoors I usually do the same - control the light with studio lights rather than with filters
For some reason when I load slog 3 footage it’s automatically converted on the time line to 709. I can only see the original log in the source window 🤷🏻♂️ very frustrating
Technically its the preferred behavior for most, because you wanna work with rec709 in a most non-destructive way. However if for some reason you wanna disable this “auto conversion” you can do it in the project settings/color management tab (now i think its under Lumetri.
@@TomsJurjaks hey thanks! just saw this. but I just accepted it and started working with it that way ha-ha. I tried manually doing it and it just ended up looking very similar. my problem was I'm new to s-log and my fx30 so I was shooting it in cameras wrong. little research and I'm on track! thank you for the tip though!
Very nice man… I always thought that color management was something exclusively about davinci… but what about export settings? Are the exported video colors going to be washed out as it always happens on the Mac?
Yes, it does still lift your shadows and midtones the colors on export. Its all because of the color sync on new macs. You have to use the Adobe Gamma Correction LUT but then videos look darker on non Mac screen LOL.
Question. I follow this second method. And it blows out my whites and highlights like crazy. But I'm rec in the correct Slog 3 settings in PP8. I do expose 1.7-2.0 over. But that's because we are told so, when filming in Slog3
Does it blow out the highlights also when you use the first method? I usually use Zebras not to blow out the highlights when filming and then it works out well. I never follow that +2.0 rule, I rather use histogram and zebras 🦓
@@TomsJurjaks Solved! So in the sequence settings the Working color space Auto Tone Map Media check box had to be checked. It toned down all the whites after I checked it.
But you don't need to download it. Thats the beauty. Just shoot in Slog3 for example and Premiere will do the rest automatically (if you set everything correctly in the settings)
Not sure, but I would not recommend using Slog2 on A7III because its an 8-bit camera and they work poorly with slog profiles. One of HLG profiles is a better option for you.
Hey ! Thanks for your video ! Unfortunately, i still have a problem : i can't change the color managment… the button is grey :( Do you have a solution ? Thanks ! I work with log from Canon C200
If you are grading then do this step half way through the footage you are grading from will be different from when you started grading. You need to do this step first before you start any colour correction, not half way through. :)
You need to make sure you select the right profile (same as you have in the camera). If you select the wrong one, the footage will look horrible. Also make sure your timeline is in e.g Rec709
No way this works properly. Image does not respond correctly in Lumetri. Highlights are terribly blown out beyond recovery. Looks like you have the same problem in this video too. Highlights are completely molten on your face. Thanks for putting the time in to educate about the features in Premiere, but I would advise against this method.
It actually does work properly. What you forgot to do is go to Sequence Settings and mark a checkbox next to “Auto Tone Map Media”. It should be on by default, but for some users its off. It fixes many problems, especially HDR footage and if you shoot in HLG format, so yes it does work, I even made another video going bit more in detail with this, you are welcome to check if you are not too convinced 😉
Thanks! I realized if you use curves to tweak highlights after overriding the color space, you can see the detail that was preserved re-emerge in the scope as you pull them down. Very cool!
I followed your steps, but when I go to overwrite the color space, I can't find the list you provided, so I can't select "Sony S-Log 3/S-Gamut3.cine." How can I get this list?
PLEASE DO NOT DO THAT TO YOUR FOOTAGE, if you interpret your footage you DO destroy it, I have test this and with slog3 exposed to the right, when you apply this conversión it wil cut off the highlights and you´ll not tbe able to recover them as you can when you apply it as an adjustment layer or in creative part of the lumetri effect. THIS METHOD WORKS LIKE A DESTRUCTIVE LUT.
