Thanks for watching! Learn more about why I think the iPhone 15 Pro is such a big deal for filmmakers here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-6eQRpJoLaBw.html
The colors in these log footage look amazing! The shots also look way less oversharpened and ‘gritty’. The overal feeling reminds me of my X-H2S, minus the bigger DOF. Finally iPhone footage looks like a really valuable B-cam or A-cam for social media :).
Great video! I was impressed by that studio footage shot with the iPhone. ProRes is definitely game changer, especially with apps such as Blackmagic camera.
This is by far my most favorite feature on the iPhone because it has improved the extra sharpeness and looks much more filmic and cinematic over the standard video mode
Just wanted to say I bought and used your LUTs, and they're perfect. After weeks of struggling to color grade (or even figure out how it works), this is a lifesaver. P.S. I only learned how to edit using a professional software a few weeks ago, so you can imagine how overwhelming this has been. I'm trying to build my own social org, and simplifying any part of it is HUGE. Thanks again!
As an old school grandpa, I like film emulation plug-ins. Dehancer, for instance, does a wonderful job, ( and helps those who are not married to a top notch colorist to do the job ;-)
So HDR is not comparable to LOG. It’s like comparing a color profile to a different resolution. They are two totally different tech for totally different reasons. Fitting a certain type of display format vs. recording more dynamic range. HDR is just a way to play “straight out of camera” footage that will display on a specific type of monitor without a transform. LOG is just to get more dynamic range.
Thanks for the video! Could you make a comparison video of shooting ProRes 422 vs LT vs Proxy vs HQ vs H.265 on the black magic app for iPhone 15? Would be interesting to see the results and file sizes
Definitely. In my testing, here are my results with the Blackmagic app codecs for 1 minute of footage. ProRes422HQ: 4.95 GB ProRes422LT: 1.25 GB H.265: 201.2 MB I haven't done in-depth testing between these 3 codecs, but viewing it on my monitor the three codecs actually look pretty comparable. The h.265 is also 4:2:0 10-bit which is not bad.
Thanks! comparison of these would be extremely useful as the file size difference is huge. Also comparing it with the H.265 LOG possible in the BM app? ☺☺🙏@@EvanSchneider
for something like real estate videos where window highlight information is important with a lot of dynamic range between the dark interior and the bright windows, is there a significant difference in dynamic range between the three codecs? And when processing LOG, do you find it possible to get close to the iphone's default native HDR dynamic range? (Where it does an incredible job retaining highlights and pulling up shadows, to the point where it looks fake and beats out most mirror less cameras)
in Final Cut just shift the colorwheels or any other adjustment to a position ABOVE the Custom LUT effect et voila! you can make adjustments BEFORE the LUT!
Yes, that is what I recommend! I'm not sure if it was clear, but what I describe in the video is that if you use FCP's "Camera LUT" option, it is on the clip level and does not allow you to place any adjustments before this transformation. The only way to do it is to use the Custom LUT effect. At the time of making this video, I didn't realize the official Apple LUT was released, but it was only available to developers. It should be available to the public like all other camera manufacturers.
ETTR = expose to the right. Usually you overexpose LOG footage. Ofc right before clipping but with my real cameras I always shoot LOG and always overexpose (1-2 stops) and it looks amazing once graded plus, you don't get noisy shadows that make ya look like a beginner.
That was especially useful when log was noisy and cameras were recording in 8-bit. But now, Apple Log records in 422 10-bit ProRes and has very low noise in normal lighting conditions. So I would not recommend shooting ETRR with this. You’ll get much better results and more flexibility if you expose middle grey properly (around 50%).
@@EvanSchneider Agree to disagree then. I’ve been told by several colorists to ETTR for 10bit LOG. Be it RED, Sony, canon, etc. they always ETTR. I’m shooting 10bit since years on all my cameras and I must agree with them, never got a cleaner image and grade since I’ve tried it for the first time. The proper exposure for middle grey also can’t be generalized like that to my understanding. Even within the same camera in different LOG formats it may already vary. ✌️
@@Deerob very well then, we all have our own workflows and preferences. I'm a DP and colorist, so I know both sides of the process, and I shoot on RED, Arri, Sony, Fuji, Canon, etc and I prefer to expose regularly. Gives me a nicer time looking at the image on set, more balanced dynamic range and nicer highlights, plus a little grain is easily removed. Just wanted to give another perspective. Plus, if you're shooting in the native camera app, there are not enough tools to accurately ETTR like you're saying. So that forces you to use the Blackmagic Camera app. Not a bad thing, but just something to consider. Hope that's helpful.
@@EvanSchneidercan you make a video for beginners how to shoot from a to zoom using the BM app. I rewatched your video many times but still have something missing either on how to expose and how to color correct in DR using your LUTs. I am referring to home studio for youtube. I like your video look and want to mimic the quality. Pls pls
It's actually always better to overexpose log vs underexposing. You want to exposure as bright as possible without any significant clipping. When you over-expose and bring it back down in post, you'll get way cleaner shadows and less noise. The important thing here is avoiding clipping which, as you said, is lost information that can't be brought back in post. Noisy shadows is better than no information at all. But the best way to expose LOG if to expose just under clipping. The more "over-exposed" the cleaner the image will be once corrected in post
Apple Log is quite clean even up to 1250 ISO (which is around the best ISO to shoot at for the most dynamic range according to Gerald Undone), so there’s not much need to overexpose according to your reasoning. It’s true that this method was a good practice for cameras in the past that recorded noisy 8-bit log formats, but we have much better technology today. I much prefer to expose roughly according to middle grey, or essentially “realistically”. Makes for a much better monitoring experience too. The ProRes422HQ 10-bit signal is more than capable of carrying the log encoded data without squishing it to one side. It’s really a balancing act of where you want to distribute your dynamic range more than anything. In short, I think it’s much riskier to ETTR and potentially blow out some highlights that are unrecoverable than to expose normally and maybe have to denoise some shadows in post if I wanted to push it brighter (which would be rare).
I have also never liked exposing to the right. It makes color grading much more work (because you need to darken all images and differently). I much prefer exposing as close to the end result as possible, crushing shadows if needed and accepting a tiny bit of clipping if better for the overall image. It’s also better for keeping the colors consistent (brighter images tend to have more saturation).
I have been using ETTR with iPhone 15 and on several occasions I had irrecoverable highlights area. So, this past few days I am trying not to use ETTR and a bit underexposing and it seems that it might work for me. In order to get the "almost" correct colour, I have added "Colour board > Edit exposure" in my workflow.
iPhone HDR video looks just like video from a phone. ProRes log looks much more like a propper camera. But the fact that you can take a ProRes video and convert it to H264 so that it looks far better than the original H264 HDR from your phone means that the problem isn't the codec, but it's simply that the iPhone still can't do the post processing very well.
Definitely. I would argue that the iPhone is doing the post processing on regular HDR footage TOO well. Like I said, the beauty of log is that we get full control of the image after we capture it.
Well, I tried to leave you the links to Apple's LUT and white paper, but RU-vid removed it. It's in their developer tools under More Downloads. They released it Sept 22nd. Also, I would use Davinci Color Management, which is just one setting being changed, and takes care of all the CST stuff before you even start grading. It is good to start with the accurate image, and then apply creative choices over that solid base.
Thanks, I actually just got it from someone today. I heard they said they would release it then, but I didn't know it would be under their developer tools only. I actually reverse engineered the profiles via the Resolve CST and built my grades for the LUTs from scratch. See one of the comments below for more info. The white paper and official LUT confirmed my personal findings. Working in a color managed mode has its advantages and disadvantages as well, and you have to manually tag the clips as Apple Log anyways. Personally, I generally prefer to work in a manual node pipeline because I feel it gives me more control. But sometimes if I'm in a hurry and have a mix of footage, I'll flip over to color managed and see if that saves me time.
@@EvanSchneider I didn't have to manually choose. It picked it up automatically. This is my personal opinion, but doing a scientific transform is exactly what I want the technical conversion to do. I want to make decisions about my footage once I am certain that this is the accurate starting image. I would prefer if I could buy your LUT's if they accepted as input DWG or ACEScct and outputted DWG or ACEScct. I want conversion to be scientific, and creative looks to be creative. If they are mixed together, I can't separate which is which. Again, just my opinion, and maybe those are useful for people who (for some reason) would work with color in FCP or Premiere. I prefer it to be like this: Apple Log -> Working Color Space -> Corrections -> Creative Look -> Delivery Conversion
Just bought your Apple Log Luts and absolutely love them. So easy to color grade without the pinkish issue from the original Apple Lut (from their dev website). I am curious on the color space, in the instruction you said the Rec 2020 as the input is the must on FCPX and it worked well. For the Fuji Flog-2, do I also need to apply the same rule (input Rec 2020 output Rec 709)? I noticed if I selected both Rec 709 for both input/output, the footage becomes more "reddish".
Your LUTs look great, but I went to purchase and saw I couldn’t buy them individually. I don’t need 60 LUTs, it would be nice to buy the ones I want instead of the whole lot. Either way, great job putting them together!
Thanks for the feedback! I also offer a pack with just the base conversions and the pre-LUTs here: lutcompany.com/store/apple-prores-log-rec709-conversion-luts
_I copied and paste all of my color grading nodes that I had on the ProRes log on to the H.265 standard HDR video, and it looked like I was just adding horrible filters of colors on the video, it was horrible._
Fantastic Evan! Uff! I’ve been waiting for this :) You truly are a time saver, which is precious… I have a technical question about the phone, I’ll DM you and see if you can help. Now I’ll go and check your new product out… Oh, btw (just as a side note): I haven’t got the new iPhone yet. Luts first, the 15 Pro next. I’m prepared, you see ;)
Is there an Android app that can edit Prores videos? I don't have a pc to do the editing. Motioncam, an Android app, does Prores (true prores or not I don't know).
Definitely, I can make a video about it. In short, I would say my top are the following: 1. ProRes422HQ - Highest quality 2. h.265 - Very small file sizes with a small noticeable difference in quality 3. ProResLT - Best balance between file sizes and quality
Thank you for exactly the info I was looking for! I used to do a lot of fun projects in high school and I’m familiar with Premiere.. but it’s been so long since then and some of this is new. I’d like to do more professional like videos for personal and business projects but I need more info and recommendations. What accessories do you recommend for recording with iPhone 15 pro?
Nice! I love using Moment's gear. Their Mobile Filmmaker Cage is great, convenient, and allows you to attach a bunch of accessories like mics, handles, tripod mounts, and monitors.
Hey Evan. I've bought your luts and they are amazing.Thank you you for that. Could you please advise a player for macos which allows to apply lut to view apple log videos on macbook with the lut applied?
I dont wanna sound like the bad guy here but Im tired of youtubers traying to sell LUTs for everything. I tought this was going to be a pure technical explaination on how to grade/shoot Apple Log footage, not a 50% video content of "buy my LUTs because this...". PS: Your LUTs look almost identical to Cullen Kelly's Essentials Pack, but not for DWG workflow.
I totally get that, it always feels like a race to see who can put out their LUTs first. But for me, building LUTs and color grading tools is a true passion of mine. That's why I took the time to explain how to grade the footage using the built-in tools first (FCP Camera LUT, DaVinci Resolve CST), then explained how you can benefit from using the LUTs that I developed for this specific encoding (Apple Log/Rec.2020). The LUTs I'm selling are not just the result of a color grade I performed on a random set of test clips. They have been developed and designed according to the technical specifications of Apple Log and combined with my artistic expertise and knowledge of what makes an image look the best it can. Right now, for Premiere Pro, there actually is no way to convert Apple Log footage to Rec.709 properly without LUTs. Adding contrast and saturation does not cut it, and I'm never going to recommend that workflow to anyone because it lacks a technical understanding of what log is and how to properly transform it to a display color space. I hope this helps provide a better understanding of why I do what I do, I don't want it to come off as defensive and I truly want to help people as much as possible!
@@EvanSchneider Sorry, "developed and designed according to the technical specifications of Apple Log"? Did Apple publish a data sheet for Apple Log anywhere? I appreciate that you're trying to earn a living, but I can't help but feel like you're intentionally obfuscating what actually went into creating these LUTS. I'm not going to say that your LUTS have no value, but I think it's an unfair proposition if you don't disclose how easy it is to throw on a CST node, right click on the clip to generate a 33x33 cube file that you can load into Premiere.
@@blue5910 Yes, that's correct. Apple has released a white paper for the Apple Log specifications to developers only, currently it's not available to the public other than if it's shared. If you're interested, DM me and I can send it to you. I would still say it's a fair value proposition to pay for LUTs from someone you trust so that you can save time and don't have to deal with making your own via exporting a LUT from the Resolve CST (and possibly make a mistake in the process), especially since many who use Premiere do not know Resolve. Plus, I expand on the fact that my LUTs will give you more options and various starting points than what you would get if you made a CST LUT yourself, which is even more added value.
@@EvanSchneider Thanks for the genuine response. So these LUTS are built on the Apple Log transformation bundled in the new Resolve update, right? Which you piped into your existing creative looks? I agree that it's fair to sell LUTS based on the subjective transformations you're putting on top of that, but you were literally two clicks and ten seconds away from showing how to generate a LUT in Resolve that could have been used in Premiere. Otherwise, I appreciate your content. There's a lot of misinformation about color on youtube, and I think the information on this channel is generally pretty accurate.
@@blue5910 Actually, no. The LUTs contain no CST in their development. I reverse-engineered the LUTs based on the Resolve CST, the FCP conversion, and revealing the middle grey value via the HDR palette. I also reverse-engineered the matrix transform from Rec.2020 to Rec.709 colorspace. This allowed me to have complete control of every aspect of the transformation and to be able to tweak very specific values to my taste and to not rely on what the CST was doing. This is also how I created the creative looks, a blend of some different curves, RGB matrix, hue vs, etc. Everything completely custom. Some of the creative looks do map middle grey either slightly up or down as a creative decision and based on how the native camera app tends to expose the footage by itself. Hope this gives more insight. And thank you, I appreciate it. We all learn and grow over the years, and I strive to be as accurate as possible. Color grading is a lifelong practice and requires years or learning and practice to get it right.
Nothing wrong with it, just depends on your workflow. Basically you’re trading off between not having to process your log footage and having more flexibility in post. One benefit is that you’ll see the final image in camera if you bake in the LUT.
If you’re recording short clips and stay on top of offloading them onto your computer, you should be good with 128. But 256 definitely gives more wiggle room.
As creator of one of the most viewed videos on Blackmagic's Camera app for IOS, could you do a video explaining how to focus a video shot in log format? From what I have been able to tell the focus assist tools/lines don't work in log mode even when the display lut option is on. Just by looking at the screen while filming in log mode it's really hard to tell what parts of the scene are in focus. I generally shoot with the 24mm iPhone 15 main lens.
Apple does have a LUT for log footage. The thing is its only available for developers. Make a dev account or turn your account to a dev account and you'll see it as a download option. It's free.
At the time of shooting this video I had been looking for their official LUT but didn't realize it was for developers only. I still think this is a strange move, it should be available to the public like every other camera manufacturer.
I talk about this near the end of the video under “tips”. But generally I find the native camera app exposes pretty well. Maybe expose 1 stop under to save highlights. When in doubt, expose lower unless you’re shooting in low light, as it’s easy to bring up and relatively low noise.
Hi Evan, thanks for the video and great LUTs, I just wanted to ask you how do you set the "Render Setting - Color space end Gamma" for proper export of the video. Thank you very much!!!
Absolutely! Generally, for these LUTs, in your Project Settings under Color Management you should set your Colorspace and Gamma to Rec.709 Gamma 2.4. Then when you render, just leave your color space and gamma tags to "Same as Project".
Wow! This is so informative. I have recently downloaded the Blackmagic Cam app on my iPhone 14 Pro Max. It looks very nice. I have never used LUTs and I'd like to know how I can install it in my Blackmagic Cam app on my iPhone. Is there a video or steps that you can share? Also, 4 App ProRes versions are in that app (422 HQ, 422, 422 LT and 422 Proxy). Which one should we use? Do you have LUTs for the Blackmagic Cam app for iPhone? Thank you so much for sharing your learning through this channel. This video is very helpful.
Hi there, thanks for the question. Even though you can use the Blackmagic Camera app on previous iPhones, the Apple Log format is only available on the iPhone 15 Pro. These LUTs are designed specifically for Apple Log, so they won't work on the Blackmagic Camera app on previous generations. For general use, I'd recommend ProRes422. If you have a scene with a lot of detail and movement, ProRes422HQ may be better because it has a higher data rate than ProRes422. If you need to be more conservative with file sizes but want to maintain decent quality, ProRes422LT is great. I would probably avoid ProRes422 Proxy. Hope that helps!
@@EvanSchneider Thank you for your response and explanation. This makes sense. I will stick with Blackmagic Cam app to record normal footage for now and use H.264 with $K or HD as needed. Thank you for providing details on ProRes options.
Hi Evan this vid was great but slightly too quick for me to understand using davinci resolve to edit the log footage. any chance for recommendations on what codec to shoot in when using black magic, just so i can save to sep folder. also these are more home video and what not. im not a pro but would like to shoot some nice footage that i can make the most of. Also may grab your lut packs once i understand how this all works. thanks again for the video.
Thanks! The only reason they might kind of work is because they both record in Rec.2020 colorspace. But the gamma curves are different, so I still highly recommend using the proper conversion LUTs for best results and the most shadow/highlight detail as well as middle grey exposure accuracy.
It actually can! In the app, go to Settings, and under Media tap on "Save Clips to", then "Files", then hit back and browse to the attached Location of your SSD. It will then record straight to that location.
Hey. How do I import this h.265 footage into davinci on a windows machine. It's not showing up in the media pool and it seems to be a .mov file when I see in a folder on my computer. Whereas in the phone it is a .hevc file. Any info on this would be great!
What do your results look like? Did you shoot in Apple log? There are many factors that could be addressed. Feel free to reply to your order email for better support. Thanks.
LumaFusion, but I don’t necessarily recommend it because it does not excel well with color management. You can shoot with these LUTs baked in using the Blackmagic Camera app though with excellent results
Yes, the Blackmagic Camera app can record to an SSD. In the app, go to Settings, and under Media tap on "Save Clips to", then "Files", then hit back and browse to the attached Location of your SSD. It will then record straight to that location.
My old Macbook doesn't get to upgrade to the latest FCPX so I am using Resolve to grade it now. But if I buy your LUTs, I can use older FCPX and just apply two LUTs like in your video to make it work as well?
Yes that's correct. You can use my LUTs in older versions of FCP X as long as it has the "Custom LUT" effect. Then you would apply one of the LUTs to convert the footage. The other LUT you can apply above the conversion is one of the "Pre-LUTs", which helps you make small adjustments to the image like exposure and white balance. Or you could make your own adjustments using other tools of course.
No, not possible and I would strongly advise against it. You need an app that can import and apply LUTs, which there aren’t many great options. LumaFusion works but I don’t love their color management, there’s also an app called VideoLUT that works on single clips. You can also shoot with Filmic Pro and burn-in the LUT while you shoot.
@@EvanSchneider yes i have done it with my 15 pro max !! I insert my log footage into the davinci going to the trasform color space and i can not see the apple log so to transform it to the rec 709!
I don't get it. Do I need one of your LUTs /which are amazing btw) when shooting in ProRes 422 HQ + Rec.709 in black magic app? Im new to this and I don't really know the difference (except the grey colored recordimg) between the Apple Log - HDR and Rec.709 in black magic app. But maybe my English is too bad for that...
If you're shooting in the Blackmagic Camera app intending to use these LUTs, you would set the color space to Apple Log - HDR. If you're using these as monitoring LUTs, you would turn on "Display LUT", then select your LUT file. If you want it to burn the LUT into the footage, you would then turn on "Record LUT to Clip", and set the Color Space Tag to "Rec.709". You can use any codec you want. Generally, if I'm recording Apple Log I use ProRes422 HQ, and if I'm burning the LUT into the clip I use HEVC (H.265).
@@EvanSchneider ACES AP0 and AP1 within Davinci are color spaces. So, I have to differ with you. ACES has it’s own color profiles/spaces. So I guess the iPhone 15 Pro when set to ProRes log mode captures in one of the two ACES color spaces. When it’s set to standard HDR mode then it captures in Rec.2020. For what other reason Apple mentions ACES in the camera specifications? Please refer to the following link for more information on ACES: en.m.wikipedia.org/wiki/Academy_Color_Encoding_System#:~:text=infrastructure%20in%20general.-,ACES%20Color%20Spaces,spaces%2C%20and%20additional%20file%20protocols.
I'm new to this. Using Davinci Resolve 18.6 (free ed), in Color page, clicking the Effects up right corner, I can only see Library tab. Settings is greyed out. I guess this is where I'm supposed to set the color space and gamma thingies. Any idea why?
In the Effects panel, make sure you have "Library" selected and then scroll down to the "Color Space Transform" effect. "Settings" is greyed out because you don't have an effect applied to your currently selected node. So you must drag and drop the Color Space Transform effect onto a node, and then the settings will appear for it. Hope that helps.
Would love to purchase! Is the 10% discount still available? Also a quick question, how do I apply Pre-LUTS in a FCPX workflow? Is it by placing multiple effect layers and stacking the LUTS in order? Thanks!
Hi, try again now and the discount code should work! For FCP, yes, you would stack the Custom LUT effect multiple times. So the Pre-LUT would go on the top, then under that you would apply a base or creative Apple Log LUT.
In my opinion, using phones log in low light it's a bad idea. Phones have too small sensors. Any phones in night time have a lot of nose. In the studio, where you have a lot of light, 100 ISO and manual white balance do the job.
Ok, can i start using the apple log on my Iphone 14 pro max now? if yes, how?(Step by step) what to do or these whole thing is only reserved for the Iphone 15 & a phone I bought at the beginning of this year is already a dinosour?
Only on the iPhone 15 Pro and 15 Pro Max. Theoretically they could have added it to the 14 Pro because it uses the same main camera sensor. But yeah, only on 15 Pro.
@@EvanSchneider F^ck! So, any other walkaround? I mean, is there a way to convert the Iphone 14 pro footage shot using the Filmic pro LogV3 profile and make it look like apple log? maybe use a Color Space Transfer that can emulate that apple log look? if yes, what should the input color space & gamma be and output color space & gamma output values be cst nodes respectively?
@@Sir-Kay Nope, no workarounds. I would argue Apple Log is not a "look", it's an encoding that allows for maximum flexibility and dynamic range. So converting from one log gamma to another is pointless in terms of gaining image quality. I really do not like Filmic Pro's Log profiles as they feel fake to me and still don't allow you to bypass the iPhone's internal tone mapping algorithms. If you're using an iPhone 14 Pro, I would recommend shooting with "Natural" on Filmic Pro, practice shooting and grading it and become a master with it instead of trying to fake it to Apple Log.
No, they’re specifically for Apple Log. S-Log3 uses a different log curve and also records in a different color space (S-Gamut3.Cine), so the transformation is different to Rec.709
It’s a good step forward but can’t use an iPhone to make a short film until they let you use different lens 🤔 so it’s not ready to replace DSLR gear yet
You could definitely make a short film with the built-in lenses on the phone. Good lenses are not a prerequisite to making a short film, but just another storytelling tool in your arsenal.
I recorded 1 minute of footage in the Blackmagic cam app and these were the sizes: ProRes422HQ: 4.95 GB ProRes422LT: 1.25 GB H.265: 201.2 MB The quality is pretty comparable between the 3 and the h.265 is even 10-bit 4:2:0, which is definitely not bad.
You could use a CST to transform from Apple Log/Rec.2020 to Rec.709, then use the curves tools to create a cinematic look. I'm not able to go into too much depth here but the basic premise is to pull your shadows cooler and your midtones and highlights slightly warmer for a basic cinematic style.
@@EvanSchneider thank you so much replying I will try it out I see don’t go crazy with mid times highlights experiment modestly but don’t be afraid to use them think I be able create a amazing cinematic look thank you again this is very appreciated I’m excited to try it have a great day!
Apple Log captures in a wide gamut colorspace of Rec.2020. So if you're using a CST, you must match the input color space of Rec.2020 and the input gamma of Apple Log. It will then map the wider color space of Rec.2020 to the smaller color space of Rec.709 for proper viewing on a display.
