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Logarist Color Correction for DaVinci Resolve, Vegas Pro, and Final Cut Pro X
  • 92 Replies sorted by
  • balazerbalazer

    Thanks, @victormm. Glad it is working for you. Which picture style did you use on the FZ1000?

    For the GH4's Cinelike D, Logarist supports 16-235, 16-255, and 0-255 equally well. The Logarist input LUTs compensate for how your video software reads each of those encodings.

    Outside of Logarist, I recommend against using the 0-255 setting. It uses a full_range encoding, which is not supported by all video software. 16-235 and 16-255 use the digital encoding defined in BT.709, BT.601, and earlier standards. That digital encoding is universally supported by video software. The precision gained by using 0-255 instead of 16-235 is inconsequential - just 0.2 bits' worth of information. So the extra precision of 0-255 is really not worth the compatibility problems it causes. I wish Panasonic and Canon would realize this and just use the standard.

    16-255 uses video signals in the 100% to 109% range. Not all software makes it easy to access values outside of 0%-100%, so that might be a reason to choose 16-235 over 16-255. Some workflows will even clip values above 100%.

    ffmpeg can help decipher which setting was used for an internally recorded clip:

    • ffmpeg -i [inputfilename]

    If ffmpeg says "yuvj420p", the camera was set to 0-255. The "j" is the important bit there.

    If ffmpeg says "yuv420p", the camera was set to 16-235 or 16-255. You'll only know which one by looking at the levels or doing some tests. If whites clip at 100%, the camera was set to 16-235. If whites extend above 100% (possibly as high as 109%), the camera was set to 16-255. You can also just try each of the Logarist Cinelike D LUTs and see which one renders image with the right contrast. The wrong LUT will make the contrast too low or too high.

  • victormmvictormm

    @balazer: Thanks for the comprehensive answer! I'm using the Cinelike D picture profile on the FZ1000. The difference with the GH4 is that you only can chose between 16-255 and 0-255 so following your advice I'll keep with the 16-255.

    The problem I found is that some time ago I was playing with the 4k photo mode of the camera and just found out that when you activate this mode the camera automatically switches to 0-255. Therefore when editing clips recorded back then I have to check wich luminance levels I used... The good thing is that for clips shot on the FZ1000 there can be no confusion between 16-235 and 16-255 so the output from ffprobe would be enough to tell which luminance level was used.

  • konjowkonjow

    @balazer Im glad to see Premiere version after all. Thanks for the afford.

    Would it be too greedy to ask for Mac version one day? :)

  • balazerbalazer

    @konjow, maybe someday. The problem right now is that the OpenColorIO plugin seems to not work correctly on Mac. I tried it in Premiere Pro CC 2017 for Mac, and though it loads a LUT and applies it without any problems, if you save the project, close Premiere, and open the project again, Premiere complains that it can't find the plugin, and so the existing OpenColorIO effect on your clip will be "offline". But the plugin is still listed in the effects panel, and you can apply it again and it works, but of course you need to select the LUT again. It's very strange. If you can overcome that problem, let me know. You can download the OpenColorIO plug-in for Adobe Premiere & After Effects to try.

  • konjowkonjow

    Pity..Thanks balazer. It looks more like AE then Premiere. All this things are over my head so Im afraid I will not be helpful. I will try to instal it to Premiere soon will report if any success. Why it has different name not Logarist?

  • balazerbalazer

    The OpenColorIO plug-in is not mine. It's just a way to load LUTs in Premiere, and it works better than Lumetri, which has a number of problems.

  • balazerbalazer

    Premiere Pro and Premiere Elements (Windows and Mac) are now supported with a new Logarist plugin.

    Please test and provide your feedback: http://www.logarist.com/

  • balazerbalazer

    @uliman, @eatstoomuchjam, @konjow, have any of you Premiere guys had a change to try the latest version of Logarist for Premiere? Does it work?

  • eatstoomuchjameatstoomuchjam

    Oh, I stopped paying attention to this thread a while ago when I didn't think Premiere was supported. I'll take a look tomorrow!

  • konjowkonjow

    Not yet sorry. Will do soon very busy recently and on holidays for 2w now.

  • victormmvictormm

    Hi all. I'm thinking about upgrading to Resolve 14 but one of the tips I wanted to be sure before installing the new version is that the Logarist 3D LUTs work fine with it. Someone has already checked that point?

    @balazer: I also have one more little question regarding the luminance levels. In your video instructions on how to use the LUTs I undesrtood that one should always use the option "video data levels" under "clip attributes" (no mater what format you recorded the video), but then select the right LUT depending on wether the video was recorded using a 0-255, 16-235 or 16-255 levels. Is that right?

  • balazerbalazer

    @victormm, yes, that's right about the levels in Resolve.

  • balazerbalazer

    Logarist now supports Canon Wide DR gamma.

    logarist.com

  • IronFilmIronFilm

    On the PMW-F3, I recommend setting Dual-Link & Gamma Select to Video, and customizing the picture profile with matrix set to Standard, and gamma set to Cine1 or S-Log. When Dual-Link & Gamma Select is set to S-Log, the output is in a non-standard gamut that I haven't profiled.

    What do you find to be non-standard about it? Can you include F3 S-log output if you get your hands on some raw F3 footage?

  • balazerbalazer

    @IronFilm, on the PMW-F3 when Dual-Link & Gamma Select is set to S-Log, the gamut just doesn't correspond to any known standard - not BT.709 and not S-Gamut. The primary chromaticities are wrong. The gamut is something like BT.709, but wider, like the saturation was turned way down. If you have footage shot with Dual-Link & Gamma Select set to S-Log, your best bet is to treat is like S-Log gamma with BT.709 color (Logarist supports this - it's the S-Log input transform without S-Gamut), and then just turn the saturation way up until it looks right. Profiling a camera's gamut is not easy and not something that I would attempt for this camera given that the other color modes do correspond to standards and work well. With Dual-Link & Gamma Select to Video, the gamut is BT.709 and the camera delivers very good color. A matrix setting of Standard was my favorite and seemed the most true and natural, but any setting will work well. The different matrix settings render colors slightly differently, and it's a matter of preference.

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