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| 00:14 | Bertl_oO | off to bed now ... have a good one everyone!
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| 06:18 | michele__ | #apertus-int
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| 07:37 | se6astian | good morning
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| 07:37 | se6astian | thanks troy_s!
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| 08:47 | troy_s | se6astian: No problem.
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| 08:47 | troy_s | Folks bugger that up all the time. Even if your middle grey is slotted differently it can botch a basic LUT.
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| 09:26 | Bertl | morning folks!
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| 09:26 | mars_ | morning
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| 13:09 | irieger | Hey troy_s and se6astian. Was on the road the last days. Adding to your LiveGrade AIR discussion:
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| 13:11 | irieger | se6astian: It's a nice tool to try out looks I think and therefore the camera doesn't matter. When applied to actual camera images this would work to create a look for in the camera or post also.
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| 13:12 | irieger | But compared to what a full color grading system can do it's just a small feature set. In general often even with on set grading the DI colorist will build the look again on his own to have it match his grading style instead of having a "magic" kind of LUT thrown on the material.
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| 13:13 | troy_s | irieger: I don't believe that was se6astian 's point.
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| 13:13 | irieger | Good thing with CDL is: It's easy to implement and only some basic mathematics. For a homework I already implemented the CDL transforms.
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| 13:13 | irieger | troy_s: Just adding for general knowledge
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| 13:14 | troy_s | The issue is that an input set of data is particular, and LUTs are heavily input dependent.
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| 13:14 | troy_s | Eyeballing crap is also rather 1990
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| 13:14 | troy_s | In a world that relies heavily on post production, having proper colour transforms is critical, especially for CG elements.
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| 13:15 | troy_s | But regarding looks, they do indeed bake LUTs.
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| 13:15 | troy_s | The only issue is that the input must match the contexts, something rather dice chancey if someone is using a third party LUT. Easier if within a known pipe
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| 13:16 | irieger | Of course. But may be an option for some people. And the best point of CDLs is, that it is system-independent and can be exchanged between different grading systems.
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| 13:16 | troy_s | Those apps seem to be very snake oily.
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| 13:16 | troy_s | It is well spec'd, but not exactly independent
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| 13:16 | irieger | troy_s: That's why I prefer a well defined workflow with ACES or something comparable.
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| 13:16 | troy_s | Not without someone that is aware of the context under which the CDL was generated.
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| 13:17 | irieger | troy_s: That's with every LUT, color transform etc. and not a thing specific for CDL
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| 13:17 | troy_s | Most grades are against the raw colour space of a given camera, generally off of a log entry point (one of the many log entries)
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| 13:19 | irieger | That's the thing people get out of camera on set most times so they use it ...
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| 13:19 | troy_s | CDL is great. Could use a fulcrum.
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| 13:20 | troy_s | But sadly I suspect folks aren't quite aware enough of the input variables and probably think it is interchangeable.
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| 13:20 | troy_s | (You can sort of adjust the fulcrum with O for S and P, but alas.)
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| 13:21 | irieger | You are right. For people not understanding color spaces and stuff may use it wrong or assume it does stuff that it wouldn't.
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| 13:26 | troy_s | I know more than a few peeps who get the "You must have used the wrong LUT" when they were the ones in error thinking you can just slap transforms onto any input.
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| 15:21 | irieger | troy_s: That must be one of the reasons big postproduction houses have their technicians how setup everything before the session starts so that all is set correctlly beginning with the monitor color space, color space settings in the software etc.
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