If you don't intend to do your own colour grading, you should use the FF LUTs to turn the footage into something a bit more "finished" looking that just needs creative colour adjustments to deliver.
CLOG TO REC709 LUT FULL
FN doesn't do this, so you'll get a slightly less contrasty, flatter look that gives you a better starting point for making your own contrast adjustments with the full range of captured detail still mostly visible. FF will give you a punchier, more contrasty look because it's trying to fit all brightness values within a certain broadcast-safe threshold. If you have a decent machine, then pick from the 33 and call it a day.
The higher the grid size, the more intensive an operation it is to apply the LUT to footage, so if you're on a mediocre computer then stick to LUTs with a grid size of 17. It's unlikely you'll ever need or benefit from the 65 grid size with EOS-R footage.
If you're recording 10-bit footage externally, then you'll want to step up to the 33. If you're recording internally, you're working with 8-bit footage, so the 17 grid size is sufficient. Think of grid size as the "resolution" of the LUT: higher means more precision, but it only matters if your footage is of sufficient quality. Next, we need to tackle grid size Canon 17/33/65 choices.
CLOG TO REC709 LUT DOWNLOAD
The first thing to bear in mind is that the download provides LUTs for all of their cameras, including the cinema lineup, so actually very few are appropriate for the EOS-R.Īs you dig into the downloaded package, you'll want to pull from the 3D LUTs folder rather than the 1D-in most cases, it's a better format for applying a LUT and it's not worth worrying about where 1D LUTs are fine to use. They might look ok applied to certain neutral picture profiles, but that's a happy accident, not their intended usage. If you aren't shooting in CanonLog, you shouldn't be using these LUTs-they're not "creative look" LUTs, they're utility LUTs. The purpose of these LUTs is to conform Log footage to a more useable form as the first part of preparing it for delivery. Skip to the end if you just want to see where we end up. I don't know if this is how it has always worked.They don't do a very good job of making it easy, but we can go on a journey to narrow down the best LUT from the many options they provide in the download.
This is in Media Composer 2020.12.6 and a timeline set to Rec.709. With that in place I got the expected output on the waveform monitor. Then I applied the LUT to the clip in Media Compiser - and the waveform was off! After poking around a bit it turned out that MC needs an adapter to scale "full to legal" BEFORE the LUT. Loaded the LUT into the FS7 and used it as a monitor LUT on the SDI output. Then I made an adjustment in Reaolve and exported it as a LUT. Checked the SDI output, and the levels from both programs were the same as from the camera (no color adapters applied in MC). I recorded a few seconds and brought the file into Media Composer and Resolve. Using the same motive, light and apature I checked the level of the SDI output from the camera on a waveform monitor. Recently I did a test with a Sony FS-7 set to record S-log3.cine.
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