![]() I don't know if this is how it has always worked. When you apply a REC.709 LUT to your Log footage it will instantly bring the color and contrast of your image. This is in Media Composer 2020.12.6 and a timeline set to Rec.709. 709 is the current broadcast standard color range. ![]() 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. Compatible applications These presets can be used with the most photo and video editing softwares (Mac/Windows). Loaded the LUT into the FS7 and used it as a monitor LUT on the SDI output. The generic LUTs ( LOG to 709 and 709 to LOG) may be useful under certain conditions (low light, high ISO, underexposed or overexposed scene, etc), or for reset the image in order to match multiple cameras using different profiles. ![]() Then I made an adjustment in Reaolve and exported it as a LUT. This is where you can select Browse to import one of Gal’s free log to rec.709 conversion LUTS. From the Basic Correction section, you’ll be able to select a new Input LUT from the dropdown. Checked the SDI output, and the levels from both programs were the same as from the camera (no color adapters applied in MC). To apply LUTS to your footage in Adobe Premiere Pro, you’ll need to open up the Lumetri Color Panel (Windows > Lumetri Color). Use in any color grading app like DaVinci Resolve, Final Cut Pro, Adobe Premiere, and more Add To Cart FREE BMDFilm4K to Rec.709 LUT FREE Cinelike-D to Rec. I recorded a few seconds and brought the file into Media Composer and Resolve. FREE Canon Cinestyle to Rec.709 LUT This is our free color transform LUT for Canon footage shot with Technicolor Cinestyle. 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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