SONY_S-Log2_S-Gamut_Daylight_ACES_709_LL.cube SONY_S-Log2_S-Gamut_Daylight_ACES_709_EE.cube PANASONIC_V-Log_V-Gamut_ACES_709_LL.vlt (for in camera use) ACES ODTs roll off to 100%, so if you see “super-whites” in the image, or if the whites peak below 100%, it is likely that you are using the wrong version of the LUT.ĬANON_CLog2_CinemaGamut_D55_ACES_709_EE.cubeĬANON_CLog2_CinemaGamut_D55_ACES_709_LL.cubeĬANON_CLog2_CinemaGamut_Tungsten_ACES_709_EE.cubeĬANON_CLog2_CinemaGamut_Tungsten_ACES_709_LL.cubeĬANON_CLog3_BT2020_Tungsten_ACES_709_EE.cubeĬANON_CLog3_BT2020_Tungsten_ACES_709_LL.cubeĬANON_CLog3_CinemaGamut_D55_ACES_709_EE.cubeĬANON_CLog3_CinemaGamut_D55_ACES_709_LL.cubeĬANON_CLog3_CinemaGamut_Tungsten_ACES_709_EE.cubeĬANON_CLog3_CinemaGamut_Tungsten_ACES_709_LL.cube A good double-check of whether you are using the correct version of the LUT is to overexpose an image and look at it through the LUT on a waveform. LL means Legal range in and Legal range out, and is designed for LUT boxes which apply the LUT directly to the un-scaled SDI code values. EE means Extended range in and Extended range out, and is designed for LUT boxes which take the 64-940 SDI range (0-100%) and scale it to 0-1 before applying the LUT, then scale the result back to 64-940. Both versions are designed to achieve the same result, but you need to choose the appropriate one, depending on the way your LUT box works, or has been set up. Use software which supports ACES directly.Įach LUT comes in two versions, designated EE or LL in the file name, folowing the convention used by the ARRI LUT Generator. They should not be used in post production. These LUTs are designed only for use in LUT boxes or LUT capable monitors to preview the “base look” of ACES when shooting. There are two versions of these LUT’s, one with normal contrast and one with contrast reduced to 0.85, this lower contrast is my personal choice.ĪCES 1.0.3 LUTs for On-Set Preview normal contrastĪCES 1.0.3 LUTs for On-Set Preview lower contrast This is simply clicking 2 buttons withing Prelight. It is easy using Prelight to generate this type of file incorporating a “look” if you follow this route you will need to generate 2 LUT’s in Prelight, one incorporating the ACES "look"and one without. Working this way enables you to use a conventional film style workflow, ie no grading onset, no DIT, just a very simple data transfer and backup I have personally done this with an Odyssey and a Terradeck Bolt, we are testing and talking to manufacturers to establish what their systems need. Currently you will need to use an external LUT box between the camera and the monitor. We are currently working on versions of these LUT’s that will load directly into the monitoring of the cameras that are capable of this. If you use these LUT’s when shooting you should be able to use "standard"IDT’s & ODT’s in post with no LUT and get exactly what you saw when you were shooting. IE they contain the effect of the relevant IDT, RRT & ODT. The LUT’s are designed to take the log output of many commonly used cameras and enable you to use a standard rec 709 monitor and reproduce the "look"of having gone through a complete ACES workflow. The reason for these LUT’s is to enable low budget and very fast paced productions to have the advantages of an ACES workflow whilst shooting with their "normal"kit. The LUT’s attached below were developed by Geoff Boyle of CML and Nick Shaw of Antler Post with the cooperation of the NSC and Netherlands Film Academy. This is a new page at CML reproduced in its entirety, hopefully the links will work!ĪCES LUT’s for use in a non-ACES environment
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