If you're familiar with raw photos, it's effectively the same as telling AE to do the math on the RAW file instead of on the JPEG.
#Arri look converter plus#
Linear workflow in AE is a very specialized topic - it's used to make sure that the math functions which blend composited layers or generate the new pixels for motion blur and scaling all happen in gamma-1.0 space, so it replicates real science (where one photon plus one photon equals two photons) as opposed to the gamma-2.2 view seen by the human eye (where something twice as intense doesn't appear twice as bright). There's a good article on AE color management here. In general it's a good thing, and for people editing regular types of footage "so it looks good", they will probably not notice much difference - but it needs care if you are working with assets that have to be exact at output (such as the colors of a company logo). In essence, instead of just taking the pixel values of every asset at face value, color-managed AE will try to convert everything into the same 'working' color space, then it does all your mixing and effects on those converted pixel values. That.Ĭolor Management in AE is a complex subject, but it's recommended to be used where possible as when set up correctly it helps prevent mistakes where assets that have different color profiles (such as photos in sRGB and AdobeRGB) are placed on the same timeline.
#Arri look converter software#
The human eye is very good at seeing 'green' as 'green' even when it contains a bunch of red and blue, but keying software hates that.
90% of the time key problems are down to poorly-made chroma dyes or bad lighting, so they're baked in at the point of capture. The AMIRA shoots ProRes 422 so there's not as much color fidelity as with ARRIRAW, but it's still usually possible to pull a good key if the filming setup is correct. It would be useful to see a frame before/after the LUT and key so we can understand which parts aren't working. I read that I should linearise the workflow? (more then normally).Īm I supposed to change the Color Profile / Color Management settings in the Project Settings and then the color management in interpret footage as well? Since the LUTs can easily be created from the PowerGrade versions I’ve included them as part of the PowerGrade version to save you time.I applied the Lumetri LUT before adding keylight but the keys were just as challenging to do. The PowerGrade gives you maximum flexibility and quality, while also allowing you to make adjustments to the transform. If you mainly grade in Resolve, the PowerGrade is the way to go. If you grade in Premiere or any other NLE, or you just want to apply LUTs to quickly get footage out, the LUT version is the way to go.
#Arri look converter update#
I will release an ACES update when Red complete the IDT. Komodo2Alexa ACES PowerGrade: The Komodo ACES IDT doesn’t seem to be finalised. Komodo2Alexa IPP2 PowerGrade: Match Komodo footage to the Alexa using Resolve’s Color Managment / IPP2 workflow. Includes Rec709 conversion LUT to complete the transform. Komodo2Alexa PowerGrade: Match Komodo footage to the Alexa in it’s native LogC format. Used to preview the transform on the Komodo or external monitors. In-Camera/On-Set Rec709 LUTs: Same as above but created at x33 precision for compatibility. Created at 圆5 precision for post-production use. Post-Production Rec709 LUTs: The Komodo to Alexa LogC conversion combined with the Standard V2 and WDR V2 Rec709 output LUTs above. Standard, Standard V2 and Wide Dynamic Range V2 ( WDR V2). Requires a Rec709 output conversion such as one of the ARRI LogC2Video LUTs below or any other LUT or Colour Space Transform designed for ARRI LogC footage.ĪRRI LogC2Video LUTs: The latest ARRI LogC to Rec709 LUT in three different curves. Red Komodo to Alexa LogC LUT: Transform Komodo footage to match the Alexa in it’s native LogC format.
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