CANON REC SKIN

I now need to spend time manually adjusting the exposure of the left and right footage to match the properly exposed footage in the middle. They look okay, but as you can see, the left video is darker while the right is brighter. Same Canon C-Log 3 Rec.709 LUT applied to all three videos Let's convert these to Rec.709 using Canon's official C-Log 3 Cinema Gamut LUT. Underexposed 2/3 (Left), Correct Exposure (Middle), Overexposed 2/3 (Right) The left is underexposed by 2/3 a stop, the middle is exposed correctly, and the right is overexposed by 2/3 a stop. These LUTs are a huge timesaver (I know, I use them all the time), especially when importing and editing lots of footage that needs to be converted to Rec.709.īelow are keyframes from three videos shot using C-Log 3 / Cinema Gamut on an EOS R5. Under and overexposed footage (within 2 stops) are instantly corrected, and appear as if you nailed their exposure in-camera. Footage underexposed by 2/3 a stop? Use the +0.66 Rec.709 LUT. They are modeled on Canon's official Rec.709 LUTs for the EOS R, R3, R5, R5C, R6, R6 Mark II and R7.įootage overexposed by 1 stop? Use the -1 Stop Rec.709 LUT. These 84 custom LUTs convert Canon C-Log and C-Log 3 footage to the Rec.709 color space AND normalize exposure using the proper C-Log gamma curve. That's where these Exposure Correction LUTs come in!

CANON REC SKIN

This can be accidental or intentional, for many videographers slightly overexpose their C-Log footage to create better looking skin tones and reduce noise.Ĭanon's official Rec.709 LUTs do a good job of converting C-Log to Rec.709, but their LUTs are designed for perfectly exposed footage. In reality however, footage often turns out over or underexposed. Every videographer and filmmaker strives for perfectly exposed footage in camera.

Canon rec