ccc file, there is actually only one single CDL grade in there anyways. ccc format, which only contains a number of separate CDLs – this is however rarely used as it’s lacking a lot of metadata, which is often required. To be complete, there is another alternative for a format that can contain multiple CDLs: The. Also a good old EDL (Edit Decision List) can, in addition to the actual edit, also contain the CDL values per clip. Many softwares also allow to export an ALE (Avid Log Exchange) that contains the CDL values per clip and can be conformed in another software, so all looks can be applied in one go. All looks are then exported in a CDL format: This can be. During the shoot, the looks for each scene are created using a CDL toolset in our live grading software of choice. That is obviously a very simple and limited toolset, but the upsides are compelling: A CDL is less destructive than a LUT, supported by all major grading- and editing- softwares out there and unlike a LUT, it is adjustable even after it has been applied. If you open up a 1D LUT with a text editor, size is basically the number of entries in there, and depth the accuracy of those entries: With a depth of 8 bit you will find values between 0 and 254, whereas with a depth of 10 bit you will find values between – a much finer grid.Ī 1D LUT can contain just one table that maps R,G and B channels equally, or it can contain 3 tables to map each one and even a fourth channel for alpha (if supported by the software).Ī CDL is a standardized set of four parameters: Offset, Power, Slope and Saturation. Size defines the number of input values that can be mapped – the more values between 0 and 1 (black and white), the more accurate the LUT is.Īnd Depth is the same accuracy, but on the output side. The accuracy of a LUT is expressed in two parameters: Size and Depth. lut – sometimes (but rarely) you can also find them in an XML format. 1D LUTs are mainly used for log conversions (e.g. This LUT can also be used to create the offline dailies, that are going to be used in editorial: This way there is already a rough look applied during the edit.ġD LUTs are obviously the simpler ones, since they are basically just a gamma curve (and can easily be converted to one): An input value maps to an output value and that’s about it. The look dialed in for a particular scene can then be saved as a LUT and forwarded to post as a starting point for the final grade. Swapping out a LUT against another one is as easy as changing a glass filter in front of a camera lens, hence it is perfectly suited for quickly shuttling through a number of different looks for a given scene.Īnother advantage of LUTs is that they can be loaded into a multitude of hardware devices, like Monitors and LUT-boxes, that can process it on the fly without further delay.Ĭreative LUTs are a good way to transfer the intended look of a given scene from set to post: During the shoot, the live SDI signal from the camera is being routed through a LUT-box, which modifies the live SDI signal on the fly – being controlled by any software that supports the LUT-box–most established is Pomfort’s LiveGrade in this field. Creative LUTs can serve as a starting point for a creative grade. There are lots of LUT-packages out there (as anyone can create them easily) which define certain looks – cold, warm, vintage and whatever you want to call them. The other application for LUTs is obviously the creative field. Such a conversion can be for instance RED Wide Gamut to Rec709.Īnother example is the use of calibration LUTs, where the only purpose is to calibrate the corresponding display in order to show reference colors and light levels. There are usually two kinds of applications for LUTs: One is technical LUTs, where the LUT is supposed to do a technical conversion from one color space to another, without adding any kind of creative look into the image. Therein lies a big advantage of a CDL, but we’ll get to that in just a bit. That however makes it a bit of a double back and forth: Add 50, subtract 10 not an ideal process.
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