Is it really? I understand that the actual lut file is a 3d lut but isn't the colour operation 'just' a curve adjustment? In Nuke there is no problem to use a Colorspace node to convert between logC and rec709, and as far as I know that node only handles 1d luts. So, if you just want to convert your logo into logC color space, that shouldn't be a problem, and it will match with the rest of the footage. But I might be misunderstanding what you want to do.
On Fri, Feb 3, 2012 at 10:25 AM, Byron Nash <byronnash@gmail.com> wrote:
It's a 3D LUT Simon. If I try to reverse it on the Arri site, it gives me a 1D LUT. But I haven't figured out how to utilize the 1D properly. It gives a LUT for each ISO I think.
On Fri, Feb 3, 2012 at 4:29 AM, Simon Björk <simon@stillerstudios.se> wrote:
Correct me if I'm wrong, but isn't the color operation done with a logC to rec709 a 1D lut?
2012/2/3 Brendan Bolles <brendan@fnordware.com>
On Feb 2, 2012, at 7:45 PM, Brian Maffitt wrote:
> Curious if this problem will go away with digital projection? Eventually digital projectors should be able to represent any visible color, I should think.
Any visible color, as in the entire gamut of the human eye? We're a long way off from that, I'm afraid. Projectors are still making images by shining red, green, and blue light up there, so that's a major constraint. But you'd think they'd be able show everything we can see on a computer monitor at least. Maybe they can.
Ironically, part of the forthcoming IIC/ACES standard is the "Reference Rendering Transform", which is like a standardized film look. And like other film looks, you can't get fully-saturated colors. Similarly, I worked on the most recent "A Christmas Carol" which is a completely digital film (including projection), and yet we still created a film look for it. Somebody thinks that people still like that film look. But I assume with digital projection you can opt out if you want.
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