In the two-shot matching test, I forgot to expose the S-Log2 version of my close up one and a half stops over to account for the window, but the other two shots are fine.709, S-Log2 standard (18% grey is 32 IRE), and S-Log2 wolfcrow system (18% grey is 60-70 IRE). Comparison: Filmconvert vs Magic Bullet Film vs Juan’s LUTs With these in mind, let’s watch the comparison. If a LUT has been designed with a specific set of criteria, then it will be the most accurate. It should support the cameras and formats you are using.It must have a simple workflow and should support many editing and grading applications and finally,.After all, matching shots is the most tedious part of color grading. It must keep the look consistent across an entire sequence of shots.LUTs by definition are definitive, but are not guaranteed to work automatically. It must allow you to make color correction changes after the LUT has been applied.Some people prefer organic grain structure to mathematically created Gaussian grain. It must preserve the tonal range – if there’s banding or clipping or a lack of smooth tones, there’s a problem.709 or a preset similar to it, then at the very least no dynamic range should be lost. But then what’s the point of shooting Log or RAW? If you’re shooting Rec.

To be fair, the conversion from log or RAW from 12 stops or more to the 6 stops in Rec. If it reduces the dynamic range, then something’s wrong. It should preserve the dynamic range of your footage.A complete visual representation of the filmmaking process from beginning to end.Īs I’ve mentioned in the video (below), there’s no point comparing film emulation software based on color accuracy, but there are things we can look for: Exclusive Bonus: Download your FREE Blueprint: How to make a movie.

Color finale vs filmconvert