![]() For example S-Log3 and Rec-709 material in the same project will now look very similar. A big benefit of this comes when working with multiple sources. This isn’t a bug, this is Premiere catching up and getting ready for a future that won’t be stuck in SDR Rec-709.Ī color managed workflow means that you no longer need to use LUT’s to convert your Log footage to Rec-709, you simply grade you clips within the colorspace you will be delivering in. It won’t be long before delivery in HDR (which may mean one of several different gamma and gamut combinations) becomes normal. Colour managed workflows such as this are now normal in most high end edit and grading applications and it is something we need to get used to because Rec709 is no longer the only colorspace that people need to deliver in.
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