![]() This is usually some kind of wide-gamut, log format, such as Davinci Wide Gamut/Intermediate, or one of the ACES log spaces. Bring Apple Log into an Existing WorkflowĬolor work is often done in an intermediate color space. The key is color correcting under the LUT. ![]() Many other systems work like this, including LumaFusion, which ships with Prolost Apple Log LUTs. Colorista (set to Log mode) does its work on the native Apple Log pixels, and the LUT converts the result to look nice on video. That’s what you see me doing in the video above. The Prolost iPhone LUTs convert Apple Log to various other color spaces, and support three kinds of workflow: Grade Under a Display Transform LUTĪpple Log is a totally decent color space to work in, so color correcting Apple Log can be as simple as applying Magic Bullet Colorista and choosing one of my Monitor & Grade LUTs. Creative LUTs are great, and by all means support the folks making them - but that’s not what my iPhone LUTs were or are. My day job is, in part, helping make color tools like Magic Bullet Looks, which can do so much more than any LUT. There’s been a bit of a gold rush of people hawking creative LUTs that apply a particular “look” to iPhone Log footage. I’d had some time to process my Peru deadlock, and decided to stop judging my own creative impulses, and let inspiration guide me in which camera I pulled out. Made in TaiwanĪ month later, I took a family trip to Taiwan, one of my favorite places in the world. Photography, for me, is made up of a lot of habits, and shooting iPhone video with aesthetic intent is just not yet baked into my travel muscle memory. Like a squirrel in the middle of the street, drawn in two different directions at once, I creatively froze. I told my phone to shut up, and proceeded to shoot very little with it - or my Sony. “Think of the fun you’ll have color grading me!” Meanwhile, my iPhone 15 Pro Max was calling to me with its ProRes Log video mode. I lugged it around for a few days, but wasn’t really feeling it. But sometimes FOMO gets me and I pack three zooms.įor my trip to Lima, I brought my Sony a7RIV with the uninspiring-but-compact Sony 35mm F2.8 prime. We are all here to help and learn together.Īnd, if you really want to get into music visualization.I always have a moment when packing for a trip: Which camera to bring? Which lenses? I know I’m always happier when I pack less, like just a single prime lens. Don't be shocked if you post your masterpiece and people have a few useful suggestions for you. As such, we encourage an atmosphere of helpful critique. This community is meant to be a place of helpfulness. If you are here for a critique of your work Screenshots and/or videos of the thing you want to create It includes things such as:Įxact version of AE you use - not just "CS6" or "CC" or even "CC 2019", but the actual version number (for example, 11.0.4 or 12.2.1 or 13.2.0 or 13.7.2 or 13.8.1 or 17.0.2) However, for useful help, please provide as much info as possible. Once you've gone through that, here are some other helpful resources: ![]() A foundation in the basics now will prevent much frustration later. If you'd like to join us on Discord, you can do it here! Are you looking for critiques for your piece or are you showing off someone else's work that you've found that is inspirationally excellent? If you post a video, please explain in the title of your post why you're posting it. We are not here to be sold to or spammed, so no posting of your AE templates, please. We're here to help with your After Effects problems, critique your pieces, and sometimes provide a spot of inspiration. Don't downvote a relevant submission you simply don't like kindly explain in a comment how it could be improved - anonymous downvotes don't help anybody.
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