Adjusting Exposure in Final Cut Pro

I was just in the middle of doing yet more tests to determine the very best zebra settings for the a7s III when I came across this - arguably the single most important step toward getting vibrant, contrasty, High Dynamic Range images in Final Cut Pro - adjusting exposure. Simply pulling shadows down till they... Continue Reading →

HDR Reference White

In our blog post detailing the color correction workflow for HDR10, a reader asked where reference white and 18% gray should fall on the waveform monitor, and we incorrectly answered 100 nits for reference white and in the 40s for 18% gray. While typical white levels presently used in PQ production range anywhere fromĀ 145 -... Continue Reading →

Tip for Acquiring the Cinematic Look

One effortless step toward the cinematic look is to place an HSL curve at the very beginning of your grading workflow (after applying Leeming LUT Pro) and desaturating shadows. No desaturation With desaturation

Leeming LUT Pro ‘Athena’

Alongside the newly released Pro II LUTs, Paul Leeming has also given us Athena LUTs, which he says "are a brighter version of Pro II, designed around placing middle grey (also known as 18% grey) at the 50% IRE level after the LUT has been applied, while retaining the same perfect colorimetry". Both Athena and... Continue Reading →

Leeming LUT Pro Sony S-Log2

I almost always shoot Cine2, but a question from a forum member over at DPReview about noisy footage at ISO 3200 inspired me to whip out my a7 III and try out S-Log2 for only the second time in two years. I dragged the clip into the Final Cut Pro timeline, threw on Paul Leeming's... Continue Reading →

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