How to adapt any LUT for the Alexa 35

Thanks you

I hope they do the same update for the Canon C70

I know you’re not doing grade school this week. Sincerely, thanks for giving us some new information to keep us going.

Thanks for the usable information! 🤝

thank you and congratulations on your growing family. 🎉

I am missing that analog tune in the background

Can you convert a Alexa 35 65LUT into a 33 lut? And would I need to make a CST to make those changes from clog4 into clog3?

Hi Cullen! I checked Alexa 35's AWG4 primaries triangle and its vertices doesn't align with the AWG3 color space triangle. Is that something that could become an issue or we don't have to worry about it? Thank you for creating such an amazing content.

Hey quick question, now more and more smartphones can record in log format. I know of the addition of the Apple.log in davinci colour space, but any idea how can i check what log format im in so that i can CST into a rec 709? Im working with my Oneplus11 film log mode and im so confused

Correct me if I'm wrong, but this workflow basically nerfs the A35. You're converting LogC4/AWG4 to LogC3/AWG3, thereby defeating the purpose of using a A35 and Arri's new Reveal color science. If you're using these LUTs on an A35 for exposure on set, everything will be about a stop and half over-exposed.

Hey Cullen, thank you for all the wonderful tips always! Got a question that is happening a lot to me lately. It seems to me DoP's at least where I live have the tendency to create the look in camera, which is not by it's own a bad thing at all, except that it includes exposure as well and the image always appears in the parade from 50 to below in log, which for me in most cases looks under exposed. The thing is as I mostly do commercial work directors/clients always find the image dark and I got to balance it up, which creates a lot of grain and artifacts, destroys the depth of the image, etc. I try explaining it to DoP's but it's always a pain in the ass and they don't seem to be willing to do it as it scares them to ''overexpose'' an image. They shoot RAW almost always which is great but they think that by doing that they will have the latitude to change exposure, which you do but and underexposed image will always bring up artifacts.

My petition is, would you consider doing a video which talks about the perfect exposure, contrast ratios, workflows from DoP to colorist so that the image comes as clean as possible?

Thank you!

Hey Cullen, does this same principle apply to your DWG LUTs? For example, I’d love to have a custom 2383 conversion LUT based on your DWG 2383 creative LUT.

This method works technically, but it does not make use of the full dynamic range of the new camera as you are effectively squishing the logc4 color space into the logc3 color space.

This has been covered by Arri in a video on their channel.

The only way to convert the LUTs from Logc3 to Logc4 is by eye.

This method will make a still image match, tehcnically, but if you tried to import the LUT into the camera, it will not make proper use of the full dynamic range

“The reality is that working with images in anything but HDR represents a needless compromise.” - Cullen Kelly, 2020

Cullen is a great solution. Show me how to convert the material to Z-Cam 2 correctly. I came across raw material a long time ago and used the SLOG method of trial. The fact is that there is no direct conversion in DaVinci indicating the conversion of this camera. Is the color solution right to reveal the exact color transfer in the SLOG?

Thank you very much for this super-useful video! Helped ma a lot on set! 👍🏻

amazing thanks! -from a not-super-technical DP

Thank you for this video, it work very well on my A35