Rather than being concerned with precise x colour becomes y colour, a technical transform uses a matrix to reshape the entire colour response of one sensor to match the colour response of another sensor. Therefore to ensure an accurate conversion the image needs to be placed in the original narrow “slot” that the LUT expects.Ī technical transform match is different. The further the footage moves away from these precise conditions the less accurate the LUT becomes. Basically It’s a series of x colour becomes y colour under the precise conditions both cameras were shot in. LUTs generated by this method are in a way a snapshot of the exact conditions under which the LUT was created. For matching digital to digital, this is an unnecessarily complex, inflexible method that has many downsides. Which is why it works well for matching digital to film. This is an ok method of matching two cameras, but it’s really only necessary if one or more of the cameras exhibits non linear behaviour. MatchLight IMS figures out the differences between the two cameras and generates a LUT that matches the two. ![]() The standard profiled LUT method of matching cameras is to take the data from each camera and run it through a program like MatchLight IMS. It’s clean, it’s efficient, it’s elegant and it’s adjustable. ![]() Because this is done with a matrix, the results are closer to a technical transform than a simple look match LUT or even a complex profiled match LUT.Ī 3x3 matrix/technical transform is how high-end post houses approach digital camera matching. I then took the visual form of this data into Resolve, linearised the P6K BMDFilm footage and created a custom a 3x3 matrix to match the colour response of the P6K to that of the Alexa’s. In the end this process generates around 14,000 data points per camera. The goal is to present the sensor or stock with as much image data as possible. The charts feature swatches that cover the full 360 degrees of hue, each at a variety of saturation levels. This process involves shooting a variety of charts at different exposures covering the entire dynamic range of the sensor or film stock. Please include your Invoice number or Paypal address so I can track you down in the system.Īs mentioned earlier, the P6K sensor was profiled with the same process used to profile the Alexa and various film stocks. They allow for deeper, richer colours whilst avoiding over-saturation.Īn update email has gone out, get in touch with if you haven’t received it. These new LUTs have been modified for more filmic saturation and were born from my research into film emulation. The update also includes two new ARRI LogC to Rec709 LUTs. This update also makes P6K2Alexa fully compatible with the P6K Pro. The in-camera LUTs require Blackmagic Camera Update 7.3. ![]() To use the Gen5 PowerGrades you will require Resolve 17.2. The PowerGrade, post-production LUTs and in-camera LUTs have now been updated to be fully Gen5 compatible. ![]() To find out why, read The Creation Process below. And it offers many benefits over using a LUT. This is the same method used by high-end post houses to match digital cameras. I then used this data to build a custom 3x3 matrix that accurately matches both cameras. On receiving the camera I proceeded to profile the sensor using the techniques I had previously used to profile the Alexa sensor and various film stocks. The idea was to have a smaller and lighter camera that would live on a gimbal. In November 2019 I purchased a BMPCC 6K to complement the ARRI Alexa I normally shoot with.
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