NOTE: You can make your images look however you want. You can use as many adjustment layers as you want, and change the image in any way that you like. Let’s go for a desaturated, pink, radioactive look. So, let’s add another adjustment layer, this one for Hue & Saturation. We could stop here and jump to the next section of this tutorial – exporting the LUT.īut, let’s pretend we are working on a post-apocalyptic disaster epic and need something a bit more, um, depressing. Just by adjusting levels, we have already made a major difference in the look of the clip. While you can select any adjustment layer to start, I always start by adjusting Levels. All changes to this image MUST use adjustment layers, you can’t change the image itself. Next, from the icons at the bottom of the Layers panel, click the Adjustment Layer icon. The right screen shows what the layer looks like after it is converted into a background.) (The left screen shot above shows what Photoshop looks like when you first import the image. This converts the Layer into a Background, which “locks” much of the image from being changed. Then, choose Layer > New > Background from Layer. The name does not matter.įirst, before doing anything else, select Layer 0 in the Layers panel. NOTE: For this example, I named the file: “Sample for LUT.” You can call your adjustment frame whatever makes sense to you. For the highest quality and compatibility, I recommend you export a TIFF image. This will export the frame under the playhead. Then, choose File > Share > Save Current Frame. If everything looks blown-out (over-exposed) apply a camera LUT first, there needs to be some detail in the image you are exporting. In Final Cut, put the playhead on a representative frame of your clip. This will automatically make your image look better.īut, for this example, I’m not going to do this so I can illustrate this new technique more simply. Set the menu in the lower left corner to Extended or Settings. Notice that it looks gray and washed out.įirst, whenever you are shooting RAW or log files, you should apply a camera LUT that matches the camera that shot the footage. It was shot in HLG format – to preserve the highlights – on a Panasonic EVA-1 camera. 2020 HLG project, with a V-Log clip loaded into it. NOTE: Here’s a video that shows this same technique using Premiere. This technique works for media in Final Cut, Premiere, even DaVinci Resolve. However, recently, I discovered that we can easily create our own LUTs using Photoshop. There are a number of utilities on the market that create custom LUTs (remember, LUT stands for “look-up table”). 709 media, which we use every day in HD projects. LUTs are a great way to take log or RAW images and convert them into something pleasing to look at.
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