![]() But that makes the use of certain films LUTs we have obsolete. This is why a concept like Resolve RCM or ACEScc get really relevant in this situation. The software will always be full gamut and full dynamic range. I would most likely be stuck with these colors even if I convert the LUT to P3. The Sony LUT trims the colors to 709 and this is very apparent in the LUT and on the screen. That being said it's not a complete passthru in terms of gamut. By using my probe I was able to confirm this. ![]() This is what I saw when applying it on a green patch on our P3 projector. The Arri LUT doesn't seem to trim colors to much. ![]() But it can be more nuanced then that (from what I can observe) Is it more complicated and depends o used LUTs/software logic/settings?ĭoes the LUT itself can limit gamut or is it rather setting/engine of particular software? If I take same source and use direct LOG->P3 LUT I will end up with P3 (or at least not restricted to Rec.709) gamut, yes? If I have wide gamut LOG source, use Rec.709 LUT and than Rec.709->P3 I will end up (in my logic) just with colors from Rec.709 gamut (or not depending on the software engine/settings). Dermot Shane wrote:One of the Shaw's likely will have more to say, but in my understanding and some tests, yes conversion LUT's that i have worked with clamp 709 gamut, that's the safest choiceĪCES ODT seemed scale as one would expect given the foundationĪ few tests only tho, using Nucoda's 709->P3 lut, others may be diffrent
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