Hi, everyone.
My name is Jacob Balazer, and this is an introduction to Logarist video color correction.
If you've ever used Adobe Lightroom to process raw photos,
you know how easy it is to make simple color corrections.
Exposure compensation, contrast adjustment,
and white balance adjustment are usually all you need.
These adjustments can be applied to the entire image like in this example,
or to specific areas or color ranges.
How does Lightroom enable these types of corrections?
It's not because the images were shot in raw.
Lightroom makes these corrections possible because it knows how to transform your camera's image
into a color space optimized for color correction.
And that's what Logarist does for video.
Logarist transforms your camera's video into a color space
optimized for exposure compensation, white balance correction, and contrast adjustment.
Logarist supports multiple camera color spaces,
and works in DaVinci Resolve, Vegas Pro, and Final Cut Pro X.
In this video I will show you how to use Logarist in all three of these applications.
Logarist is free. You can download it from logarist.com.
What is a color space, and why do they matter for color correction?
A Color space is a way of representing colors using numbers.
The numbers are called color values.
Typically we use three numbers to represent one color.
There are many different color spaces.
They have names like sRGB, S-Log, and Canon Log.
Each one uses different numbers to represent the same colors.
You can transform between color spaces.
This changes the numbers, not the colors.
When a color space transformation is performed correctly, the colors do not change,
at least within the limits of the color space. Only the numbers change.
When you manipulate the color values of an image, what happens to the colors?
That depends on which color space you're working in.
Logarist uses look-up tables, or LUTs, to transform between color spaces.
Logarist LUTs are always used in pairs.
The first LUT transforms from your camera's color space into the Logarist color space.
The second LUT transforms into the display color space.
Color correction is performed in the Logarist color space, between the two LUTs.
Now I'll show you how to use Logarist in DaVinci Resolve.
First, open Project Settings.
In Master Project Settings, set Color science to DaVinci YRGB.
Then in Color, uncheck "Use legacy log grading" and "Use S-curve for Contrast".
Right click the video clip, click Clip Attributes…, and set Data Levels to Video.
Right click the video clip, go to 3D LUT, and find the camera-to-Logarist LUT
that corresponds to your camera's color space.
This file was recorded in the Sony Cine1 color space.
Next, switch to the Color workspace.
You can put all of your corrections in a single node, but for the sake of illustration
I'm going to put each one in a separate node.
Right click on the last corrector node,
go to 3D LUT,
and choose a Logarist-to-BT.709 LUT.
Most of the time I use LumaComp 0.66, which extends the highlight range by 2/3 of a stop.
Next I'll do exposure compensation in the first node.
Set the color wheels to Log mode,
and drag the offset master wheel right or left to lighten or darken the image.
This shot was overexposed by about half a stop.
Here's it is before and after adjustment.
Now with the second node selected, to adjust the contrast, first set the pivot to 0.5,
and then adjust the contrast.
I've added just a small amount of contrast here.
You can also use curves to make more complicated contrast adjustments.
Now in the third node, to correct the white balance, drag the offset color wheel.
This shot has a bit too much yellow, so I'm going to drag the wheel towards blue.
This control is very sensitive, so use a light touch.
Here is the shot before the adjustment, and after.
You can also use Resolve's log Shadow and Highlight adjustments
in the Logarist color space.
Next up, Logarist in Vegas Pro.
Open Project Properties,
set the Pixel format to 32-bit floating point (full range),
Compositing gamma to Video,
and the View transform to Off.
Click the Event FX button.
In the 32-bit floating point folder, double click to add a VisionColor LUT Plugin,
Brightness and Contrast, Channel Blend,
and then another VisionColor LUT Plugin, and click OK.
In the first VisionColor LUT Plugin effect, load the appropriate camera-to-Logarist LUT,
in this case, for Sony Cine1.
Click the second VisionColor LUT Plugin effect, and load a Logarist-to-BT.709 LUT.
I usually use LumaComp 0.66.
To compensate for the exposure, in the Brightness and Contrast effect,
drag the Brightness slider left or right.
Hold down the Ctrl key to make fine adjustments.
This shot is overexposed by half a stop.
Here's the shot before and after adjustment.
To adjust the contrast, drag the contrast slider.
Hold down the Ctrl key to make fine adjustments.
Here's the effect of exposure and contrast adjustment on this shot.
To correct the white balance, in the Channel Blend effect,
adjust the red, green, and blue channel offsets in the last column.
Hold down the Ctrl key, click between the two arrows, and drag up or down.
Here's the shot with and without white balance correction.
And here's a comparison of the video straight from the camera,
and with color correction in Logarist.
At this point you may wish to save the plug-in chain in a filter package
so it can be applied quickly to more video events.
The saved plug-in chain can be found in the Filter Packages folder.
And now, Logarist in Final Cut Pro X.
Select your clip in the timeline,
and then open the Effects Browser and the Inspector.
Add an mLut Plugin effect to your clip,
then a Color Correction effect,
and then another mLut Plugin effect.
Expand the first mLut effect, and uncheck HUE/SATURATION.
Click Load Custom LUT,
browse to a camera-to-Logarist LUT file, and select it.
This clip uses the Sony Cine1 color space.
Note whether the filename ends in [Highlights 1.1], like this one does.
If it does, the information will need to be entered after loading the LUT.
Since this LUT's filename has [Highlights 1.1], click the Highlights value,
type 1.1 on the keyboard, and press Return.
Now in the second mLut effect,
uncheck HUE/SATURATION,
and click Load Custom LUT.
Browse to a Logarist-to-BT.709 LUT file, select it, and click Load.
Now, open the Color Correction effect's Color Board, and click Exposure.
Use the Global Exposure setting to perform exposure compensation.
Click the value and use the up and down arrow keys to make fine adjustments.
To perform white balance correction, click Color.
This clip has a noticeable greenish yellow tint.
So first set the global hue angle to greenish yellow.
Then click the global percentage value,
and use the down arrow key to remove a couple of percentage points.
If you need to make even finer adjustments,
I've outlined a way to do it on the Logarist web site.
You can toggle the Color Correction effect off and on
to see the effects of the color correction.
To adjust contrast, drag the contrast slider in the second mLut effect.
That concludes this introduction to Logarist.
There's lots more you can do with curves, masks, and keyframing.
Visit logarist.com to download Logarist and learn more,
and subscribe to my YouTube channel for more Logarist tutorials.
Thanks for watching.
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