![]() ![]() However, I don't think I'll be using this feature. There might be some things in the picture profile that have an effect, but I don't know what.Īnd it looks like the "Canon Cinema RAW Light Source Settings" panel can be used to get the RAW footage directly into whatever colour space you want, like straight to REC 709, for example. So your premise is correct in RAW shooting, at least as far as Log goes, what you record is not affected by the picture profile. So applying my normal de-log LUT in an adjustment layer worked. I wasn't seeing this because I always shoot Log, and by default Premiere treats the RAW from the R5C as Log 2. It looks like you're perfectly correct the settings in the "Canon Cinema RAW Light Source Settings" panel determine, after the fact, how the RAW data is treated by Premiere Pro. UPDATE: I found the "Canon Cinema RAW Light Source Settings panel"! It was not obvious to me that there was an effect controls panel for the source monitor normally effect controls only apply to clips in the timeline / program monitor. Does anyone want to confirm this or perhaps you have a counter example? When shooting RAW, what is recorded on the card is not affected by the "Custom Picture" setting. So, I'm concluding that what the YouTube video said about RAW format for still images basically is valid for RAW format for video files. I set the Color Space and Gamma in the Premiere Pro Canon Cinema RAW Light Source Settings panel to BT.709 / Wide DR and put both clips side by side in a sequence and I can't tell them apart. So, if the metadata is different between the two clips, Premiere Pro doesn't see it. Selecting a clip in the source monitor, picking Effect Controls, under Canon Cinema RAW Light Source Settings, the color space and Gamma of both clips showed up as Cinema Gamet / Canon Log 2. When I import them into Premiere Pro, both show up exactly the same. Changing the CP mode after the fact did not affect things. Viewing the clips with the camera, the two clips looked different. One with CP set to CP1 which is BT.709 / Wide DR and the other with CP2 which is Canon Log 3 / Cinema Gammet. ![]() With the R5C, I shot two short clips, both in 8K RAW. Why is the camera giving me these choices? But they still have either "Custom Picture" in the case of the R5C or similar options such as "Canon Log" submenu with the R5. Both the R5 and the R5C can shoot RAW videos. Now we come to the same question, I think, for videos. The first part I knew, the second part I had never thought about. It does not affect the image stored but it does affect how the view screen displays the image. The LUT pack also comes PDF guide on how to use these LUTs in different situations.A YouTube video enlightened me on "Picture Mode" when shooting RAW still images. The C-log LUTs are designed for EOS Original, and the C-log3 LUT Pack comes with LUTs for the Cinema Gamut and BT.709 color spaces. Strong > crushes the blacks and highlights for a more punchy look, also useful to boost colors and contrast on cloudy days.Standard > slightly more contrast than the ‘Natural’ LUT, while retaining highlight detail.Natural > has a very smooth and natural highlight roll-off, add contrast to taste.WideDR > retains the most highlight and shadow detail, useful as a starting point for your own grade, or for low-light footage.To account for various types of lighting, both LUT packs include several different LUTs: The LUTs convert C-log footage to rec709 without altering the colors, and can be used for quick turnaround, or as a starting point for further grading. That's why I created C-log and C-log3 LUT packs specifically designed for log footage from cameras like the EOS R, R5, R6 and R7. ![]() They're too punchy, skin tones look off, and vibrant colors quickly turn toxic. Although Canon does provide official C-log and C-log3 conversion LUTs, those LUTs are meant for their cinema line of cameras. ![]()
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