LUTs (Lookup Tables) can be helpful and are sometimes necessary to convert Log footage into Rec 709 or other more dynamic color spaces. In this Avid Media Composer Tutorial I demonstrate how to apply LUTs to your source footage, bake it into your clips and ways to apply LUTs just within your timeline. Chapters: 0:09
This video will show you how to create a LUT and import this into Avid
In this lesson, Kevin P McAuliffe talks about Source Settings. Understanding them is an exceptionally important step between linking to your footage, and transcoding it, which we’ll talk about in our next lesson. We’ll look at Color processing and Frameflex, as well as the ability to adjust RAW native parameters in the Source Settings window,
The first video in a six-part series featuring colorist and finishing editor, Mike Nuget.
n this lesson, designed to compliment an article written over at ProVideo Coalition, Kevin P McAuliffe talks about how to set up your timeline for exporting for DCP creation. We cover how to convert your timelime from HD to DCP Flat (1.85:1) aspect, how to apply the XYZ LUT, and where to find it, and
In this lesson, Kevin P McAuliffe talks about working with Look Up Tables (LUT’s) inside of Media Composer. They’re not as simple to get installed in Media Composer as they are in other applications, as they are treated more like AMA Linked to parameters, as opposed to effects, but once installed, they can be worked
Working with ALEXA Log C ProRes and DNxHD material in AVID Media Composer 8.1. How to AMA link and transcode clips and apply external 3D LUT’s combined with CDL grading.
Quick review of top 10 Media Composer 7 features – FrameFlex | Color Management By: Wim Van den Broeck @editorbelga Footage courtesy of Mayca Teba: http://www.maycateba.com
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