FF will give you a punchier, more contrasty look because it's trying to fit all brightness values within a certain broadcast-safe threshold. If you have a decent machine, then pick from the 33 and call it a day. The higher the grid size, the more intensive an operation it is to apply the LUT to footage, so if you're on a mediocre computer then stick to LUTs with a grid size of 17. It's unlikely you'll ever need or benefit from the 65 grid size with EOS-R footage. If you're recording 10-bit footage externally, then you'll want to step up to the 33. If you're recording internally, you're working with 8-bit footage, so the 17 grid size is sufficient. Think of grid size as the "resolution" of the LUT: higher means more precision, but it only matters if your footage is of sufficient quality. Next, we need to tackle grid size Canon 17/33/65 choices. The first thing to bear in mind is that the download provides LUTs for all of their cameras, including the cinema lineup, so actually very few are appropriate for the EOS-R.Īs you dig into the downloaded package, you'll want to pull from the 3D LUTs folder rather than the 1D-in most cases, it's a better format for applying a LUT and it's not worth worrying about where 1D LUTs are fine to use. They might look ok applied to certain neutral picture profiles, but that's a happy accident, not their intended usage. If you aren't shooting in CanonLog, you shouldn't be using these LUTs-they're not "creative look" LUTs, they're utility LUTs. The purpose of these LUTs is to conform Log footage to a more useable form as the first part of preparing it for delivery. Skip to the end if you just want to see where we end up. They don't do a very good job of making it easy, but we can go on a journey to narrow down the best LUT from the many options they provide in the download.
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