Many ICC files are basically a lut or at least part lut and they are in common use so for some they are relying on one all the time to get at least the starting look Also one of the ânewâ features I think in the new Lumix S5II is a series of in camera luts that can be applied. If you have a lut that works and gives you what you need I donât think its such a bad thing??
Adobeâs dcp files have a look table again imparting a color adjustment out of the gate so if your lut gets you what you need I think its an efficient way to edit âŚ
Great video on that topic. As I expected from you - many useful hints for such lighting situations. Thank you very much, Boris! Itâs always a pleasure to learn from you
But I have a shy/timid request/ask/supplication/petition (I donât know which word is better for this situation).
IMHO in situation like this â go straight to the point of the matter.
Without any basic/starting adjustments (which should be allready applyied).
You should assume, spectators have some basic knowledge.
From this video I found out about the letter C and that the individual channel tabs connect.
And this is great.
It gets even more complex when you invert some of the channels and also use inclusive vs exclusiveâŚeventually you can follow all these combinations to achieve the desired result but it can take a moment to get it strait in your headâŚ
IMHO in situation like this â go straight to the point of the matter.
I should express my disagreement here. Seeing the entire process seems to me quite crucial, for example for orientation and to see the process of decision-making. Iâm also sure that otherwise many questions would follow in the style of: how did we get such and such an effectâŚ
Iâm glad you have show the process of using channel data prior to selecting the appropriate mask. I havenât used that until now. BUT, all of the channel displayed for me (when I place the mouse over the channel and press c) is a variation of gray. Do I need to change something in my settings?