Hey everyone, I have some Canon Log Footage I am trying to get ready to transcode. The footage was shot flat and I wanted to add a LUT to the footage. I grabbed the Canon LUT from the Canon website and applied it. After comparing the look to the stills the DP gave it looked completely off! To test that it wasn't the LUT, I added the same footage to Premiere and the LUT looked great. It seems to me that Avid is not interpreting the LUT correctly. I am not sure if there are settings I need to change in Avid or what to do next. Any help would be appreciated!

Can you make sure that you're using the correct cannon LUT for your camera?

Maybe ask the DP what lut he/she used?

Is it the same lut in premiere that you've applied to Avid? Send a screenshot of your source settings > colour encoding in Media Composer. 

Hey, I am using the correct LUT.  I tried using the LUT supplied by the DP and the Canon LUTs provided on their website. 

Here are the cameras being used:

Camera A:  Canon C500 Mark II  Canon Log 3 Camera B:  Canon C300 Mark III Canon Log 3  Camera C:  Canon C70  Canon Log 3 Using the same LUTs I get very different results, here are some screenshots: https://imgur.com/a/duPzwz1 Source Color Range in Avid is set full color range

Make sure you are not stacking LUTs. If there were any LUTs (even just a full range to 709) already on the footage when you added the LUT they will stack not replace. In the Source Settings > Color Encoding there should be only one Color Transformation listed when only one LUT is applied.

Also, are you applying the LUT through Source Settings or are you applying the LUT through Color LUT plug-in?

There are no color transformations on the footage at all.  As for the LUT I am applying it through the source settungs.  What is the color LUT plug-in, have not used that before.

Are you sure you are monitoring correctly (709 legal vs full range)? Are you evaluating on a computer monitor or on a PGM monitor?

I am evaluating on computer monitor.  How would I check to see how I am monitoring in 709 or Full Range.

Right-click on your source and/or record monitor, choose Display Color Space, and set it to sRGB. What that does is add a display LUT that compensates for the difference between Rec 709 legal video and an sRGB computer monitor. It makes quite a difference when it comes to contrast.

Recently I did a test with a Sony FS-7 set to record S-log3.cine.

Using the same motive, light and apature I checked the level of the SDI output from the camera on a waveform monitor. I recorded a few seconds and brought the file into Media Composer and Resolve. Checked the SDI output, and the levels from both programs were the same as from the camera (no color adapters applied in MC).

Then I made an adjustment in Reaolve and exported it as a LUT. Made a note of the waveform.

Loaded the LUT into the FS7 and used it as a monitor LUT on the SDI output. Waveform was the same as from Resolve.

Then I applied the LUT to the clip in Media Compiser - and the waveform was off! After poking around a bit it turned out that MC needs an adapter to scale "full to legal" BEFORE the LUT. With that in place I got the expected output on the waveform monitor.

This is in Media Composer 2020.12.6 and a timeline set to Rec.709. I don't know if this is how it has always worked. Not if I should call it a bug or a feature :-/