I’m curious about working with custom LUTs in camera during productions. I haven’t really dabbled into that too much yet but I’m hearing a lot of DPs who work this way for many reasons: exposure, nailing down a look early on and committing to it, making sure director/producers/clients have a nice image around the monitor that’s close to the final graded look, etc.
Right now, I do what most people do when shooting log on cinema cameras: I use the go to 709 LUT the camera has to offer (Arri 709 for Alexa, 709(800%) for Sony and so on), expose looking at that (as well as my exposure tools of course) and toggle the LUT on and off to double check the log every now and then to make sure I’m not loosing certain things.
That’s worked fine for me and I have no problems doing that at all, but I’m very interested (for commercial, film and music video work) in looking into developing a look or a series of looks beforehand and sticking to it throughout.
I just want to hear about common practices for creating these show LUTs and how each created LUT relates to exposure in camera. I’d also like to hear about common workflow practices structured around working this way, like what is the basis of the creation of a custom LUT for a project? Is it Raw footage from a pre-light for the project? Or just random test footage?
I’m curious to hear your answers!