Under the Hood of Rec.709

After using Zacuto's Gratical EVF on a few shoots recently, I wanted to take a more in-depth look at the exposure tools and LUT functions that can be extremely valuable on set. I already knew I liked the versatility of the viewfinder and the user-friendly interface, but I wanted to see how these advanced tools could benefit my image and my set.

Our scene file blogs have always been some of our most popular posts, and our specialists get many questions regarding how to create matching scene files for different cameras. Last year I actually wrote an article for HDVideoPro called "Making the Match," where I discussed step-by-step how I go about doing this. In that article, I used a Sony F3 and an FS700 as examples, but recently we received an interesting inquiry on how to match a Sony F55 with a Canon C500.

One of the most popular blog posts I've written was a guide to Applying LUTs to Log Footage in various NLEs. Since I posted it, a lot has changed in the popular NLEs; the tools used to apply Look Up Tables are now included in many of them, and they are generally better than ever. Here is a break down of how to apply LUTs to Log footage (or any footage) in Final Cut Pro X, Adobe Premiere Pro CC, Avid Media Composer 7, and Resolve 10