The use o f the LC709 Type A LUT in Sony’s Cinealta cameras such as the PXW-FS7 or PMW-F55 is very common. This LUT is popular because it was designed to mimic the Arri cameras when in their Rec-709 mode. But before rushing out to use this LUT and any of the other LC709 series of LUT’s there are some things to consider.
The Arri cameras are rarely used in Rec-709 mode for anything other than quick turn around TV. You certainly wouldn’t normally record this for any feature or drama productions. It isn’t the “Arri Look” The Arri look normally comes as a result of shooting using Arri’s LogC and then grading that to get the look you want. The reason it exists is to provide a viewable image on set. It has more contrast than LogC and uses Rec 709 color primaries so the colors look right, but it isn’t Rec-709. It squeezes almost all of the cameras capture range into a something that can be viewed on a 709 monitor so it looks quite flat.
Because a very large dynamic range is being squeezed into a range suitable to be viewed on a regular, standard dynamic range monitor the white level is much reduced compared to regular Rec-709. In fact, white (such as a white piece of paper) should be exposed at around 70%. Skin tones should be exposed at around 55-60%.
If you are shooting S-Log on a Sony camera and using this LUT to monitor, if you were to expose using conventional levels, white at 85-90% skin tones at 65-70%, then you will be offsetting your exposure by around +1.5 stops. On it’s own this isn’t typically going to be a problem. In fact I often come across people that tell me that they always shoot at the cameras native EI using this LUT and get great, low noise pictures. When I dig a little deeper I often find that they are exposing white at 85% via the LC709 LUT. So in reality they are actually shooting with an exposure the equivalent of +1 to +1.5 stops over the base level.
Where you can really run into problems is when you have already added an exposure offset. Perhaps you are shooting on an FS7 where the native ISO is 2000 ISO and using an EI of 800. This is a little over a +1 stop exposure offset. Then if you use one of the LC709 LUT’s and expose the LUT so white is at 90% and skin tones at 70% you are adding another +1.5 stops to the exposure, so your total exposure offset is approaching 3 stops. This large an offset is rarely necessary and can be tricky to deal with in post. It’s also going to impact your highlight range.
So just be aware that different LUT’s require different white and grey levels and make sure you are exposing the LUT at it’s correct level so that you are not adding an additional offset to your desired exposure.
7 thoughts on “Beware the LC709 LUT double exposure offset.”
(Or use custom versions of the LUT/Look for the the EI you are working at)
If you create an offset LUT and then expose that wrong you will still get an incorrect exposure offset. You’ll only get the “right” exposure if you expose the LUT as it is supposed to be exposed.
Yes of course. But I never implied it was ok to expose wrong!
Using the built-in LC-709 LUT [Ei800] in the VF, what is your recommendation for proper exposure for 90%White/Middle Grey/and Skin Tones? Thank you for bringing this up, I had not considered this.
LC-709 put’s white at 75% and skin tones around 55%.
How do you get the exposure of the skin tones so exact at around 85-90%?
Waveform, zebras, false color, many ways to measure them, but 85-90 isn’t for skin tones, that would be for a white card.