ARRI 4K Super 35 Camera Will be Launched Next Month

[rand thompson]

RAVENGRADE a DCTL Plugin In Resolve - PART 2 ( SECTION 3)


1) Now back on the "COLOR" Page, after the "HALD" File has been place next to the other video clips on the timeline, Go back to the video clip with the Node tree from before and "DISABLE" the "ARRI AWG4/ALC4 TO REC709" Lut in the 4th / last Node of the Node Tree .

2) "GRAB A Still" from the resulting image without the ARRI AWG4/ALC4 to REC709 Lut applied to it to be placed in the "Stills" Gallery

3) Now apply the grade from that still to the HALD file on the TIMELINE.

4) Now "GRAB A STILL" of the HALD file with the Grade from the ALEXA 35 graded Still image into the Gallery AREA.

5) Now "EXPORT" the still of the HALD File with the Grade from RAVENGRADE applied to it and either save it as a .TIFF or .PNG file. Using a .JPEG export will result in a very poor quality final Lut.

Next. Inside of 3D Lut Creator Pro Part 3............

 

[rand thompson]

Inside of 3D Lut Creator Pro-Part 3

3DLUT Creator Website
3D LUT Creator - official site

TUTORIALS
3D LUT Creator - Tutorials

1) In the Top "RIGHT-HAND" side of the 3D Lut Creator pro UI find and select "MASK"

2) In This Area make sure you are using these settings.

3) Now use the "LOAD LUT" button to find and select the "GRADED" HALD PNG File you exported out of Resolve. The only thing that should happen is that you should see text under the "LOAD LUT" button of directory of where the HALD File came from.

4) Under the "FILE" heading select "OPEN IMAGE" and select the same Hald File once again. This time you should see that the HALD File has been somewhat altered from the way you remembered it coming out of Resolve.

5) Now under the "FILE" heading again select "Preferences" and you can choose what LUT Point size you want to export the Resulting Lut In along with any other properties that you might want to change.

6) Now Finally, Under the "FILE" heading again, Choose "Export" then "EXPORT 3DLUT FILE" and you're done in 3D Lut Creator Pro

Next, Back in Resolve-Part 4........

 

[rand thompson]

Back In Resolve-Part 4


YOU CAN IMPORT THE EXPORTED LUT FROM 3D LUT CREATOR PRO INTO YOUR LUT FOLDER BY SELECTING "OPEN LUT FOLDER". THEN IMPORT THE LUT INTO A FOLDER OR CREATE A FOLDER TO PUT IT INTO. THEN CLOSE THE LUT FOLDER AND SELECT "UPDATE LIST' THEN "SAVE".

Back inside of the "MASTER SETTINGS", you can now change your Project resolution back to it's original resolution before it was changed to accommodate the resolution of the HALD file.

1) Now with the resulting Lut which was created from 3DLut Creator Pro with the RAVENGRADE grade applied to it in your "LUT FOLDER", "DISABLE" the Node with the "RAVENGRADE" DCTL applied to it and make a Node for the " RAVENGRADE" Lut.

2) Next, Again "DISABLE" the 4th/Last Node with the OFFICIAL ARRI AWG4/ALC4 to REC709 Transform Lut Applied to it and "RIGHT-CLICK" on the graded clip in the "CLIP VIEW" area and "GENERATE LUT" the "33 POINT CUBE"

FINALLY, Import the Lut that you exported out of Resolve above back into the same or different LUT FOLDER. Create a Project with the settings below and apply the LUT before one of the OFFICIAL ARRI AWG4/ALC4 transform Luts of your choosing, I chose a REC709 Transform LUT.

I think you already know how to make an ALF4 Look file in the ARRI REFERENCE TOOL with the Lut Above so I won't even bother.


FIN..........................

 

[rand thompson]

ARRI Tech Talk: How to build your ALEXA 35 Lightweight Set

by ARRICHANNEL

 

[rand thompson]

ALEXA 35 @ ARRI & Friends UK
by ARRIChannel

 

[rand thompson]

A Quick and easy way to make a Davinci Wide Gamut Compatible Lut that you can use any IDT or ODT with.

I'll use an AWG4/ALC4 to DAVINCI WIDE GAMUT workflow but you can use this lut with any other IDT and ODT.

Project Settings and Workflow

Before a simple grade

And After

1) Next, go back to the "COLOR MANAGEMENT" section in the "PROJECT SETTINGS". Now Change the "INPUT COLOR SPACE" from the original "AWG4/ALC4"(If you used "Use separate color space and gamma") or "ARRI LOGC4"( if you didn't use "Use separate color space and gamma") to "SAME AS TIMELINE". Also, Change the "OUTPUT COLOR SPACE" from the original "REC709/GAMMA 2.4 to "SAME AS TIMELINE".

2) Go back to the "Color" page and you should see the image below.

Now "RIGHT-CLICK" on the Clip in the "CLIP VIEW" area and select "GENERATE LUT" and whatever Lut Point Size you want.

4) Go Back into the "COLOR MANAGEMENT" area in the "PROJECT SETTINGS" again and re-select the IDT and ODT you want to use this new lut with in a DAVINCI WIDE GAMUT Workflow. Import the Lut into your "LUT FOLDER" and apply it to the image.

 

[rand thompson]

According to Harald Brandel a chief color scientist of Arri and who also has the title of "Head of the Center of Competence Image Science in the Camera and R&D" in Munich, from the FDTimes's ALEXA 35 Camera Report June 2022 Issue 115 in the bottom right-hand corner of page 54;

link

115FDTimes-June2022-2.04-150.pdf

"There will be an option in the SDK to process the Mini LF and LF
files into AWG4 LogC4. So, in the future, once the version is out,
there will be a switch in the software where you say process it to
LogC3 or process it to LogC4. When it’s processed to LogC4, then
you can apply the same LUTs, or the same Looks that you have for
your ALEXA 35 images. It works quite well, and we have seen that
we can get quite a good color match between those cameras even
while they have different sensors.
In the first version, it’ll be for the ALEXA Mini LF and ALEXA LF
only, but then we will also have it for the ALEXA Mini and SXT
and every other ALEXA camera.
But the SDK that will live in your DaVinci Resolve or Baselight
will have a switch where you can say process my ALEXA footage
to LogC3 or LogC4. So, yes, it’s done in post."


I have not seen that switch yet inside of Davinci Resolve but it will probably be coming in a future update.

However, I did find "a switch in the software where you say process it to LogC3 or process it to LogC4" in The Arri Reference Tool.

In the article they say that initially only the ARRI Alexa LF and Alexa Mini LF will be capable being processed from LogC3 to LogC4 with all of the other Arri Alexa cameras coming later on

I tried a Sample Alexa Mini LF ARRIRAW file in a .MXF file format in the older LogC3 Color Space inside of the ARRI Reference Tool.

I processed the video image into the LogC4/ AWG4 Color Space

Next, I chose to do a "QUICK RENDER" into the "ProRes 4444XQ file format instead of using the Batch processing under the "RENDER" Tab since it was only just one clip. You have a few more Render setting options under the "RENDER" tab that are not available with the "QUICK RENDER CLIP" export alternative. You can also add multiple batch renderings for the same clips or just for other clips.

In Resolve

In Resolve I brought in both an ARRI ARRIRAW clip in the older AWG3/ ALC3 Color Space of the clip from the ARRI REFERENCE TOOL and a Pro RES 4444XQ sample of the clip Processed into the newer AWG4/ ALC4 Color Space and added an ARRI ALEXA 35 AWG4/ALC4 to REC709 Transform Lut to Both.


ARRIRAW Clip in it's Original AWG3/ ALC3 Color Space

Pro RES 4444XQ Clip Processed into the AWG4/ ALC4 Color Space with ARRI ALEXA 35 AWG4/ALC4 to REC709 Transform Lut

ARRIRAW Clip in it's Original AWG3/ ALC3 Color Space with ARRI ALEXA 35 AWG4/ALC4 to REC709 Transform Lut

 

[rand thompson]

I just tried converting the ARRIRAW clip that was still in the AWG3/ALC3 Color Space to the AWG4/ALC4 Color Space with a "COLOR SPACE TRANSFORM" and applying an ALEXA 35 to REC709 Lut at the End of that, The results are below

ARRIRAW Clip in it's Original AWG3/ ALC3 Color Space

Pro RES 4444XQ Clip Processed into the AWG4/ ALC4 Color Space with ARRI ALEXA 35 AWG4/ALC4 to REC709 Transform Lut

ARRIRAW Clip in it's Original AWG3/ ALC3 Color Space transformed into the AWG4/ ALC4 Color Space with a COLOR SPACE TRANSFORM with an ARRI ALEXA 35 AWG4/ALC4 to REC709 Transform Lut.

 

[rand thompson]

I've been using node based Davinci YRGB workflows in the previous examples so now I wanted to test this all out with my preferred ACEScct workflow

I exported out an Alexa Mini LF LogC3 File processed into LogC4 into an OPEN EXR file and the same file out as a ProRes 4444XQ also in the LogC4 Color Space. I wanted to see how ACEScct would treat the files.

Here is the ACEScct Project settings. I used a CLF(COMMON LUT FORMAT) LMT that required APO/ LINEAR to Offset the look of the ACES RRT(Reference Rendering Transform). It does this by giving a similar ARRI Tone-Curve as in other Non-ACES workflows. So I had to choose "ACES AP0/LINEAR" next to "Process Node Luts In"

The OPEN EXR file came into ACES just like a Raw file with an IDT already assigned to it. I couldn't tell if The IDT was for LogC4 which I thought it should be or LogC3. So I Assigned an "ARRI LOGC4" IDT to the ProRes 4444XQ file which has also been processed from LOGC3 to LOGC4 to see if the OPEN EXR file was assigned the correct IDT, and they should match each other if so. I also used the ''ARRI Tone" LMT on both.

OPEN EXR FILE

ProRes 4444XQ

 

[rand thompson]

HOW TO CREATE A LUT/LMT( for AP1 not AP0 / Linear) FOR ACEScct

This is a LUT/LMT designed for use with ACES AP1 and Not AP0/Linear. The difference being is if you are not going to export the Aces Project out for Archival purposes to OPEN EXR or 16-bit TIFF this can be used. However, If this ACES project will be exported out for Archival purposes to OPEN EXR or 16-bit TIFF then this Lut designed for ACES AP1 will restrict the dynamic range and other aspects of the image so only a LMT designed for AP0/Linear can be used and this Lut should be deleted before any Archiving.


Project Settings and Workflow

HERE IS NOW MY DEFAULT NODE TREE FOR AN ACESCCT NODE BASED WORKFLOW. HOWEVER TWO OF THE NODES IN THE NODE TREE ARE DISABLED UNTIL I NEED THEM.

HERE IS A GRADE OF AN ALEXA 35 SAMPLE IMAGE WITH THE NODE TREE SHOWN ABOVE. I USED A "DCTL" AND A "HUE vs HUE" FOR A QUICK GRADE.

NOW I DISABLE BOTH THE "ACES TRANSFORM IN" AND THE "ACES TRANSFORM OUT". AT THIS POINT I CAN EITHER GENERATE A LUT WITH "GENERATE LUT" IF I DIDN'T USE ANY DCTLs OR START THE "DCTL TO LUT" PROCESS. I USED ONE DCTL SO I WILL HAVE TO START THE "DCTL TO LUT" PROCESS I DESCRIBED ABOVE.

GENERATE LUT

BEGINNING OF DCTL TO LUT PROCESS

WITH COMPLETED LUT BACK INSIDE OF RESOLVE

AFTER APPLYING THE LUT TO YOUR "LUT FOLDER", CREATE A SIMPLIER NODE BASED ACES WORKFLOW AND APPLY THE LUT. THIS LUT CAN ALSO BE APPLIED IN AN ACES PROJECT BASED WORKFLOW AS WELL.

ACES PROJECT

ACES NODE BASED

ACES LUT

ACES PROJECT

 

[rand thompson]

Cine Lens Test with ARRI 35 & ARRI Mini LF (4K)

by Gorilla Cinema Force

Video Chapters:

00:00 Introduction
00:21 ARRI ALEXA 35 + ARRI Master Prime 25mm
00:34 ARRI MINI LF + ARRI Master Prime 25mm
00:46 ARRI ALEXA 35 + ARRI Master Prime 50mm
01:01 ARRI MINI LF + ARRI Master Prime 50mm
01:18 ARRI ALEXA 35 + ARRI Master Prime 75mm
01:39 ARRI MINI LF + ARRI Master Prime 75mm
01:54 ARRI ALEXA 35 + ARRI Signature Prime 25mm
02:13 ARRI MINI LF + ARRI Signature Prime 25mm
02:23 ARRI ALEXA 35 + ARRI Signature Prime 47mm
02:34 ARRI MINI LF + ARRI Signature Prime 47mm
02:44 ARRI ALEXA 35 + ARRI Signature Prime 75mm
02:54 ARRI MINI LF + ARRI Signature Prime 75mm
03:15 ARRI ALEXA 35 + Blackwing 27mm
03:37 ARRI MINI LF + Blackwing 27mm
03:48 ARRI ALEXA 35 + Blackwing 57mm
04:03 ARRI MINI LF + Blackwing 57mm
04:14 ARRI ALEXA 35 + Blackwing 77mm
04:28 ARRI MINI LF + Blackwing 77mm
04:38 ARRI ALEXA 35 + Zeiss Superspeed 25mm
04:52 ARRI MINI LF + Zeiss Superspeed 25mm
05:08 ARRI ALEXA 35 + Zeiss Superspeed 50mm
05:28 ARRI MINI LF + Zeiss Superspeed 50mm
05:48 ARRI ALEXA 35 + Ironglass Mir 37mm
06:06 ARRI MINI LF + Ironglass Mir 37mm
06:14 ARRI ALEXA 35 + Ironglass Helios 58mm
06:24 ARRI MINI LF + Ironglass Helios 58mm
06:46 ARRI ALEXA 35 + Cooke mini S4 25mm
06:56 ARRI MINI LF + Cooke mini S4 25mm
07:01 ARRI ALEXA 35 + Cooke mini S4 50mm
07:08 ARRI MINI LF + Cooke mini S4 50mm
07:14 ARRI ALEXA 35 + Zeiss Jena 20mm F4
07:22 ARRI MINI LF + Zeiss Jena 20mm F4
07:28 ARRI ALEXA 35 + Zeiss Jena 50mm F2
07:35 ARRI MINI LF + Zeiss Jena 50mm F2
07:43 ARRI ALEXA 35 + Atlas Orion 32mm
07:52 ARRI ALEXA 35 + Atlas Orion 65mm
08:00 ARRI ALEXA 35 + Lomo Roundfront 35mm F2.5
08:21 ARRI ALEXA 35 + Lomo Roundfront 50mm F2.4
08:33 ARRI ALEXA 35 + Leica R 19mm
08:53 ARRI MINI LF + Leica R 19mm
09:07 ARRI ALEXA 35 & ARRI MINI LF + Leica R 35mm Summilux, Olympus OM 35mm F2, Olympus OM 50mm F1.2,
09:21 ARRI ALEXA 35 & ARRI MINI LF + Nikon AIS 35mm F2, Nikon AIS 50mm F1.2, Canon FD 35mm F2, Canon FD 55mm F1.2
10:06 Credits

 

[rand thompson]

HOW TO CREATE A LUT/LMT( for AP1) FOR ACEScct With ACES Project settings

Again, this is a LUT/LMT designed for use with ACES AP1 and Not AP0/Linear. The difference being is if you are not going to export the Aces Project out for Archival purposes to OPEN EXR or 16-bit TIFF this can be used. However, If this ACES project will be exported out for Archival purposes to OPEN EXR or 16-bit TIFF then this Lut designed for ACES AP1 will restrict the dynamic range and other aspects of the image so only a LMT designed for AP0/Linear can be used and this Lut should be deleted before any Archiving.


Project Settings And Workflow

VERY IMPORTANT!!!!

Whereas in an "ACES NODE BASED" workflow you could use either Raw or Transcoded/ Non-Transcoded ProRes, DNxHR ..etc files to create a Lut with. In an "ACES PROJECT" Workflow, if you want the resulting Lut to be "UNIVERSAL" for any IDT and ODT, You can't use a raw file because IDTs are automatically assigned at Import of those Raw clips. So unlike the "ACES NODE BASED" approach, you'll have to transcode a raw "HERO" shot to something like ProRes or DNxHR before you can begin the Process.

I used a PRORES 4444XQ file transcoded from an ARRIRAW file inside of the ARRI REFERENCE TOOL

In the screengrab below I have "AP0 LINEAR" selected next to "PROCESS NODE LUTS IN" because I will use an ACES LMT designed for AP0/Linear in this example. Also, I have "USE COLOR SPACE AWARE GRADING TOOLS" "UN-CHECKED".

This is because if you plan on using a Lut from a grade from either an "ACES NODE BASED" or "ACES PROJECT" based workflow, if you want the Lut to be interchangeable between the two workflows, you will have to leave this un-checked.

The reason is because when you select "USE COLOR SPACE AWARE GRADING TOOLS" in the "ACES PROJECT" workflow it enables certain functionalities that make the grading tools respond the way you are normallly use to using them in other non Aces workflows. However, this causes the grades between the two workflows to look dramatically different.

You must first select the correct IDT for the video clip which in this case is "ARRI LOG C4"

Here is the Clip without the "T-ARRI TONE" LMT designed for AP0/ LINEAR applied to it and with the "T-ARRI TONE" LMT applied.

Next, Here is the Grade, just something as an example grade.

Now, first change the "ARRI LOGC4" IDT back to "NO INPUT TRANSFORM" . Then in the "PROJECT SETTINGS" " COLOR MANAGEMENT" Area change "ACES OUTPUT TRANSFORM" from "REC709" to "NO OUTPUT TRANSFORM"

The resulting image should look like this

Now "GENERATE LUT" to export the grade as a Lut.

Once you come back into Resolve make sure you have "ACES OUTPUT TRANSFORM" set back to "REC709" and you change "PROCESS NODE LUTS IN" from "ACES AP0 LINEAR" to "ACEScc AP1 TIMELINE SPACE". Also keep ''USE COLOR SPACE AWARE GRADING TOOLS'' unchecked also.

Apply the "ARRI LOGC4" IDT back to the Image and apply the "AQUA BLUE " Lut

IN ACES NODE BASED

ACES PROJECT

ACES LUT

ACES NODE BASED

 

[rand thompson]

I thought I would post the Link to the LMT I demonstrated using here again. Here's also a link to the DCTLs I use also.


Priikone/Aces-Looks

GitHub - priikone/aces-looks: ACESLooks is a set of LMTs for ACES.

PAUL DORE'S DCTLs

baldavenger (Paul Dore) · GitHub

 

[rand thompson]

Postproduction Compatibility ALEXA 35-Updated JULY 29

https://www.arri.com/resource/blob/288774/6bc0afc68082a285b01f51221d4a9cd0/2022-07-arri-alexa35-compatibility-data.pdf

 

[rand thompson]

I just wanted to show a quick example of the difference results between an "ACES TRANSFORM" resulting look and a "COLOR SPACE TRANSFORM" resulting look for an " ACES NODE BASED" Workflow


I couldn't really find any real info in the "DAVINCI RESOLVE 18 MANUAL" of the differences between the two or maybe I just missed it within the 4020 pages.

So below is how a sample Alexa 35 sample image looks in an ACES Node Based workflow using "ACES TRANSFORMS" and "COLOR SPACE TRANSFORMS" and how those images compare to an ACES Project Workflow.

Project and Settings

ACES NODE BASED WITH "ACES TRANSFORMS"

ACES PROJECT

I CAN'T CONFIRM IT, BUT I BELIEVE THAT THE ACES NODE BASED WORKFLOW WHICH USES "ACES TRANFORMS " AND THE ACES PROJECT WORKFLOW ARE UTILIZING THE SAME MATH DUE TO THE SIMILARITIES OF THE RESULTING IMAGES.


ACES NODE BASED

ACES PROJECT

ACES NODE BASED WITH "COLOR SPACE TRANSFORMS"

THE RESULTING IMAGE FROM THE "COLOR SPACE TRANSFORM" ACES NODE BASED WORKFLOW LOOKS DIFFERENT FROM THE RESULTS FROM THE ACES NODE BASED WORKFLOW WHICH USES "ACES TRANFORMS " AND THE ACES PROJECT WORKFLOW. IT LOOKS MORE TONE-MAPPED DUE TO THE ADDITION OF THE "DAVINCI" TONE-MAPPING IN THE "COLOR SPACE TRANSFORM" ALONG WITH THE "ARRI TONE LMT" TONE-MAPPING

ACES NODE BASED WITH "ACES TRANFORMS " AND ACES PROJECT

ACES NODE BASED WITH "COLOR SPACE TRANFORMS "

ACES NODE BASED WITH "COLOR SPACE TRANSFORMS" WITHOUT ARRI TONE LMT

WITHOUT THE "ARRI TONE LMT", THE TONE-MAPPING LOOKS THE SAME AS THE ACES NODE BASED WORFLOW WITH THE "ACES TRANSFORM" BUT IT LOOKS MORE SATURATED AND MORE RED.

ACES NODE BASED WITH "ACES TRANFORMS " AND ACES PROJECT

ACES NODE BASED WITH "COLOR SPACE TRANFORMS " AND NO ARRI TONE LMT

 

[rand thompson]

(RCM) RESOLVE COLOR MANAGED AND (CST) COLOR SPACE TRANSFORMS

I Believe that the (DWG) Davinci Wide Gamut / Davinci Intermediate Project Resolve Color Managed Workflow and a Node based DWG/DI with Color Space Transforms Workflow are better complimentary workflows than to use CST's for an ACES Node based workflow. The resulting images also look the same between the two.


Project and Settings

I used the OFX plugin "LOOK DESIGNER 2.4.2" and nothing else for the grade below.

Davinci Wide Gamut / Davinci Intermediate Project Resolve Color Managed Workflow

Node based DWG/DI with Color Space Transforms

Davinci Wide Gamut / Davinci Intermediate Project Resolve Color Managed Workflow

Node based DWG/DI with Color Space Transforms

 

[rand thompson]

AWG4/ALC4 RESOLVE COLOR MANAGED WORKFLOW AND AWG4/ALC4 DAVINCI YRGB NODE BASED WORKFLOW WITH A COLOR SPACE TRANSFORM



Project and Settings


AWG4/ALC4 RESOLVE COLOR MANAGED WORKFLOW

ORIGINAL IMAGE

AWG4/ALC4 DAVINCI YRGB NODE BASED WORKFLOW WITH A COLOR SPACE TRANSFORM

AWG4/ALC4 RESOLVE COLOR MANAGED

DAVINCI YRGB NODE BASED WITH A COLOR SPACE TRANSFORM

 

[rand thompson]

ARRI Tech Talk: ALEXA 35 Workflows – ACE4, AWG4 and ALF4

bY
ARRIChannel

ARRI Tech Talk: ALEXA 35 Workflows - LogC4 Tonal Curve, False Color, Exposure

bY
ARRIChannel

ARRI Tech Talk: ALEXA 35 Workflows – ARRI Reference Tool

bY
ARRIChannel

ARRI Tech Talk: ALEXA 35 Workflows – Grading und Look Management

bY
ARRIChannel

ARRI Tech Talk: ALEXA 35 Workflows—High Density Encoding (HDE)


bY
ARRIChannel

 

[rand thompson]

I've been playing around with the "Master Curve" inside the ARRI AWG4/ALC4 to REC709 transform LUT. I "Extracted it separately from the "RGB" Color Info. and been modifying it to get better results in "Some" situations. I realized that this Specific Curve was designed to accommodate an additional 2 1/2 more Stops of Dynamic Range in the ARRI Alexa 35 along with other technical aspects/necessities beyond my knowledge, but I just wanted to fuck around with it all the same.


I used 3DLUT CREATOR PRO to extract the "Master Curve" away from the RGB Color Information and to try a few Mods.

PART 1- THE SETTINGS

I exported out a .PNG "AWG4/ALC4 Log "still" out of RESOLVE to use to apply the Luts to.

1) I went to the "Mask" section inside of 3DLUT CREATOR PRO and used these settings.Then I selected the"ARRI_LogC4-to-gamma24_Rec709-D65_v1-65.cube"Lut so that I could Extract the "RGB" info and "Master Curve" from.

NEXT, PART 2 The Extraction...............

 

[rand thompson]

PART 2- The Extraction

2) After I imported and applied the "ARRI_LogC4-to-gamma24_Rec709-D65_v1-65.cube" to the sample AWG4/ALC4 log image, I selected the "DOWN-ARROW" button highlighted in "YELLOW" to enable an additional "Drop Down Menu" to select the extraction function.

This shows the Master Curve and the RGB Curves separated into parts in the ARRI LUT.

3) Here is the Separated RGB Curves with the Master Curve tied to them. To separate the Master Curve from the RGB Curves I have to select "M>RGB" button. Now the Master Curve can be modded separately from the RGB info.

Here are the examples of the Original ARRI AWG4/ALC4 Curve and the Modded Curve that I save both as "LIGHTROOM CURVES". The "MODDED" Lut was made in an attempt to give better "Highlight" and "Shadow" Roll-Offs than the Original Arri Lut.


Original

Modded

Original and Modded Luts back inside of RESOLVE

Original

Modded