Just noticed in your email below that you are using Premier. If it is even a 
relatively recent release of PP it is smart enough to extract the embedded LUT 
and use that to process the LogC to displayable video data for you. So if 
someone had a sepia-tone 3D LUT loaded in the AMIRA, then the LogC is still 
unadjusted LogC but the LogC to 709 transform would be the nonstandard 
sepia-tone (in this example) look, and you’ll need to extract that and convert 
it to something Nuke can process if you want to see that sepia-tone in Nuke’s 
viewer. (Of course, since linearization is done from LogC data, and the look is 
not burned in but is pure metadata, Nuke’s linearization should be fine by 
default.)

On Oct 28, 2016, at 10:46 AM, Michael Garrett 
<michaeld...@gmail.com<mailto:michaeld...@gmail.com>> wrote:

Hey Gary,

Amira LogC is the same isn't it? It's possible Premiere is applying a LogC to 
Rec709 LUT to roll the highlights off and get it looking presentable. I would 
imagine from what you're saying that the footage looks blown out in Nuke 
because it's not doing the additional s-curve in the above LUT to get a 
reasonable image. Check out the Arri web site to download a LogC to Rec709 LUT.

Cheers,
Michael

On 28 October 2016 at 13:02, Gary Jaeger 
<g...@corestudio.com<mailto:g...@corestudio.com>> wrote:
I have a question about LogC as well. Do we need a different LUT to work with 
Amira LogC footage? I’m pretty sure the camera tags the clips, and for instance 
Premiere reads that and displays the footage with that lut so the editor (and 
client) see something reasonable i.e. not flat LogC like it is looking at the 
raw clips. But Nuke displays the footage quite blown out. I know the data is 
there, but is the AlexaV3LogC not the right transform?


Gary Jaeger / 650.728.7957<tel:650.728.7957> direct / 
415.518.1419<tel:415.518.1419> mobile
http://corestudio.com<http://corestudio.com>

On Oct 26, 2016, at 7:07 AM, Stepan Z 
<motionarti...@gmail.com<mailto:motionarti...@gmail.com>> wrote:

Hello i didn't think about the bitrate! Thank you Andrew! I'll read about the 
compare node!

All the best

Stepan




On 25 Oct 2016, at 22:19, Andrew Mumford 
<a_mumf...@mac.com<mailto:a_mumf...@mac.com>> wrote:

Are your dpx's 10 bit ? - That would make it different for sure !

There's also a "hidden" but wonderful node called"Compare" that is great for 
checking these things - gives you a visual and error based output.

---
Andrew Mumford

On Oct 25, 2016, at 09:56 AM, Stepan Z 
<motionarti...@gmail.com<mailto:motionarti...@gmail.com>> wrote:

Hello

I'm using nuke studio to conform a few short edits, publish a source dpx 
sequence and a nuke script.

So i'm bringing in original alexa logc encoded prores files, and publishing dpx 
sequence with logC set as the colorspace in the export dialog. When i then 
bring over that dpx sequence back into NS and drop it on top of the prores and 
disable all colour transforms (viewer to none instead of sRGB and the per file 
transform to linear) perceptually the files look identical. But when you sample 
a pixel or an area with the viewer the rgb values after two decimal places seem 
to change when your flicking between dpx and prores.

Is this normal and is just the difference in encodings or should they be 
exactly the same given that they come from the same file and are in the same 
colourspace?





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