Information is always lost as stuff is passed around different studios during post-production. A good naming convention can help prevent confusion.
So how is this used?
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So cameras work in Stops and composite packages use Gain. To convert between the two we need to do a bit of log maths. Heres how.
To convert from Stops (f) to Gain
Gain = 2f
To convert from Gain to stops (f)
f = log2 Gain
This is equivalent to:
f = ( log10 Gain ) / ( log10 2 )
If you want to see why then we’ll need to look a little deeper at log maths
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I picked this up on the pigsfly forum. I’ve yet to try it but it looks like a very cool technique. ( I’ve be looking around for a cheap way to do smoke FX. )
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Buried in the Fusion manual is a useful feature allowing you combine (stack) image LUTs. If your working with a colourist this feature allows you to use their colour grade in a linear fusion workflow. This article shows how to set up this workflow and explains the work arounds you may need.
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This in depth article covers ways to use a grading artist 3d LUT file to view your work in Fusion. It’s shows alternatives to using stacked LUT’s, and shows how to test your workflow for clipping. It’s part of a series of articles on Log colour and Linear workflows in fusion.
We’ve been looking at a tigher workflow between the Quantel suite and the compositors at Lexhag. While setting up the linear workflow for DPX sequences and LUT files. I noticed some clipping issues in the viewport and started this thread at pigsfly.com. That thread grew into this document from some work arounds suggested by Eyeon’s tech support (who have been awesome), some head scratching, and a bit of maths. As a result this problem has been fixed in the latest version of Fusion.
