#SLOG2 TO REC709 SKIN#
#SLOG2 TO REC709 FULL#
#SLOG2 TO REC709 PLUS#
#SLOG2 TO REC709 FREE#

NOT happy they EOL'd that leaving Lumetri as the best thing short of working in or grading in Resolve, but. it's the kind of thing you can do with Lumetri. This could be done to get most of this and some other work in a number of other ways I can think of, but. then on to Vignette just to pull the brightness of the outer edges down.

#SLOG2 TO REC709 SKIN#

In the Curves 'Hue' control, selected the main greens/cyan tones and brought that down just a bit pulling attention from all that green (but subtly), in the HSL tab selected his skin (which now was easy to get all of it) and pushed the Midtones color wheel towards yellow a bit to get the best skin I could. added another Lumetri, and with a number of hue & tonal things nicely sorted from earlier work, did some fine tuning in Basic (highlight/shadow balancing mostly for the face), added a bit of Vibrance in Creative tab to bring up color in his less-saturated skin areas evening things out a bit. In HSL, selected his skin-tone, much more uniform than to begin with because of the earlier work, and pulled total saturation down a bit. In the Curves tab, figured out where on the Hue circle control that magenta of his shirt 'lives', and brought that spike in some.

cleaning the ECP of all color effects, I went to the Color workspace and in the Creative tab, added that LUT I'd just made, using the handy 'intensity' control to play with how strong it needed to be, ended at about 94. Thus endeth the saga of creating a workable corrective LUT.

#SLOG2 TO REC709 FREE#

LUT Buddy effect (old free Red Giant one) placed above the RGB curves in Draw mode, below Lumetri in Read mode, then created another LUT encapsulating all the work done for tonality and color shaping so far.

#SLOG2 TO REC709 PLUS#

With some shaping of the curves in the R, G, and B channels plus some work refining tonality in the Basic, I moved to the HSL tab selecting the excess magenta areas in his skin, and pulled saturation down there to even his skin tones some. as I couldn't correct for everything in front of the Creative tab, I loaded an RGB Curves effect placed above the Lumetri, and used that and the Basic tab to do general balancing of the scene, noting especially his apparently grey sweater.

#SLOG2 TO REC709 FULL#

Now, to make a full corrective LUT including color, I corrected for some color oddities. cube LUT, then zeroed the controls, and from the Creative tab, imported that. In Lumetri, turned the saturation to 0 and used the contrast controls in Basic to get a decent tonal range for the scene. The 'standard' LUT for this just didn't work as far as I could tell with the light issues, so. ) is the LUT is applied and then one does basic contrast/color-balancing through the corrective Log-to-Rec709 LUT to get to 'neutral'. So the assumed practice (and how this is handled in everything but PrPro. this I did was just 'one' video track without masking him. it's very difficult, and probably should be one track for the scene, with his head on a tracked-mask layer with a different color/contrast, to be really precise with it. This has so much yellow-green light bouncing back into the face. Log conversion LUTs from the manufacturer assume a perfectly white-balanced/exposed/contrast controlled image coming into the LUT. too bad you couldn't add a bit of 'clean' light on his face, that jacket is pretty neutral but the reflected greens into his skin are murder to deal with.

Initial observation on downloading and importing into PrPro.

Slog2 to rec709