Mason Hunsicker

As long as I've been using Ravendgrade Cinelook, I've never really known what each look is based on. I've always had my guesses, but there isn't a white paper I can find to break down the possible negative or print film emulations they are based on. This kind of information would be incredibly helpful to plan out a particular look without having to experiment with every look. Fuji based emulations, check, Kodak based emulations, check, reversal stock, check. The more data the better for me to be able to have quick options for clients when needed. Don't get me wrong, I love using the tool, I just need some good info.

I hope you don't mind if I pipe in, but as an FS7 user, I can say that the Custom mode of the camera in any sort of matrix is 709 colorspace, and seeing above, you have the Gamma in SLOG2. The transforms in camera are just custom color matrix transformations similar to an internal LUT. For some reason Sony made the Custom mode base colorspace SGamut and SLOG2, even when you use SLOG3, the Gamut stays as SGamut, not SGamut3 or .cine. When the matrix setting is applied, it transforms from SGamut to REC709. I noticed you stayed in SLOG2 as the Gamma, which is fine. Grading the footage should be treated like any 709 footage you've used in the past. There's no real LUT adjustment for using this setting, but is supposed to be a kind of in camera WDR setting, allowing you to grade however you'd like, it's a messy implementation, and definitely based on past grading methods for video and REC709 delivery for TV. As far as using CINE EI, you can monitor on the camera any LUT you have loaded in, or use any flavor of the built in MLUTs. In the monitor section of the menu, you have SDI 1, SDI 2, HDMI, and Viewfinder. My normal setting it turning SDI 1 to off, since that will bake the LUT into the file, set SDI 2 to on, and it will affect your waveform to conform to 709 and show exposure with the any LUT adjustment you may have chosen, and set the Viewfinder to ON so the LUT can be viewed on the viewfinder. Any footage shot using this method with be whatever Gamma and Gamut you choose, and be clean, with no baked in looks, but also allow anyone on set to see the look on the viewfinder. Also, a good idea is to use any external monitor with whatever LUT you want to the camera can use the CINE EI setting without any issues. I've stayed away from using Custom mode for the last 7 years because the ability to work with the footage in post is problematic. Any other info you may want to learn about working with the FS7, look up Alister Chapman's page, he's got tons of info on there.

I just checked this, and yes, it is only available in the Rec709 plugin. Sorry for the trouble. I just never knew which plugin was chosen when using the Mira Powergrades. The DCTL is always blank when loaded. Thanks for the responses, much appreciated.

I do have version 1.5 on all plugins and powergrades. I just find it odd that the only way to access the Niran look is to use the powergrade, not the stand alone plugin.

I've been using Ravengrade for a little bit, and today I noticed that some looks that are featured on the website are not featured in my own plugin. I have the Complete version, and it's odd that when I use the Mira powergrades certain looks show up, like the Niran look, but when I load the DCTL on its own without the powergrade, the look is missing. Not sure what's going on here. Also, is there a an explanation for the looks and what they're modeled after? The Daro Looks have explanations, but the Cinelooks don't. I find it helpful to know what film stock or contrast I'm working with to make decisions for different grades when working on certain projects, say music videos, commercials, or film. I love the capabilities of the plugin, it's just these little things that help.