ARRI LogC3 Colorgrading Workflow (Verified by ARRI)

[@DustinArmstrongPro]

After making this video, Panasonic sent the video to ARRI and they verified it's correct! Forgot to mention one other thing, the GH7/GH6 is meant to match an ALEXA mini LF at 800 ISO. You can adjust your ISO on the GH7/GH6 and it'll still match. I'll be shooting some tests against an ALEXA soon!

[@cirefilm9836]

I can't wait to see more of your test results!! This is for sure game changing for any type of filmmaker!

[@DustinArmstrongPro]

For sure! Hoping to put it next to an ARRI soon

[@nickalot]

actually if you choose resolve color management, all you have to do is right click the log clips and select arrilogc3 as the input color space. what resolve does after that is automatically convert those clips to your timeline working colorspace which you can define. and apply an output transform to rec709 which you also can define. this workflow is a little simpler and also better when working with multiple cameras and color spaces as it conforms all your footage into the same colorspace. Meaning everything behaves the same. if not your knobs and wheels for arri footage will behave differently from vlog because you're grading them in different color spaces. ACES also solves this, but it's just a different standard for how each cameras color space is interpreted into the large uniform colorspace. there's the issue with arri's look luts, which are meant to be log-to-log luts, and not the traditional log-to-viewer looks. So i believe as long as you're placing the arri look LUT before the conversion to rec709, you can have two luts. logFootage > Arri Look LUT > Arri Conversion LUT hahaha sorry long comment. i love these things. thanks for sharing your workflow anyway! that video monitoring LUT is very useful. i didn't know that existed! keke

[@DustinArmstrongPro]

Yeah this is only the workflow when dealing with ARRI LogC3 not when mixing different Log formats or doing ACES. Tried to keep it simple for now haha. Glad you at least learned something!

[@antonioramos4680]

@@DustinArmstrongPro In the video, you mention not using color management because you prefer working on the log footage instead of the footage after a Rec. 709 conversion. You're absolutely right that the work should be done on the log footage. However, it's important to note that even with color management, all your adjustments are still applied to the log footage. Color management only handles the conversion after your work is complete. Therefore, it's always better to use color management since it automates the conversion, eliminating the need for manual intervention.

[@winvictor1242]

good point! but I wonder which do better job at handling color here, black magic or arri(panasonic)? or is it just the same lut being used just handled by davinci so you don't need to look for luts yourself. and if it's different outcome from these two approaches, I guess you can use Dustin's way for multi-model shooting just you need a node for applying lut for all clips so you can have different lut for other cameras you use, instead of setting a export lookup table. but I think I learn from both of you approches! thanks a lot guys!

[@photojoseph]

Thanks for the breakdown! Next up… how to integrate non-ARRI footage in an ARRI workflow!

[@DustinArmstrongPro]

I'll have to figure out how to become an expert in that 😂

[@marekproductionsde]

Please share your V-Log workflow like this! Great video!

[@DustinArmstrongPro]

V-Log workflow for me is pretty different but I can do that

[@JeanPaulBelmondo-jn1gt]

@@DustinArmstrongPro yes please!

[@K375DesignTeam]

well depending on the camera, you can setup your own picture profile your own vlog style or config...well go into the picture profile settings with all this contrast, highlights and shadows and some more settings available at this or that profile template that can differ...this is enabling you to creat your style of image...thats why this is so beloved by graphic designer, you can simulate old film and more or simply your style...

[@codyscheff]

Good work on this one dude! Super helpful

[@DustinArmstrongPro]

Thanks man!

[@madedigital]

This was very good i have the gh6 it reminds me of the ACES workflow...i dont have the ARRI LOG but on the VLOG files it looked good....i think about it im not matching any ARRI anything soon but i think i put it on the camera too

[@DustinArmstrongPro]

Makes it a viable B cam to an ARRI

[@ProfoundProductions]

Great video, just ordered 4 GH7s with the ARRI licenses and Leica zooms. Though I prefer Sony, I film big VIP events and need bulk cameras and Sony just gets too expensive and bulky.

[@K375DesignTeam]

to be true i tried out a lot even so with many different cameras...but not this yet, so thx for info great...

[@DustinArmstrongPro]

Thanks for watching

[@dbombd]

really nice video !! thank you can this be applied to technically any footage change CST & treat like arri footage right ??

[@Kini_Wolfgang]

Will this Log be able to match in other Panasonic cameras like the LUMIX S5iiX?

[@DaniBatt2394]

@DustinArmstrongPro Thank you very much or this tutorial Dustin! One quick question, is it possible to shoot with Arri LogC3 in open gate in the GH6/GH7?

[@DustinArmstrongPro]

Yes you can

[@DaniBatt2394]

@@DustinArmstrongPro Thank you Dustin!

[@contumancia]

Nice! what is the problem to add any LUT like the ARRI one or the RED one straight on a Vlog clip? Thanks!

[@gstorm1491]

Thank's for video ! I want to buy a new Lumix camera, and I'm hesitating between the Lumix S5iix and the new Lumix GH7. I've tried the S5iix, and it's really good. Should I wait for the GH7? P.S. I have owned an S1 since it was released.

[@JaysPOVx]

What is the best LUT for standard REC 709 Conversion? This list is super confusing.

[@m.i.andersen8167]

Thanks a lot! It was very helpfull.

[@DustinArmstrongPro]

No problem!

[@yoshiYoishIRL]

arri logc on Panasonic box camera is possible

[@DustinArmstrongPro]

Probably if they make one

[@mechanik1313]

I wonder if they will offer the ARRI LogC3 in an upgrade for the GH5s?

[@grudevideo]

A gh5s was dropped by Panasonic. With problems and no firmware.

[@balammedia]

So if I setup the camera in arri log, and say ISO 2000, will it still match ALEXA mini 800 ISO?

[@DustinArmstrongPro]

Yes

[@balammedia]

@DustinArmstrongPro what zebra settings are best tonuse with arri log?

[@sloppysteaks]

it surprisingly doesn’t even match all that well to Alexa’s - if anything I think it’s a nicer starting point to v-log. I’d drop the $200 just to work in LogC instead. good vid bro!

[@DustinArmstrongPro]

I'm doing some comparisons to an Alexa in the next couple of days. Interested to see for myself. Thanks man!

[@sloppysteaks]

@@DustinArmstrongPro you’ll see the same magenta / saturated push we already see in v log but the colors overall are nicer imo. it’s very much splitting hairs curious to hear your thoughts.

[@DustinArmstrongPro]

@sloppysteaks I was thinking of also shooting in V Log and doing a color tranform to see if there's much of a difference. Maybe even shoot on my X as well just to see.

[@vadim534]

Difficult to follow for those who are using Premier😂 just to summarise: you need to convert arrilog footage to rec709 first using the conversion LUT and than add some filmlook or am I missing something?

[@DustinArmstrongPro]

Yeah sorry. This is why I'm a resolve user😂

[@AtaurRaziq]

i think the grade is applied to the log and the rec709 conversion is done on top as a separate adjustment layer that you don't touch. leave that enabled on top and then the adjustment layer underneath is where you grade it

[@cAPIVARAff]

I'm a colorist and the way you're working has some errors and is more complex than it needs to be, doing color by nodes and color space transform at the beginning is much better

[@DustinArmstrongPro]

Well I just had ARRI themselves that designed this workflow verify that this video is correct so unless you want to take it up with them, I'm going to stick with this workflow🤷‍♂️

[@BRobin2023]

@@DustinArmstrongProI am also a colorist for Netflix paramount hbo. This workflow is a burden. Even though arri states it’s correct. It’s more than one way to skin a cat. Arri team don’t color movies lol

[@smithjabi]

​@@BRobin2023maybe he can provide the footage and you or other pro colorists could create an alternative workflow to his. Just a suggestion

[@AwesomeSauceShow]

Anny info on Arri logc3 comming to the S5iix?

[@tokiyokidesu]

I don't think so, because S5 IIX is part of a different L mount Alliance

[@AwesomeSauceShow]

@@tokiyokidesu Is Arri part of the M4/3 alliance?

[@samuelboatengyt]

@@tokiyokidesuit doesn’t matter the mount, it is all about licensing, now they have it so it is not that impossible for them to do it for the S line up, you just have to pay for it, so they even don’t pay, so I thing they will extend it down the line, especially with the S1HII/S2HII I can’t see them not allowing it.

[@DustinArmstrongPro]

No info right now about if it's coming to the S5IIX. I'm sure it'll be available in future S series cameras though

[@tokiyokidesu]

Thanks for the clarification guys, I was wrong. @AwesomeSauceShow @samuelboatengyt @DustinArmstrongPro

[@simonyoung1339]

Would it be possible to share some GH7 arri logC 3 footage?

[@DustinArmstrongPro]

Probably. If I was going to do that I would want to set it up with a color checker just to make sure it's exposed correctly

[@madedigital]

good idea....you be the first

[@simonyoung1339]

@@DustinArmstrongProwould be truly awesome

[@JohnDoe-pw5cs]

You know what would be interesting? Shoot the same subject in v-log in ProRes raw and then do a colourspace transform from v-log to logc and compare that to logc directly shot in camera. I’ve got a feeling the result would be the same and you can save the $200 for the logc upgrade

[@DustinArmstrongPro]

I can tell you already, it's not the same because that is resolves interpretation of what LogC3 is. Colorspace is also just 1 piece of what ARRI Log or any Log for that matter is. There's also gamma curve and luminance. Can a CST get you close? Sure but it's not the same. This is the same LogC3 made by ARRI with the GH7 in mind.

[@JohnDoe-pw5cs]

I remain very sceptical. All the footage I have seen so far in logc looks like a simple colorspace transform. If done in resolve you would also do a gamma adjustment. Pretty sure with a hit of fiddling you should be able to get an exact match of the original footage was recorded on ProRes RAW.

[@alexchan2722]

Can Arri Lut be loaded into GH7 as default in camera Lut?

[@DustinArmstrongPro]

Yes if you're using the one that converts it to REC709 as well. If you use the log to log ones you'll have to stack the LUTS using my photo styles

[@PANAFRAZER]

@@DustinArmstrongPro or... you can use the Log to 709 look files in the camera and not need to stack them

[@justarandomstranger6467]

My wife's boyfriend uses Arrilog to take better videos of her feet. I'm very proud.

[@DustinArmstrongPro]

This is V good

[@PANAFRAZER]

This feels more like an F Log would be better

[@DustinArmstrongPro]

@@PANAFRAZER I agree entirely

[@carlosmanuel7202]

Can I use this same workflow with the Lumix S5IIX?

[@DustinArmstrongPro]

I don't see why not

[@carlosmanuel7202]

@@DustinArmstrongPro using Prores 422 or HQ?

[@OzzieTech]

Wait it’s on gh6?

[@DustinArmstrongPro]

Yes the GH6 will have the paid upgrade for ARRI LogC3

[@ed61730]

The shmk2 will be the best camera they have ever made. non cinema camera.

[@contentm3893]

The GH7 still looks like low level videos footage. The GH7 just didn't need to be released.

[@sebastienblanchetiere1323]

Lol

[@contentm3893]

@@sebastienblanchetiere1323 The Z6 III just stomped all over the Gh7. WOW.

[@sebastienblanchetiere1323]

@@contentm3893 Great camera but no fan and a weak dynamic range

[@contentm3893]

@@sebastienblanchetiere1323 You mean the Z6 III?

[@sebastienblanchetiere1323]

@@contentm3893 Yes

[@filipmichalsaffray441]

Hi Don't forget you got as well the legalized and not legalized footage or video vs full data range...specially because prores HQ was design first as video data range...and Resolve usually see it like that and interpret the footage S5iix for exemple as video range but in reality it is full data range...so you got much more contrast in your footage...and the conversion is not right...actually it can get confusing very fast😂😂😂

[@DustinArmstrongPro]

Exactly lol

[@PANAFRAZER]

LUMIX employee here: while it is correct that the S5IIx, G9II and the old FW GH6 in ProRes use Luminance range of 0-1023, and this causes a flag error in resolve that needs to be overridden to Full. In the GH7 and new GH6 FW, all log profiles have been conformed to work in video legal, 64-940. No more flagging issues and no need to override. In fact if you override to full, you will not have enough contrast for correct LUT conversion. FYI. Arri Alexa ProRes Files are also capture in video legal 64-940.

[@seoguru5826]

@dustinarmstrongpro is ARRI log coming to the s5iix? I'm not buying the GH7 to get it. 😂

[@DustinArmstrongPro]

Currently no information on whether it will come to the S5IIX