As I've mentioned earlier in this thread, it's not that the LogC2Video_Rec709 LUT looks bad, it's that it doesn't precisely match the Rec709 feed that the camera outputs. What's interesting about your LUT is that I've generated the exact same LUT, just replacing Iradas3d with Scratch. We have to cable to the AC monitors and then loop out to me most of the time, and the AC's can't pull focus properly on a LogC feed, thus the camera sends out a Rec 709 feed. We've tried doing this on a few movies I've worked on, and always end up streamlining the signal pathing. So as much as I'm aware that the proper workflow is LogC out to DIT -> LUT and Look applied -> out to VTR, AC monitors, Video Village, etc., it's just not doable when I have no Utility working for me. Having to go from camera, to me, then back to the AC's focus monitors which are back over by camera is just too many cables with too few hands. Unfortunately, the sets I'm on, we're always short handed. I'll take another look at the Legal/Extended check boxes in LiveGrade this weekend as well, though I know I've played with them in the past, and read through Pomfort's white paper on them. I've had posthouses in the past specifically ask if we're using "the K1S1 LUT" to ensure that the dailies match what we've seen on set. It works, but I still find it baffling that none of the LUTs I've pumped out of Arri's site work. But, if I go into LiveGrade, apply the Arri (Neutral) LUT and nothing else, and then export the "Look" I've created as a LUT for Scratch, and use that on the footage, the resulting image seems to be the same as we were looking at on set. cubebe files, which seem to be useless to anything that isn't LiveGrade as far as I can tell. LiveGrade has a selection of LUTs built in. I use Pomfort's LiveGrade on set for, well, live grading. If I tell Scratch that the clip is Log, and tell it that I want to see it in Rec709, it does a transformation that is pretty close to this one. Looks good! But isn't the exact same image. Unlike last time, at least this time the LUT that was closest was the LE (legal -> extended) LUT. If I apply any of the LUTs I created in Arri's own LUT generator, I cannot get the image to match. If you tell it to record the LogC image and send a Rec709 image out one or more of the SDI ports, I'm assuming it decodes the raw pixels to a LogC image, writes that, takes the already-decoded image, applies a Rec709 LUT (or algorithm?) and sends the image out. Well the values in the LUT are looking like that: for exampleSo, the Alexa itself has a LUT in it. I explained nearly everything but I DON'T want to advertise my guide here, please don't get it wrong. If you want to know more about Assetto Corsa and Force Feedback you can take a look to my G27 guide. It's not easy to understand and even more difficult to explain just with typed words You turn in 30% but get the force as if you were turning the wheel for 40% for example. So it's easier to imagine the "AC force output" and the "lut transformed output" as turning angles of the wheel. When you turn in, the more you turn, the higher the resistance from the wheel gets. Imagine an endless track and you are driving in a straight line. So 0.5 | 0.7 takes the 50% force from Assetto Corsa and gives your wheel 70% force instead. The left value "transforms" to the right value and THAT is what your wheel gets. The left value is how much force feedback Assetto Corsa sends out and the LUT comes between this output and your wheel. Click to expand.Well the values in the LUT are looking like that: for example
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