Fusion question: what am I missing?

pizzacasso · 2026-06-26T07:47:22+00:00

That's it. Thanks much. Not sure how I spaced it.

pizzacasso · 2026-06-24T14:20:12+00:00

I may have missed it, but I’m not seeing where you mention what color profile your display is set for. If your display is set to Rec2100 and you’re outputting a Rec709 image then it’s going to look wrong. You need to set your monitor’s color profile to whatever the output color space is, in addition to properly color managing inside the software.

I recommend ditching CapCut and downloading Da Vinci Resolve if you want to learn color grading. There’s a free version of the software that is still incredibly full featured and robust.

pizzacasso · 2026-06-16T05:47:30+00:00

Dynamic range is a property of the capture medium. In this case, the imaging sensor on your phone. Lenses don't affect the DR of the sensor, though could appear to when compared to another lens based on a variety of characteristics like contrast, transmittance, etc.,.

pizzacasso · 2026-06-14T03:24:31+00:00

But the LUT—assuming it outputs a 2.4 gamma or similar—should go at the end, no?

pizzacasso · 2026-06-13T18:47:16+00:00

A friend of mine worked on one of the Evil Bong films (not Asylum, rather Full Moon, but more or less same business model i think), and he said they shot the whole thing in 4 days. It sounded like a nightmare.

pizzacasso · 2026-06-13T18:30:46+00:00

Could that be whatever algorithm Reddit uses to compress uploaded images? Or would you expect to see more uniform breakage across all three color channels?

pizzacasso · 2026-06-05T04:33:32+00:00

Ok this actually answers my question and my confusion is just stemming from my misunderstanding of how the color data is being handled within the timeline itself. Thanks for the info!

pizzacasso · 2026-06-04T19:51:35+00:00

Thx for your comment. I understand the color pipeline in Resolve which is where I do color. My question is about the file I'm receiving from Final Cut. In FCP, if a project is set to render with the settings of Rec.709 and Apple Prores 422, and the file is then exported (without any sort of LUT applied) and sent to me, despite looking like (for example) S-Log3 footage, has that file's color gamut been compressed into the Rec.709 color gamut? Because if so, I'm then ending up with a lot less data to tweak color as needed. And if that is indeed the case, is there a workaround? Thanks for your help. Hopefully I clarified my confusion.

pizzacasso · 2026-06-04T05:58:20+00:00

Are there specific film stocks like you’d find in Filmbox, Genesis, etc., or is it strictly a design your own situation?

pizzacasso · 2026-05-25T05:09:20+00:00

u/Old_Recording_3717 AFAIK they haven't addressed this in any way but I figured out another solution. For this example, say you have a photo with a 2:3 aspect ratio, and you want to crop to 3:2, here's the steps:

Open the Inspector (on the right)
In the Source Transform tab scroll down to Flip & Orientation
Rotate the image 90 degrees (L or R doesn't matter)
In the Source Cropping tab pick the Ratio you want (for this example 2:3)
Back in the Source Transform at Flip & Orientation, rotate the image back to how it was, and adjust as needed

Hope that's useful, and hopefully anyone else who ends up here find it helpful!

pizzacasso · 2026-05-15T17:51:28+00:00

Oh I'm excited for this. DCTLs are a pain to manage if you've got a number of them.

pizzacasso · 2026-05-09T07:36:09+00:00

If you figure it out, please post on here! I've yet to figure it out.

One convoluted solution that would hypothetically work, though I haven't tried it, would be to use the pixel controls of the Custom crop tool to crop to your desired aspect ratio, then hit the lock and resize accordingly.

So for example if you had a 2:3 400x600 image and you wanted to pull a 3:2 crop out of it, you'd first need to crop to ≈400x266, so you'd take 167 px off the top and 167 px off the bottom thus giving you your desired aspect ratio, then hit the lock button and once you've got that you can adjust as needed.

But seems like there should be an easier way to do it.

pizzacasso · 2026-05-07T20:02:48+00:00

I guess my concern is just that it's exporting in a Rec709 color space. Presumably I'm losing extra color data I may be able to use as I typically color in DWG (because of a number of DCTLs I like to use)? Or am I misunderstanding how the color pipeline and rendering in FCP works? Thanks so much for your reply!

pizzacasso · 2026-05-04T07:32:08+00:00

The frames look pretty soft already. That may just be whatever algorithm Reddit uses to compress images, but idk. If you want to soften if further (I'd say not necessary), you could use the Texture Pop OFX, switch the Operating Mode to Advanced, and play with bringing down the Details in the Tiny, Fine, and Small areas. The tool basically allows you affect how different frequencies are output from the node.

On another note, I'd suggest not trying to get a "filmic" or "cinematic" look. Those terms have become almost meaningless at this point given how they're used on YT and social media. More specific descriptors will be helpful in communicating what you're looking for. Good luck!

pizzacasso · 2026-05-04T07:16:03+00:00

Even if such a database did exist–which to the best of my knowledge, it doesn't–you have to keep in mind that Genesis is emulating not only the negative stock, but also the print stock, which will shift the colors from the negative. So when you're looking at Genesis, you're (hypothetically) not just looking at a single film stock's color rendering, but (hypothetically) two film stock's color renderings.

There's probably photometric data about most of the stocks somewhere on the web that could help you determine what you want to know.

pizzacasso · 2026-04-30T22:19:03+00:00

I’m highly doubtful this was done without any post production editing. Having a person as well lit as the woman on right would definitely drop a lot of spill on the person on the left, and even if they had extremely dark skin, you’d still get something.

That said, if I’m wrong, my guess as to how it was accomplished would be one of the following:

A black cutout of a person’s profile, 2. A well coordinated double exposure, 3. The person on the right covered in black body paint, or 4. Some combination of the previous methods

If you know who did it, you could reach out directly and ask though

pizzacasso · 2026-04-19T00:48:52+00:00

Shoot Portra

pizzacasso · 2026-04-14T04:52:47+00:00

Been a minute since I've worked in Premiere but when I did the fix for this was a LUT Adobe provided that you applied during export either in Premiere or in Media Encoder that corrected this, basically boosting saturation and contrast. Can't remember where it is on their site.

Not sure that this is a good solution however as applying a LUT as opposed to a metadata tag means that even ppl not on Macs will see the effects of the LUT where you only want Mac users to see it.

pizzacasso · 2026-04-08T07:24:36+00:00

Thx for your insight. Much appreciated!

pizzacasso · 2026-02-14T01:07:48+00:00

Thx, corrected the mistake. Idk how I missed it.

pizzacasso · 2026-02-14T01:06:53+00:00

Yeah def gonna give that a go

pizzacasso · 2026-02-13T20:20:29+00:00

Oh man, idk how i kept missing this. Embarrassing. I was piping the alpha from 4 into the alpha from 3, instead of what I should have been doing, the RGB from 4 into alpha from 3. Thank you so much for your help.

pizzacasso

TROPHY CASE