E MOTIV E COLOR

Intro

1 Introduction

2 Supporting Files

3 Camera Settings

4 Emotive Color

Essentials

6 White Balance

7 Exposure

8 Cinema Luminance

9 Waveform Guide

Post

11 DaVinci Resolve

14 Premiere Pro

17 Final Cut Pro X

19 Known Artifacts

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Introduction
This guide is a simple walk-through that will allow you to realize the full potential of
Emotive Color for your camera. Two display-ready variations of the color conversion
(Theatrical and High Scale) and one data format variation (LogC) are included. Only one
of these three variations should be used per clip. The LogC variation must be followed by a
LogC-intended display look-up table (i.e. those issued by Arri, or a LogC film conversion).

Three Variations

Theatrical Scale
Max IRE: 84 Min IRE: 1

The main variation of Emotive Color. Scaled for theatrical context (darkened cinemas)
and narrative content. The LogC conversion is at its core. It integrates an interpolated
reconstruction of Arri Rec.709 (2018 Revised) which preserves far gamut (unlike Arri
Rec.709), and introduces a film-derived saturation envelope.

High Scale
Max IRE: 92 Min IRE: 1

An alternate variation of Emotive Color. Scaled for bright contexts (white internet
pages) and commercial content. The LogC conversion is at its core. It integrates an
interpolated reconstruction of Arri Rec.709 (2018 Revised) which preserves far gamut
(unlike Arri Rec.709), and introduces a film-derived saturation envelope. The direct
alternative to LogC+Rec.709.

LogC
Max IRE: 78 Min IRE: 8

*The data format native to the Alexa; it is a standardized format that was created to
efficiently store the full dynamic range and gamut of the sensor. It must be followed by
a LogC-intended display look-up table (such as those issued by Arri, or a film conversion
meant for LogC). Acquire the current display look-up-tables directly from Arri, rather
than using those built into NLEs.

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Intro

Supporting Files
In addition to the primary conversion files, supporting files are included which allow
preparation of the camera profile, precise adjustment of exposure in post before the
conversion is applied, and placement of black level following the conversion to conform
black level to cinema luminance.

These are labeled according to their order of operations - whether they go before the
conversion - [PRE] - or after it - [POST]:

[PRE] Color [POST]

Conversion

The Exposure Conversion [PRE] should be the final [PRE] loaded in sequence before the
color conversion (Theatrical/High Scale or LogC). Any white balance corrective should
precede the color conversion, and color grading should be at the end, following [POST].

65x / 33x
The conversions use two different resolution formats: 65x65x65 and 33x33x33. These
resolutions affect the density of color gradient information stored in the conversion. 33x
has a much smaller file size, and is widely compatible. It offers optimal stability in
Premiere, which is prone to crashing with larger look-up files.

*65x is able to capture subtle nuance in color transitions, especially when converting
from a log format and/or to an intricate target format. It has the advantage of
preventing poor gradient handling when the software has weaker interpolation of lookup
tables (trilinear rather than tetrahedral). 65x has eight times the density, or resolution,
of 33x. These are for use in post. 65x is less stable in Premiere; frequent saving is
recommended, especially when loading into Lumetri.

Monitoring Variations: 33x Monitoring variations are included which allow direct
monitoring of the conversion for each profile - Cine-D (Sat -5), HLG, or VLog being
recorded externally to ProRes/DNx (combines levels corrective). Also, a 17x .vlt is
included to monitor VLog in-camera (rougher gradients are inherent to .vlt).

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Intro

Camera Settings
These settings are recommended for reference performance with the color conversion.
Neutral WB, ISO, Codec, Profile, and ND are the original source conditions for the
conversion input. Optics, Shutter, and Sharpness will not affect the accuracy of the
conversion; they are non-color settings which constitute a common Arri aesthetic.

LIGHTING Natural daylight and halogen bulbs are recommended for reference color with their
respective WB conversions. Use of a softbox to light talent is highly recommended.

ISO 400 Ideal noise floor and DR (Pair with lighting as needed). The
LogC conversion was measured at 400 ISO; other ISOs will
Cine-D: 200
decrease the accuracy of the conversion.

WB Neutral Accurate & neutral. WB from white card recommended when

changing light/lens/ND (NDs require tint compensation; shade
is cooler than direct sun). Stored presets for known combos.

CODEC All-I
2K or 4K
A more robust codec with fluid editing and playback. The
GH5’s equivalent of Alexa ProRes.

PROFILE VLog, HLG, or The conversion was made directly for VLog. HLG and Cine-D
are also fully supported with [PRE] conversions to VLog, and
Cine-D (Sat -5) offer less codec banding. Use Cine-D for 8-bit.

ND Solid
Full-Spectrum
The filter type used for the Daylight conversion.
(A full-spectrum filter aligns UV and IR cutoffs between
sensors). Internal ND is also sufficient.

OPTICS Diffusion
Filters
Recommended stack: Lens > ND > Diffusion* > IR/UV Filter.
Avoid shooting with the lens fully open, which often limits
optical performance.

SHUTTER 180
Degree
Framerate-aware shutter angle setting will match standard
cinema motion blur and cadence.

SHARPNESS -5 Lowest in-camera sharpening available on the GH5. This is

closest to the Alexa texture, which has no sharpening.

SPECIAL NOTES
• Cine-D Required Settings: Contrast 0; Saturation -5; Hue 0; Luminance Levels 64-940 (16-235 for 8-bit);
Highlights/Shadows 0.
• HLG: Keep Saturation at the default of 0.
• Noise Reduction: The Alexa has no noise reduction. Use a value between -5 to 0 as preferred.
• High Framerate: Use 120/125 fps instead of 180; greatly improved sensor readout.
• *Tiffen Digital Diffusion FX 1: May be used for a smoother local texture. Tiffen 1/8 or 1/4 Low Contrast: May
be used for a smoother light falloff, but a more distinct diffusion than the Alexa Olpf. Using at least a 2 stop ND
closest to the lens cancels inverse reflections between clear filters and the lens/sensor.

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Intro

Emotive Color
Emotive Color (integrated in Theatrical and High Scale) features a computed recreation
of Arri Rec.709 that projects edge gamut behavior to encompass the entirety of LogC
gamut, while preserving this extreme gamut within the limits of Rec.709. This allows a
smooth film-like response to color leds (unlike Arri’s display tables, which clip far gamut
at 0.0 - 1.0). Theatrical and High Scale are recommended over LogC+Rec.709.

Arri Rec.709

Emotive Color

Gradient Test
The included Gradient Test allows testing for problems in a color workflow. The chart
simulates the entirety of recordable gamut and gamma, and gradient transitions therein.
The center circles correspond to log profile gamut, and the outer (left and right) to
display profile gamut. Destructive workflows will reveal harsh edges in gradients (which
indicate clipped gamut and latent artifacts).

The chart below demonstrates Emotive Color (Theatrical). Though its source format is
LogC (center circles), EC is infinitely projected into theoretical gamut (left and right).

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Essentials

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Essentials

White Balance
A neutral white balance is important for the accuracy of the conversion - the ‘key’ which
aligns the color space ‘lock’. It is best to white balance from a white card reflecting the
key light in the scene, and record the white card reference. With a recorded neutral
white or gray reference, one can easily ensure accurate white balance in post by
adjusting WB temperature and tint controls until the white reference sits at the center
of the Vectorscope. If no reference is recorded, neutral white/gray objects in the
captured image can suffice as a white reference.

With no neutral reference under reference lighting, skintone is often a strong indicator
of the neutrality of the tint axis (green/magenta). Skintone should fall on the skintone
line of the Vectorscope (not distinctly above or below it) when white balance
is neutral. To isolate the skintone or white card cloud on the Vectorscope,
simply temporarily crop that area of the image with a crop tool in your
post software.

Shaded daylight will have a distinctly cooler (and more magenta)

balance than direct sunlight. NDs often introduce a distinct green tint
for each filter strength. Lenses can introduce a shift along either axis.

Light Sources
The reference light sources are sun light for the Daylight conversion, halogen for the
Tungsten conversion, and an average of the two responses for *Averaged 4200K. These
are the light sources that each conversion was measured under, and will allow complete
accuracy when white balance is neutral.

When the light source deviates from reference (for example, leds and fluorescents), the
accuracy of the conversion will be limited by the extent of the deviation. This is due to
the unique ‘spikes’ in the color spectrum of each light, which will register on each
sensor in a slightly different way. The color space will adhere to LogC, but won’t be an
exactly match to sensor results.

Light sources with poor color spectrums will result in sub par color - even on the Alexa.
For example, skintone may register toward green or magenta, even though white balance
is neutral, or certain colors may appear under-saturated. This is an area for further
exploration, to improve rendition of highly variable efficient lighting on all cameras.

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Essentials

Exposure
In combination with neutral white balance, moderate exposure will ensure quality
imaging with both camera and color conversions. Unlike white balance, exposure does
not affect the essential accuracy of the measured LogC at the core of each conversion -
the resulting image will match that of an Alexa at that exposure. Rather, it determines
the rendition of the Emotive Color 709 component or other display look-up combined
onto LogC. It also determines the prominence of noise floor or highlight clipping.

Exposing the image too brightly (just below clipping) will place important scene
elements in the rolloff region of the Emotive Color 709 component (above 65 IRE).
Underexposure should also be avoided - both to achieve ideal rendition of the scene
with Theatrical and High Scale, and to avoid excess noise.

Middle gray (18% gray) should be exposed around 50 IRE for all profiles. Skin tone should
fall roughly between 50 and 65 IRE. Avoid allowing skin tone below 45, or above 65. The
rolloff occurs above 65 IRE - this is for over-bright elements. With a monitoring variation,
one may expose visually in the moment for the desired end (color grading w/ exposure).

It is best practice, especially in direct sun light, to keep an eye on the waveform to
avoid extremes of exposure (or use false color on an external monitor to precisely place
important scene elements). This is because the lighting context of one’s surroundings
can give a deceptive understanding of the actual exposure when trying to expose visually
from the screen.

Exposure Conversion [PRE]s

The Exposure Conversion [PRE] files allow accurate adjustment of exposure in post
before applying the conversion. These are much better than software exposure sliders or
Iso adjustment because they are measured color conversions - they capture the color
space behavior that results from sensor photosite response at a given exposure, rather
than a blanket luma shift. This ensures complete accuracy of the conversion, with
clipping compensation included.

It is as if changing the exposure in camera, with the caveat that noise floor and clipping
point remain unchanged. When used in tandem with the conversion, they allow complete
flexibility (*between -2 and +2, with one-third stop increments) to achieve ideal EC
component rendition of the image, without compromising conversion accuracy as luma
adjustments before the conversion would. They may be used in combination; it is best
to use larger sizes before smaller (i.e. -1, then -.33). Intensity/Mix/Gain sliders may be
used to dial in an exact value between thirds.

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Essentials

Cinema Luminance
To realize the full potential of Emotive Color, it is vital to have a grasp of standardized
luma placement in cinema. That is, the brightness of scene elements are grounded in a
consistent optical reality. Lit objects of a given type (such as a face in direct light) have
a consistent, defined brightness. The black level is the baseline - it occupies the darkest
tones that the projector or screen are capable of, and the brightness of all other scene
elements are defined in relation to this (i.e. a brightness ratio).

Last, this optically grounded framework reflects an exponential brightness scale. The
upper third of the waveform (above 67 IRE) is reserved for exponentially bright elements
(such as bulb filaments and the sun), while the majority of the scene will occupy the
lower half of the waveform. Carefully examine the supplemental waveforms provided
alongside this PDF.

When placing luma in post, Directly key-lit indoor skin tone should
anchor around 45 IRE (450 in Resolve) on the luma waveform; facial
edge lighting and sunlit skin tone may place up to 67 IRE (more
generally between 50-63 IRE, or 512-640 in Resolve). Bulbs and other
extreme highlights should place between 63 and 100 IRE (640-1023 in
Resolve). To implement the Sicario ceiling, a stylized highlight shoulder,
compress this range between 63 & 73 IRE (640-750 in Resolve).

Shaded areas of faces and indirectly lit faces will generally fall
between 12 and 40 IRE (128-400 in Resolve), and faces in complete
darkness will fall between black level and 12 IRE (128 in Resolve).
Black level and the darkest points in the scene should place between
1-4 IRE (10-40 in Resolve), but never at or below 0.

Auto Black Level [POST]

The Auto Black Level [POST] files (ABL) may be used to automatically conform black level
after the color conversion is applied. These are preferable to the native luma tools of an
NLE for doing initial levels placement, because they introduce no relative saturation or
hue distortion (that luma tools are prone to). A sufficient amount of ABL should be used
to place black level at or near 1-4 IRE (not too little, or too much).

When exposure is properly set in advance of the conversion, strength 4 should only be
needed for low contrast lenses (i.e. ABL is not a corrective for bright exposure). When
using the luma curve to follow & supplement ABL, it should retain a single, smooth,
contiguous arc over the majority of its run, such that elements in the scene conform to
intended ranges without contortion.

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Essentials

Waveform Guide
The following waveform guide is for use when placing luma in the final grade (in post)
for theatrical context and narrative content. For brighter contexts (i.e. white internet
pages) and commercial content, one may multiply these values by a given multiplier (i.e.
1.1) to find relative equivalents on a brighter scale.

Fluorescent Office Lights

Indoor Key-lit Skintone

Waveform from Sicario (2015)

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 Post

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Post

DaVinci Resolve
1 [PRE] Files
If you recorded to Cine-D (Sat -5), HLG, or VLog to ProRes/DnxHD on an external
recorder, apply the appropriate [PRE] file to the first node to convert to
normative VLog in advance of the color conversion.

Load an Exposure Compensation [PRE] file on the next node as needed. When the
conversion file is loaded onto a node following this one, different exposure
compensation strengths may be directly tested for their impact on the final image
in combination with the applied conversion. The Key Output Gain value under the
Key tab can be used to dial in an exact exposure compensation amount.

2 White Balance Corrective

Add a new node following the [PRE] node(s) for the white balance corrective. The
most accurate way to correct WB is by using the Primaries Bars Offset controls to
adjust red, green and blue offsets until the WB is centered in the
Vectorscope. Then use the luma offset wheel below the RGB Offset
controls to correct for any luma shift seen in the Luma Waveform
(disable/enable node with Ctrl+D to see any luma shift).

A simpler, but less accurate way to adjust WB is to use the

eyedropper and Temperature and Tint controls in the small tab ‘2’ at
the bottom left corner of the Color page. The eyedropper tool may be
used to select white balance from a neutral gray object lit by the key
light in the scene. Pick a variety of points to get an idea for the
average correction. This eyedropper may also be used to
give a rough indication of needed WB adjustments for
the previous method as well.

To check white balance, select Vectorscope from the dropdown

in the Scopes window on the bottom right of the Color page (If
Scopes is not visible, enable it with the wave graph icon on the
right side of the screen). In the Vectorscope settings, the skin
tone line may be enabled, and the strength dialed up or down to
reveal different elements of the image. Generally, color lines
should point, or lead back to the center of the overlayed cross,
with a low saturation cloud at the center, and skin tone falling
on the skin tone line between yellow and red. Visually cross-
check the Vectorscope with the converted image - skin tone
should not feel too magenta or green, and the image not too
cool or warm.

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 Conversion File
3 On a new node (the third if there is a PRE and WB correction), load a core
conversion - either Theatrical Scale, ‘High Scale’ or ‘LogC’ for the matching light
source. If you use the LogC variation, add a second node following this, and load the
desired display look-up table (either Arri-issued, or a LogC-intended conversion).

Auto Black Level [POST]

4 On the next node following the conversion, load an Auto Black Level [POST] file to
conform the black level to standard cinema luminance. Use a sufficient strength
(between 1-4) to bring black level at or near 10-40 on the luma waveform. From
there the Key Output Gain value under the Key tab can be used to dial in an exact
black level.

Luma Waveform: In the Scopes window at the bottom right

corner of the Color page, select Waveform from the dropdown
on the top right of the window (If Scopes is not visible, enable
it with the wave graph icon on the right side of the screen). If
the waveform is displaying in color, open the settings menu
(the icon to the right of the dropdown) and select the ‘Y’
button to switch to luma mode. Check ‘Show Reference Levels’
and set Low to 40 (highest possible black level), and High to
450 (indoor key-lit faces). These reference lines will assist in
conforming the image to cinema luminance.

Luma Curve Placement

5 The next node will use the luma curve to fine tune luma/black level after ABL as
needed. To ‘lock out’ hue distortion from the luma curve tool, place the node at the
top of a ‘Layer Mixer’ configuration (with node selected, press Alt+L). Right click on
the layer mixer and choose ‘Hue’ as the ‘Composite Mode’. The lower-routed node
in this configuration will remain empty, acting as the hue pass-through.

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 With the top node of the Layer Mixer structure selected, add a point just above the
bottom of the luma curve and drag it right until black level is between 10 and 40 on
the waveform (granted no lens flare). This point should be separated enough from
the bottom of the graph so that the rest of the curve remains linear.

When black level is placed, another point may be

added about half way up the luma curve to conform
the image to scene context. Exactly where this point
is placed along the curve involves a balancing
between scene contrast and smooth highlight
handling. Last, the top full-white point on the luma
curve can be shifted downwards to conform the
highlight range to a highlight ceiling.

6 Color Grading
Should an additional color cast be desired, add a new node after the layer mixer.
Use the Color Wheels (Primaries Wheels - especially Gamma - and Log) and RGB
Curves to add a color cast. Heavy color casts pair well with a steep desaturation. To
do this, lower the Saturation value at the bottom of the Color Wheels window (‘Sat’
in tab ‘1’). This value should be set lower (minimum of 15) as the strength of the
color cast increases.

OLPF Diffusion
7 The Alexa features an optical low-pass filter which softens texture across
neighboring pixels without compromising detail. This local diffusion may be
simulated in post to impart an organic texture to the image and invert integrated
in-camera sharpening.

Before export, switch ‘Clip’ to ‘Timeline’ in the

dropdown at the top right corner of the node
window. Add a new node here (Alt+S). This node
will apply to the entirety of the timeline. Click the
OpenFX tab in the top right corner of the Resolve
Color page. From the ResolveFX Blur list in the
OpenFX side panel, drag Gaussian Blur onto the
node.

In the new Settings tab that appears for the

Gaussian Blur effect in the side panel, set Horizontal/Vertical Strength to between
0.17 and 0.19. Set the Border Type dropdown to ‘Replicate’. Last, change Blend to
0.800.

Note: Each step should remain on a separate node, as in the node breakdown image. Use default color
settings (not ACES/color space transform).

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Post

Premiere Pro
White Balance Corrective
1 To correct white balance, use the WB eyedropper or
Temperature/Tint controls in the Basic Correction section of
Lumetri. The ideal way to do this is to pick white balance
from a neutral gray/white object lit by the key light in the
scene. Pick a variety of points from it to get an idea for the
average correction (hit reset between each try).

To check the accuracy of the WB without a neutral reference, use

the ‘Vectorscope YUV’ (Window > Lumetri Scopes). For optimal
visibility, you can hide other scopes with the right-click context
menu. Generally, color lines should point, or lead back to the
center of the overlayed cross, with a low saturation cloud at the
center, and skin tone falling on the line of the cross between
yellow and red. Visually check the Vectorscope with the image -
skin tone should not feel too magenta or green, and the image
should not feel too cool or warm.

2 [PRE] Files
Load the relevant Premiere-specific [PRE] file in the ‘Input LUT’ dropdown of the
Basic Correction section to convert to normative VLog in advance of the color
conversion (Cine-D to VLog, HLG to VLog, VLog 8/10 bit Corrective or the ProRes/
DnxHD VLog Levels Corrective, which is not Premiere-specific).

Load an Exposure Compensation [PRE] file as needed in the ‘Look’ dropdown of

the Creative section of Lumetri. When the color conversion is loaded into the next
instance of Lumetri, different exposure compensation strengths may be directly
tested for their impact on the final image in combination with the applied
conversion. The Intensity setting may be used to dial in an exact exposure value
(use a value at or below 100).

Lumetri 1 Lumetri 2

Basic Correction Creative ‘Look LUT’ Basic Correction Creative ‘Look LUT’
Profile [PRE] + WB Exposure [PRE] Color Conversion Auto Black Level [POST]

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3 Conversion File
Add a second instance of Lumetri (as only two
.cubes may be applied in each instance of
Lumetri). In the ‘Input LUT’ dropdown of the Basic
Correction section of this new Lumetri, load a core
conversion variation - either Theatrical Scale, ‘High
Scale’, or ‘LogC’ for the matching light source (if
using the Creative dropdown for this step, keep
Intensity at 100). If you use the LogC variation,
load the desired display look-up table (either Arri-
issued, or a 3rd party LogC intended conversion) in
the subsequent Creative dropdown.

4 Auto Black Level [POST]

Load an Auto Black Level [POST] file (in the Creative dropdown or
third Lumetri) to conform the black level to standard cinema
luminance. Use a sufficient strength to bring black level at or near
1-4 IRE on the luma waveform (Window > Lumetri Scopes). From
there, the Intensity value can be used to dial in an exact black
level (use a value at or below 100).

5 Color Grading
Following application of the Auto Black Level [POST] file, use the Color Wheels
section of the final Lumetri to fine tune luma levels with the sliders and add a color
cast with the wheels. Heavy color casts pair well with a steep desaturation using
the Saturation field in the Creative section.

Use ‘Waveform (Luma)’ in Lumetri Scopes and the Shadows slider to fine tune black
level to between 1-4 IRE (granted no lens flare). Use the Midtones and Highlights
sliders to conform to cinema luminance and scene context as needed (see ‘Cinema
Luminance’). Avoid the Lumetri Luma Curve, which distorts the color space (Use the
‘Obsolete RGB Curves’ instead if needed, or use the Advanced routing detailed on
the next page).

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 OLPF Adjustment Layer
6 The Alexa features an optical low-pass filter which softens texture across
neighboring pixels without compromising detail. This local diffusion may be
simulated in post to impart an organic texture to the image and invert
integrated in-camera sharpening.

Before export, create a new Adjustment Layer matching

the sequence settings. Place this on a layer above the
video, spanning the entire length of the sequence.
Change the Opacity of this Adjustment Layer to 20%.
Place a Gaussian Blur on the layer, and set ‘Blurriness’
to between 5.0 and 6.0.

Premiere Pro
Advanced Color Routing

Premiere’s Luma correction tools introduce hue twists to the color space that shift
throughout the grayscale. This causes a subtle distortion that compromises the
fidelity of the footage. This is especially a problem with the Lumetri Luma Curve.

There is a technique which allows this hue distortion to be bypassed, preserving

the luma corrections and their accompanying saturation shift. This allows the
Lumetri Luma Curve and any other luma correction tool to be used without
affecting hue continuity.

To do this, create an adjustment layer in the project bin.

Place this adjustment layer above the clip(s) to be
adjusted. On this layer, add a new instance of Lumetri
Color. Make all luma adjustments (Lumetri luma curve
included) on this layer, and all color adjustments in the
normal (EC conversion) Lumetri. When finished the luma
adjustments, duplicate the luma adjustment layer above
itself. Set the Opacity ‘Blend Mode’ to Luminosity on the
top adjustment layer, and to ‘Saturation’ on the lower
adjustment layer.

This will effectively ‘lock out’ the hue changes of the luma tools. Should further
adjustments to the luma be needed, delete the top layer, and return the original
adjustment layer Opacity to ‘Normal’ again. then make the luma adjustments
needed and repeat the previous steps.

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Post

Final Cut Pro X

[PRE] Files
1 If you recorded to Cine-D (Sat -5), HLG, 8-bit VLog or VLog to ProRes/DnxHD on
an external recorder, apply the appropriate [PRE] file to convert to normative
VLog in advance of the color conversion. Use the ‘Custom LUT Utility’ from the
Effects browser, which can be opened on the right side of the timeline (CMD+5).
8-bit VLog and HLG have FCPX-specific [PRE] variations. Avoid the MotionFX mLut
plug-in, which doesn’t handle Luts in sequence correctly.
HLG Special Note: Choose ‘Rec 709’ in the Color Space Override dropdown for each HLG clip,
located in the clip info panel (selected with the i icon at the top right corner of FCPX).

Load an Exposure Compensation [PRE] file as needed, using the ‘Custom LUT
Utility’ from the Effects browser. When the color conversion is loaded in a new
Custom LUT Utility following this one, different exposure compensation strengths
may be tested visually for the resulting final image with the applied conversion.
Use the Mix slider to dial in an exact value.

2 White Balance Corrective

To neutralize white balance, use the Temperature and Tint sliders at the bottom
of the Color Wheels effect in conjunction with the Vectorscope. Avoid the Basic
WB eyedropper feature (which does more than just
WB). To access the Color Wheels panel, add the Color
Wheels effect from the Effects browser or click the
triangular icon between the film strip and sound/info
icons at the top right of FCPX, and select Color Wheels
from the dropdown. To access the Vectorscope, enable
Scopes in the Viewer (CMD+7), and click the little graph
icon below ‘View’ in the top right corner of the Scopes
panel and choose ‘Vectorscope’.

Color lines point, or lead back to, the center target of

the Vectorscope, with a low saturation/grayscale cloud
at the center, and skin tone falling on the skin tone
line between yellow and red. Visually cross-check the
Vectorscope with the converted image - skin tone
should not feel too magenta or green, and the image not
too cool or warm.

Use Crop or a temporary ‘Draw Mask’ effect (added from the effects browser) to
crop an area of the image (such as neutral white or skintone), to easily see where
it places on the Vectorscope.

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3 Conversion File
Add a new ‘Custom LUT’ utility (below the previous
steps in sequence), and load a core conversion variation
- either Theatrical Scale, ‘High Scale’, or ‘LogC’ for the
matching light source. Keep Mix at 1.0. If using the
LogC variation, add a second ‘Custom LUT’ utility
instance following this, and load the desired display
look-up table (either Arri-issued, or a 3rd party LogC
intended conversion). (White Balance)

(High Scale)

4 Auto Black Level [POST]

Load an Auto Black Level [POST] file in a new Custom
Lut Utility (placing beneath the others in sequence) to
conform the black level to standard cinema luminance.
Use a sufficient strength to bring black level at or near
1-4 on the luma waveform (enable in Scopes window).
The Mix slider can be used to dial in the amount - it is
best to get close with ABL strength choice before fine
tuning with Mix.

5 Color Grading
Add a second Color Wheels below the ABL Custom Lut Utility.
With the grayscale slider on the right side of the Shadows,
Midtones and Highlights wheels, one can fine tune luma in
conjunction with the luma waveform.

Color casts pair well with an initial steep desaturation - to

add a color cast, use the saturation slider on the left of the
Master wheel to bring down saturation considerably. Then
drag the center point of the Master wheel (or other color wheels) towards the
preferred cast color. Avoid the Hue/Saturation effect - its saturation slider does
not handle saturation correctly.

6 OLPF Diffusion .
The Alexa features an optical low-pass filter which softens texture across
neighboring pixels without compromising detail. This local diffusion may be
simulated in post to impart an organic texture to the image and invert integrated
in-camera sharpening.

Before export, highlight all clips on the timeline and create a compound clip.
Duplicate the compound clip directly above itself (Alt+Click+Drag). In the
Inspector panel, change the Opacity of this upper clip to 20%. Place a Gaussian Blur
from the Effects panel on the layer, and set ‘Blurriness’ between 5.0 and 6.0.

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Known Limitations
This is an evolving section intended to document problems inherent to the camera’s
footage, so that they may be avoided or mediated when filming. These problems are
beyond the scope of what is correctable by contiguous color conversion, and can be
categorized into two areas: limitations of codec, and limitations of sensor data.

Codec Banding and Macroblocking

All internal codecs in the camera are occasionally susceptible to
macroblocking and banding in an alternating red/green pattern on
gradients falling into shadow. The most problematic codec in this
regard is 150Mbps 4K, especially when combined with VLog. This is
why the All-I codecs are recommended. FHD 100Mbps Long is also
a quality option, on par with the All-I codecs.

Cine-D and HLG perform better with the internal codecs, because of the higher contrast
and saturation inherent to these profiles (allowing greater bit depth separation). When
shooting to 8-bit, Cine-D is the best profile to use (VLog 8-bit is especially prone to
these artifacts in shadow, pictured above).

Blue Far Gamut Clipping

There is a region of far gamut blue in which the blue channel of
the sensor clips, and the remaining signal shifts to an area
inseparable from legitimate cyan range. This region of clipping is
unable to be meaningfully corrected without introducing significant
distortion to the surrounding cyan color space. It may be
completely hidden via precision color work on a per shot basis,
however a universal color space correction is precluded by the
nature of the clipping.

This is a fairly rare form of clipping to encounter, and requires filming blue led lights at
a bright exposure. It is more prominent at tungsten white balance, and is very similar to
far red channel clipping (with red leds) on the Alexa at tungsten white balance.

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