Mr Leeming notes that he designs Leeming LUT One in Premiere Pro which “handles superwhites with the LUT directly” and “no need to pull down exposure” and was “not aware that there were programs which didn’t pull down superwhites or lift superblacks”. He offers one potential workaround, until LUT plug-ins are updated to support float space. “The easiest temporary solution is to adjust IRE for clips to fall within 0-100 IRE, then apply the LUT, as in theory the distribution of values in float space should be the same. “Some cameras stop at 100 IRE, but others such as Panasonic and Sony retain superwhite up to 109 IRE (usually), so my LUTs are designed around that limit, not the 100 IRE limit,” Mr Leeming says. Thus the system’s LUTs are “designed to work with the full float levels of the video clips as they come out of camera”. The Leeming LUT One system provides “the best possible settings to maximise dynamic range and image quality for that camera, while minimising noise and other unwanted artefacts”. 709 starting point for further creative colour grading”. The LUTs from his unified, corrective LUT system are “designed to maximize dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec. Paul Leeming of Leeming LUT One describes the problem as follows.
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