These LUTs are a huge timesaver (I know, I use them all the time), especially when importing and editing lots of footage that needs to be converted to Rec.709. Under and overexposed footage (within 2 stops) are instantly corrected, and appear as if you nailed their exposure in-camera. Footage underexposed by 2/3 a stop? Use the +0.66 Rec.709 LUT. They are modeled on Canon’s official Rec.709 LUTs for the EOS R, R3, R5, R5C, R6 and R7.įootage overexposed by 1 stop? Use the -1 Stop Rec.709 LUT. These 84 custom LUTs convert Canon C-Log and C-Log 3 footage to the Rec.709 color space AND normalize exposure using the proper C-Log gamma curve. That’s where these Exposure Correction LUTs come in! This can be accidental or intentional, for many videographers slightly overexpose their C-Log footage to create better looking skin tones and reduce noise.Ĭanon’s official Rec.709 LUTs do a good job of converting C-Log to Rec.709, but their LUTs are designed for perfectly exposed footage. In reality however, footage often turns out over or underexposed. “The Night of Huayhuash” – Jose D.Note: This post was updated on Octoto update camera compatibilityĮvery videographer and filmmaker strives for perfectly exposed footage in camera. “A Sky full of Stars In Patagonia” – Burak Esenbey “Milky Way over Cuenca's Hoodoos” – Luis Cajete “Gigi Hiu Shining In The Dark” – Gary Bhaztara “The La Palma Astroexperience” – Jakob Sahner “Milky Way Rising over Stony River & Mt Taranaki” – Brendan Larsen “Interstellar” – Jose Luis Cantabrana Garcia “The Scenery I wanted to see” – Mitsuhiro Okabe “The Cathedral Light Show” – Roksolyana Hilevych “Night under the Baobab Trees” – Steffi Liebermann “The Eyes of the Universe” – Mihail Minkov “Valle de los Cactus Desierto de Atacama” – Pablo Ruiz García “Cafayate Star Factory” – Gonzalo Javier Santile “The bottle tree portal” – Benjamin Barakat Below Mangart mountain lies a saddle, accessed by Slovenia’s highest road. In the panorama’s left foreground stands the mighty Mangart mountain (2,679 meters), from which the Milky Way belt emerges, along with the Seagull Nebula and Orion. One represents the winter belt of the Milky Way, while the other is the soft glow of the approaching sunrise (Zodiacal light + Gegenschein). I must confess, staying awake for 30 hours, lugging 30 kg of gear, and planning compositions all day was no easy feat. Back at the car, I readied all the necessary equipment for nightscaping. During the day, I traversed the entire Mangart Saddle, surveying compositions and devising a plan, hopeful for clear skies. Standing atop the saddle that night was truly priceless, etching an incredible view into my cherished memories.ĭespite an initially unpromising weather forecast, the night took a favorable turn midway. As the long night drew to a close, I deeply appreciated the precious gift bestowed upon me by the African night, a world away from my home.Ī double arc of light adorned the Mangart Saddle in the Julian Alps. In the midst of emotion and adrenaline, typical of such starry nights, I began capturing the scene. Excitement consumed me as I prepared for the shot, eagerly awaiting the moon’s descent. Instantly, a composition formed in my mind, as I knew that the Milky Way would cross this landscape that night. This area holds a unique charm, with Mount Spitzkoppe being the sole prominent feature for kilometers, majestically rising 700 meters above the endless savannah.Īs I explored the surrounding savannah, far from my tent and trusty 4×4 that served as my home during this adventure, I stumbled upon this spectacular rock formation. The panoramic photograph captures the breathtaking scene in the Gross Spitzkoppe Nature Reserve, where the southern Milky Way gracefully spans a remarkable formation of smooth granite boulders. My journey to Namibia, particularly the Erongo area, was an extraordinary adventure, immersing me in the captivating beauty of the southern night sky.
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