![freakout preset adobe premiere freakout preset adobe premiere](https://pbblogassets.s3.amazonaws.com/uploads/2020/04/06175414/photos-premiere.jpg)
And with one click it applies the Rec709 conversion, and you see it's pretty good. In this case, I've downloaded the Blackmagic 4k to go from Blackmagic film to Rec709. But if I chose browse, I can go and look for the official LUT. And you see how it just processes it slightly differently, versus the phantom cameras which, very different recording space. And here's a slightly different version, a little more conservative.
![freakout preset adobe premiere freakout preset adobe premiere](https://whoismatt.com/wp-content/uploads/2017/02/new-sequence.jpg)
And you'll see that this Alexa for log to Rec709, is a pretty good job. Now there are some preview LUTs built in.
#Freakout preset adobe premiere how to#
We'll explore how to access this and other tools, a little later in the course. If I go up here to input I can easily browse for this. In this case, what I want to do is apply an input LUT. Just don't become too dependent on them because they're not going to be perfect since lighting conditions will vary.
![freakout preset adobe premiere freakout preset adobe premiere](https://img.yumpu.com/18619765/1/500x640/adobe-premiere-129-herring-hall-http-dmcriceedu-dmc-inforice-.jpg)
But when you get to post production these logs can also be used quickly for review cuts or to speed things up. This will allow you to shoot log, and then preview on the monitor the type of color that you're expecting. It can be stored right on the camera so you can easily apply them on set. These are typically loaded from a SD card or from the C-fast card. These may come pre-installed so you simulate different color spaces right on the camera during production. Many camera manufactures provide profiles that you can load on the camera.