I am using a pathway that involves working on LogC footage, and doing SDR and HDR grades on that footage using specific LogC->SDR and LogC->HDR 3D LUTs. This all works perfectly, but it can be difficult to pull decent HSL qualifiers because even though visually all the thumbnails and output etc look like Rec709 (when using the SDR LUT), the qualifier still is reading the colors at an earlier stage in the color pipeline (I think) and so the qualifier will almost always looking at a very low saturation range, and will select far more of the image than I want, or if I were simply working in Rec709 and applied a qualifier on a second node once I had graded the image up to Rec709 in the first node.
Is there a way that I can change the behavior of the qualifier to pick colours after the output LUT has applied?
I would like to know this, too! Could it be that the answer is "Use the $30,000 Panel" because that panel provides a level of picking precision that's impossible to achieve using the mouse or limited numerical input precision?
[Michael Tiemann]"I would like to know this, too! Could it be that the answer is "Use the $30,000 Panel" because that panel provides a level of picking precision that's impossible to achieve using the mouse or limited numerical input precision?"
No. Think of the panel as "a big mouse and keyboard," because really that's all it is. It doesn't offer any greater degree of precision for something like keying. It does give you very fast access to recalling memories and scrolling through all the looks in a timeline, but it doesn't make keys look better.
The only solution I can think of would be to not use LUTs in this way, and pull the key when the image is optimized and in the right color/gamma space. 99% of the time, I work in Rec709/2.4 gamma, so it's not an issue for me. If I wanted to use a transform for a specific clip (or a series of clips), I'd do it only in the node window. I have experimented with this, but have yet to use it for an actual project.