VOTE - Using LUTs in Wirecast & an option to 'Record to Disk' (clean or with LUT)

A lot of us are using LUTs (look up tables) in almost all our video editing and 'live streaming' should be no different particularly with the growing use of LOG profiles in DSLR cameras. It would be a HUGE bonus if a feature to both import/store a number LUTs to throw over footage with just the basic controls (see image below) e.g Mix amount, Contrast, Saturation, Highlights, Mids and Shadows and include a check box to either Record to Disk clean (without LUT) or processed signal (includes LUT). This would be a HUGE game changer I recon, and please include this in the studio (not Pro) version 😊.



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  • Is there any reason why you wouldn't want to add the LUT in post production after the recording is done? 

    Given the potential for multiple sources and variable recording settings, LUT behavior during recording might yield some odd or inconsistent results. 

    I see LUTs as something that one would be used on a camera to camera basis or after all the sources are balanced (primary color grade) so I'm not sure of the practicality of doing it on the output side of a live stream. If anything, If I were using matched camera sources, I'd do it on camera (as one might do with certain Blackmagic cameras).

    You can fill out the form and make the feature request but you'd really need to make a strong case for it's use. 

    Wirecast Feature Request Form

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  • CraigS yeah I see your point but in it’s most basic form if cameras are set to Log profiles then apply some basic colour correction using Wirecast  colour correction I could then apply the LUT to achieve the “look” I’m going for across all the cameras at the output. I use only one camera source anyway at this stage so I wouldn’t have the issue of balancing multiple camera shots per say. But I think having the option to apply a LUT as a creative tool at output is a great feature. I’ve completed the form. Thanks 

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  • DC Sydney I can see a scenario if one were using Blackmagic (or any other similar camera) to output in log mode but the problem putting the LUT on the final record side, is that all other graphics (titles, lower thirds, PNGs, pre recorded video files) would all get the same LUT applied even though they aren't in the camera log format.

    I do some color grading in my NLE of choice and the stage where I apply the LUT is after I've color balanced all sources so they are all impacted by the LUT the same way. This is easy when all your sources start in the same format but can be very complex with multiple cameras, imported graphics, video clips coming from other sources.

    Wirecast does have some source input color controls and all sources would ideally have to be matched at that point for a "universal" LUT to be applied to all clips. 


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  • This is another capability that is available in open-source and free software. I use Blackmagic Cinema Cameras to broadcast and use LUTs(PNGs) in OBS to bring the colors out during live streaming. For as much as this software cost, this is a feature that should be included.

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  • Frank McCright Fill out the feature request form for that. Regarding Blackmagic cameras, recently you're able to load the LUTs directly into the camera. Of course LUTs are often used to create a common look to all sources once the sources are converted into a "standard."

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  • CraigS Yes, I did complete the 'feature request form' for this some months ago...

    Further, I thought each 'source/shot' in Wirecast has it's own 'color grading/correction' menu and if you had the LUT option inserted just before that section (with a mix fader 0-100%) you could then selectively apply the LUT on the desired shots/sources...sure if you're running multiple cameras and video files you'll eventually run into some CPU issues but then you would start considering the use of additional hardware before signal reaches Wirecast such as video switchers/mixers to handle the multi-cams and allow Wirecast to just do the stream and titles.

    The rise and rise of HLG and Log picture profiles particularly in M4/3 popular video camera models such as the Lumix GH5s and Sony A7 III means Wirecast needs to step up and cater for that growing market.

    Applying a LUT to a live stream is already being done and Wirecast should not only get on board, but lead in this space.

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  • DC Sydney Please do follow up with your case number and add that to your description. The more follow up and additional details the developers hear the more they know there's sustained interest.

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  • I would, but didn't receive a case number or method to contact Developers besides this forum. Thanks.

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  • DC Sydney Fill out this form and also mention other streaming programs using LUTs. Explain why you think they're important and how you'd like them implemented. We'll send you a case number.

    Wirecast Feature Request Form 

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  • Please vote if interested in this feature.

    Internal Reference: WIRE-13990

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  • Keep sending feature requests. I submitted one in March (Case 00634417).

    We really need LUT and Pro Color Grading features, besides of low CPU consumption compared to Open-Source Project OBS.

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  • ecastillo I only see two votes here. The developers will be looking at that as a measure of interest.

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  • CraigS done. Thanks.

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  • ecastillo  👍

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  • any updates on this topic? OBS streams look better than what i'm getting out of wirecast and that's not cool for the $$$ paid!

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  • Zeyad Gohary i was thinking the same, we payed for Wirecast and the features, innovation and technologies available are very poor compared to OBS, plus OBS it’s free. 🤦🏻‍♂️

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  • FYI Wirecast, you have lost me as a potential customer over this shortcoming - in my setup this is a crucial component - so I will take my streaming business forward and build with OBS instead. Snooze you loose.

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  • I want to be able to apply a LUT to each camera source, because I have very different cameras, and I want them to look the same. It would be great to be able to use an x-rite color checker target, like I can in Final Cut Pro X.

    AND I want to apply one to the output, for a signature look. 

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  • Richard Zultner that’s the feature I need at this moment, because we have more than 3 video sources from different brands. You should fill the form and, if you have time, create a thread for voting. 



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  • Richard Zultner said:
    It would be great to be able to use an x-rite color checker target, like I can in Final Cut Pro X.

    That would also involve color correction to match cameras first. Without matching the cameras, a single LUT would look different for each camera. Matching cameras not only involve fine control of color grading but also scopes. Scopes would be a problem in live streaming as they are even resource-intensive in an NLE. 

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  • CraigS Exactly. So I would go to each camera, point it at the X-Rite color target, create a LUT for that camera, doing each camera in turn. Just like I do now for recorded footage in Final Cut Pro X. Only in Wirecast, for camera sources. 
    Then, for the output, I would choose a LUT for a signature look. I would like to use an existing LUT (since I am not proficient at color grading). And support for 3rd party LUTs would be great. Again, just like Final Cut Pro X, or OBS.

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  • CraigS The point of using a standard target like the X-Rite is that you don't need a scope. As I am not trained in color grading, I don't use scopes. But I do like to "filter" my sources so they have the same look, and then I want my output to have my signature look. Which I am content to choose from what others have created... 

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  • Richard Zultner Unless you're using multiple of the same camera you normally have to pre-grade to match cameras before adding a LUT. Each camera has a different color science. There are camera LUTs and creative LUTs as well and they serve different purposes. I have Sony and Blackmagic cameras and do grading in FCPX (and with scopes).

    If you have two or three of the same camera, pointing at the same target with the same settings, a single LUT may work. Or, if you only have a single camera that doesn't need to match others, a single LUT may work.

    In other variations, it can get very complex which may involve pre-grade, camera LUT, creative LUT.

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