I am about to use a new Canon Rebel 3ti as a second camera on a documentary about restoring and rebuilding Concert Grand Pianos. For those of you who enjoy puns, the title is "Raising A Grand". The camera will be used in awkward and restricted spaces - like the inside of a piano action.

I have downloaded the EOS Utility from Canon and the Technicolor CineStyle software. Within the instructions from Technicolor is this mysterious statement:

To properly color correct and/or view footage shot with Technicolor CineStyleTM we recommend color correcting while viewing through a S-curve shaped look-up table (LUT) in your editing or color correction application. You may download such a LUT using the links below.

Can anyone tell me (a) if it is wise to install this, (b) where to install it (c) do I have to do anything weird once it is installed?

I also imagine that this will affect everything in the Final Cut Pro Project file - in fact, I guess it alters the curve of Final Cut Pro's entire look, regardless whether a particular shot was done on the Canon - right? So now do I have to color correct the Canon files separately? Gee, what a pain.

Is there a workaround so that only the Canon Rebel footage is affected by this software?

Thoughts of any kind are welcome. The Technicolor statement in it's entirety is posted below my name.

Best,

Harry.

"Acquisition with Technicolor?s CineStyleTM will generate what appears to be a flat, de- saturated looking image. While this image may appear unappealing and undesirable, it is in fact an ideal starting point for post-production and color correction.
To properly color correct and/or view footage shot with Technicolor CineStyleTM we recommend color correcting while viewing through a S-curve shaped look-up table (LUT) in your editing or color correction application. You may download such a LUT using the links below.
If your editing or color correction application does not offer the ability to import and use LUTs, other controls like the ASC CDL, Lift/Gamma/Gain, or Offset/Power/Slope can be used to color correct the image."

Harry,

haven't worked with footage from the Technicolor CineStyle, but have worked with RED and Epic R3D.
Don't think there's anything to fear with the LUT issue. Generally, the LUT is applied when transcoding from a RAW format into
your FCP friendly editing format. You can have many different types of LUTs installed without affecting your global FCP settings.
Typically when editing with FCP we are already working with a linear video file that has a built in LUT, most commonly REC 709.
It sounds like you can install a plugin utility called LUT Buddy that allows you to apply different LUTs to different footage right in the FCP environment, so you
would use the S curved LUT for just the CineStyle clips.

However, I would experiment with transcoding your CineStyle clips with S curve LUT separately, making them into ProRes with the S LUT "baked in" on transcode,
then you have the S LUT on those clips only, and you don't need to mess around with applying different LUTs in your FCP editing environment.

S LUT. Such an unfortunate acronym. And I agree that Pro res it the way to go, Harry. You don't want to cut with that stuff natively, it's too unstable.