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  1. #21  
    Senior Member Russ Fill's Avatar
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    Oct 2007
    World wide working
    I go to this LUT time and time again for a very nice base and then start from there to my liking but it is almost always good to go after just applying the out and adding some basic adjustments
    Thank you.
    Epic Forged Monstro (Camera 101)
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  2. #22  
    Senior Member Michael Lindsay's Avatar
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    Apr 2007
    London UK
    Quote Originally Posted by Tom Gleeson View Post
    While not knocking James effort or generosity it should be noted that a modified LUT will give you only a facsimile of the DXL look. It might be close but the biggest issue is that Panavision replaced the colour filter Array in front of the chip with what they believe is a superior one. So DXL sees colour information differently. Unsure how big a difference it makes but enough for Panavision to believe their more expensive CF Array is worth it.

    Really don't think PV have implemented this yet... but I may be wrong.
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  3. #23  
    Moderator Phil Holland's Avatar
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    Apr 2007
    Los Angeles
    Quote Originally Posted by Michael Lindsay View Post
    Really don't think PV have implemented this yet... but I may be wrong.
    They have and have not implemented the PX-Pro color spectrum filter in DXLs.

    I guess something I should remind people of is Panavision sort of caters to productions, so how cameras are configured for a project's desired look plays a role. They still will customize lenses for DPs looking for specific attainable goals. i.e. more contrast, less contrast, more flare, less flare, change of highlight flare, etc.

    For instance, the last feature I saw jump through the process didn't use Light Iron Color, but rather a new LUT/look generated for the film.
    Phil Holland - Cinematographer - Los Angeles
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  4. #24  
    I like it it cleans up some muddiness in the mid tones. But to me the difference on this just as well as the difference between regular IPP2 and Light Iron Sauce is so small so it will likely drown in what ever the colorist do to the footy in post. But sure every little tiny bit possible that makes DP´s think that they are closer to the goal of a finalized image in camera is always wellcome. To me its quite obvious thats the big selling point for alexa. It looks good on the onset screen, other qualities then that I usually see that people find secondary.
    Björn Benckert
    Creative Lead & Founder Syndicate Entertainment AB
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  5. #25  
    I'm having trouble figuring where in the chain to apply this lut. I shoot DSMC1 log3g10 RWG and then use RED IPP2 LUTS to convert in post or do so in RCX. I'm in FCPX applying my IPP2 luts to convert then adding these Light Iron Luts. Is that correct? The look I am going for?
    Multiple hat wearing director and cinematographer based but not bound in the greater New York area.
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  6. #26  
    In your workflow you should use it instead of IPP2 LUTs, which I guess you use for Log > Rec709 conversion. I use it in Resolve in the first/second node when working with Red log3g10.
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