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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Kodak 2393 Emulation LUT Test

BRANDON JAMESON said:
Bjorn,

will these LUTS work in SPEEDGRADE or FILMLITE Plugin for AVID?

If they do, where do we add them..... in the timeline layer stack?

THank you!!!
Click to expand...

Do not know if they do.

but if so I would add them on the very top and have a redlog film clip in the bottom, and do all "contrast / balance/ saturation adjustments etc "under" the lut. So basically keep the lut on the top of your stack/ in the end of your node tree. Best also to keep the pipe in 16 bit. Even though I usually only have the r3d or dpx / in node as 16 bit and then use 12bit after the primaries are set (just to cheat the render speed a bit)
 
Well thanks Bjorn, great luts. I also tried matching the look using Redlog gamma, I spent a lot of time trying, very difficult.

Personally I like the way Filips picture came out, It has a nice look.

Juan, just ordered my Roki 85 last week, didn't know how great that flare looked.
 
Björn Benckert said:
Do not know if they do.

but if so I would add them on the very top and have a redlog film clip in the bottom, and do all "contrast / balance/ saturation adjustments etc "under" the lut. So basically keep the lut on the top of your stack/ in the end of your node tree. Best also to keep the pipe in 16 bit. Even though I usually only have the r3d or dpx / in node as 16 bit and then use 12bit after the primaries are set (just to cheat the render speed a bit)
Click to expand...

Thank you for your continued support and wisdom!
 
João Paulo Miranda Maria said:
Bjorn, any news to use direct on Redcine? Thanks for share... Best
Click to expand...

Thats a question you should ask Graeme.

But it would be nice if they could implement them right next to the film look stuff in RCXP :iagree:
 
Absolutely - I too wish I could add an output LUT directly in RCX Pro... Am I naive in thinking this is not rocket science, compared to some of what RCX already does?
 
BRANDON JAMESON said:
Bjorn,

will these LUTS work in SPEEDGRADE or FILMLITE Plugin for AVID?

If they do, where do we add them..... in the timeline layer stack?

THank you!!!
Click to expand...

They work just fine in Speedgrade.

Do this:

1) Add a new Grading Layer on top of the default layer. Import footage, go to Timeline, Setup and look at Timeline Elements. Click and Drag the "Grading" icon onto your Timeline to create the new grading layer on top.

2) Select (click on) the new grading layer you created.

3) Go to the Look tab.

4) Click the "+" symbol in the Layers panel and select "LUT" from the popup menu.

5) Select the new "LUT" layer.

6) See where it says "Lookup table:"? There is a drop down menu you can use to select the LUTs that are loaded. Click the "..." next to it and load your LUT.

Leave the LUT grading layer on top and do your actual grading in the layer (or layers if you create more) below it.

That's it...

Thanks for sharing these Björn and thanks for the conversions Juan!
 
I haven't really noticed that much difference on tungsten shots when using LUTs. As long as you've exposed correctly and given the image enough light, it should look good.

I did some test shots with the Red One M shooting the same scene under tungsten and daylight and some other light with a huge green spike. I could get pleasant skintones from all using nothing more than the WB and tint sliders. With and without a LUT. From memory they all matched pretty much exactly as well - except for really minor differences in hue in the specular highlights.
 
Any thoughts on these LUTs vs using a plugin like FilmConvert?

Thanks and awesome work!
 
Brandon J.F. said:
They work just fine in Speedgrade.

Do this:

1) Add a new Grading Layer on top of the default layer. Import footage, go to Timeline, Setup and look at Timeline Elements. Click and Drag the "Grading" icon onto your Timeline to create the new grading layer on top.

2) Select (click on) the new grading layer you created.

3) Go to the Look tab.

4) Click the "+" symbol in the Layers panel and select "LUT" from the popup menu.

5) Select the new "LUT" layer.

6) See where it says "Lookup table:"? There is a drop down menu you can use to select the LUTs that are loaded. Click the "..." next to it and load your LUT.

Leave the LUT grading layer on top and do your actual grading in the layer (or layers if you create more) below it.

That's it...

Thanks for sharing these Björn and thanks for the conversions Juan!
Click to expand...

THANK YOU SO MUCH!!!!!!
 
Patrick O'Sullivan said:
Does anybody how to convert these LUTs for use inside of Scratch. I keep getting an invalid pop up from the ones I downloaded from Bjorn.

Thanks
Click to expand...

Bjorn's LUTs are in the correct format for Scratch (3dl), but they wont work on Scratch because they are 16 samples per channel LUTs. Scratch uses 32 spc LUTs. The good news is: you can convert them easily in After effects using LUT buddy (free) plug in. If you don't know how, let me know, I'll show you how.
 
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This is a great thread. Working through LUT's is a great way to color and to achieve the rich tones and personality of film. The big studios (Technicolor, Deluxe...etc) have been using LUT's for finishing for years.
My company LookLabs is in the business of creating professional, beautiful and stable LUT's (Optimized for REC 709 color space) Our SpeedLooks are optimized for all digital cinema camerass through our camera patch technology. We have been working on our technology for the last 10 years. If you are interested in learning more or have questions check out our site www.looklabs.net or message me back personally.

Jeff August
 
Jeff August said:
This is a great thread. Working through LUT's is a great way to color and to achieve the rich tones and personality of film. The big studios (Technicolor, Deluxe...etc) have been using LUT's for finishing for years.
My company LookLabs is in the business of creating professional, beautiful and stable LUT's (Optimized for REC 709 color space) Our SpeedLooks are optimized for all digital cinema camerass through our camera patch technology. We have been working on our technology for the last 10 years. If you are interested in learning more or have questions check out our site www.looklabs.net or message me back personally.

Jeff August
Click to expand...


We love your products and have used them successfully in Speedgrade on R3D files.

Will you be broadening your "looks" to include a wider scope of emulsion emulations and perhaps grain patterns?
 
Jeff August said:
This is a great thread. Working through LUT's is a great way to color and to achieve the rich tones and personality of film. The big studios (Technicolor, Deluxe...etc) have been using LUT's for finishing for years.
My company LookLabs is in the business of creating professional, beautiful and stable LUT's (Optimized for REC 709 color space) Our SpeedLooks are optimized for all digital cinema camerass through our camera patch technology. We have been working on our technology for the last 10 years. If you are interested in learning more or have questions check out our site www.looklabs.net or message me back personally.

Jeff August
Click to expand...

Hi Jeff. Welcome.
Hey, You must be holding some kind of secret to make those luts, cause they look just fantastic!. I am going to order some of those soon, cheers.
 
Kemalettin Sert said:
any chance to have this same lookin RCX look?
Click to expand...

Not possible, unless they redesign the entire engine, that allows it to load 3d luts like photoshop, after effects, Resolve, etc.


EDIT: Probably that wasn't the question, but, LUTs do something way more complicated than just adjusting simple curves, saturation and gamma, if you know what I mean..
 
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