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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 :)

FilmConvert LUTs on Weapon Mg?

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BrendanLeahy

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This may have been asked before, but is there a way to get the FilmConver LUTs onto the Weapon? Or, are there free/relatively inexpensive film emulation LUTs similar to FC's that I can load? I'd like to expose in-camera for my look as best I can!
 
I use FC a good bit for my GH4 work, though I like a few ImpulZ luts for Dragon footage. A lot of people are on the Lutify.me train and I'll probably buy into there as well. Paying a few hundred bucks for a bunch of luts designed for the color space you're in is a great tool and worthy investment.
 
You can use the Filmconvert RED (Epic) Dragon profile, should work well with Weapon Mg (also Dragon sensor).

From FC you can also directly export 3D LUTs (16/32/64) and import these .cube files in your Weapon to use these on set while shooting.
 
JeanChristophe Dupasquier said:
You can use the Filmconvert RED (Epic) Dragon profile, should work well with Weapon Mg (also Dragon sensor).

From FC you can also directly export 3D LUTs (16/32/64) and import these .cube files in your Weapon to use these on set while shooting.
Click to expand...

Jean has a great point about exporting the different LUTs. If you like what FC does, then I would purchase it. There are various discount codes but I used BLOOM (from Philip Bloom) for 10% off.
 
Question how to get the luts to affect the pores files in camera? possible? I seam not able to find the setting for it.

To convert luts to be used in camera I find Lattice or similar lut converter to be the easiest. There you can also combined combination of luts simply by draging and dropping them one after the other onto the window.
 
Björn Benckert said:
Question how to get the luts to affect the pores files in camera? possible? I seam not able to find the setting for it.

To convert luts to be used in camera I find Lattice or similar lut converter to be the easiest. There you can also combined combination of luts simply by draging and dropping them one after the other onto the window.
Click to expand...

If I remember correctly, at the moment the internal LUT engine does not apply the LUT to the ProRes and only flags the R3D file for LUT in post. I personally have not had experience but should know in the next few days :D
 
Correct, no way to burn in a non red lut into prores
 
Björn Benckert said:
Question how to get the luts to affect the pores files in camera? possible? I seam not able to find the setting for it.
.
Click to expand...


I was told it burns in whatever LUT is loaded in your LCD "look" settings.

however ive tried baking in a "look" created in camera and it just saved out the RLF output I was sending to monitor 2

http://www.reduser.net/forum/showthread.php?146532-Best-LUTs-for-Weapon/page6&highlight=LUTS

Björn you were pretty active on that thread too.. none of that was baked in?
 
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u can bake in red gammas, but nothing else. You have to set it up in the video section of the look page.
 
There is no free program that I've found on OS X to convert LUTs to the 17x17x17 required for the Mg. I ended up using a demo of an windows app to convert some for my Mg. Looking forward to the Weapon He because I won't have to convert LUTS anymore.

BTW, the Lutify.me LUTs come with LUTs that are 17x just for the Mg. Plus, they have great looks.
 
Tim Daust said:
I was told it burns in whatever LUT is loaded in your LCD "look" settings.

however ive tried baking in a "look" created in camera and it just saved out the RLF output I was sending to monitor 2

http://www.reduser.net/forum/showthread.php?146532-Best-LUTs-for-Weapon/page6&highlight=LUTS

Björn you were pretty active on that thread too.. none of that was baked in?
Click to expand...

No I been asking for this all over the place and thought it was just me not knowing how to apply it to the proxy. As I hardly ever used them but I use luts in camera and took for granted that they can be applied to the prores file. But apparently as stated above they only work as viewing luts and then they are stored next to the .mov and .r3d file in the r3d folder. Guessing then the lut is not on the signal chain going to the mag but on a side branch just piped to the motor connections and SDI.

I also had problem to play back in camera with luts applied, so is that the same or, can Camera playback the r3d with 3D lut applied? Can camera playback prores with lut applied?
 
Cannot play back in camera with luts applied. Footage will be log. For both r3d and prores
 
I wanted to revive this thread - is FilmConvert (I'm guessing the desktop version) best still, or are there better options out now?

I want to be clear I'm just looking for LUTs that imitate film stocks, not custom-made LUTs - I know there are a lot of solid options already there made by some of our fellow REDusers ;)
 
The biggest problem I've had with Filmconvert is that their RWG/Log3g10 implementation seems incredibly off. RLF/DC2 seems mostly fine, although they wierdly have things separated by camera body rather than sensor. If you're sticking with RLF/DC2, then FilmConvert should be okay, but I'd also be interested in seeing if there are better options (especially ones with non-broken RWG/Log3g10 support).
 
Hey Berenger, have you used both FC and Koji? Which, in your opinion, is better (and is that a personal taste, or is there an objective reason)?

I've noticed that FC, while it has a nice "film look" to it, is inconsistent. You would think that regardless of what colour/gamma you apply it to, the results should be 99% the same if you set the corresponding input colour/gamma correctly. But like Kevin said, there are noticeable differences between using the RWG/L3G10 implementation vs. RLF/DC2 (or vs. any other Colour/Gamma implementation) of the same clip. If the conversion was accurate, there shouldn't be a discernible difference.

And, yes, you'd think they'd have it separated based off sensor (and maybe OLPF), as the differences between camera bodies with the same sensors is largely noise/artifact related (with colour, gamma, and DR being fairly consistent across bodies).
 
I'm sorry I didn't use them both at the same time, so I can't really compare
I had a trial of FC several years ago, and they seemed fine to me, but I was less advanced as a user.

I've imported the Koji like two weeks ago on my Scarlet, and shot only with the Monstro since. But I can say Koji's are really nice luts, probably the best I had in my hands in tests.
Also, I'm really fond of lots of VSCO presets, but you have to sort them (and there is a lot of them) and accept that it's not made for Red gamma/gamut (I'm using LUT as preview only for clients).
 
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