Mark L. Pederson
REDuser Sponsor
For those of you who know me personally and/or follow me virtually via REDUSER or other social media platforms - you know that I love to discover technology based tools in the early stages of development and provide feedback and/or just cheer on the creators and help evangelize the tools.
You would also know my passion and belief that 3D LUTs are going to change and shape how we create creative images in digital cinema cameras during acquisition and new, more streamlines workflows.
Rendering is going to go away. Sooner than you think. The top NLEs are all working on realtime CDL and 3D LUT rendering over LOG (and RAW debayered to LOG) footage - coupled with lower cost proxy recorders and GPU advances. The trend that is going to accelerate is doing MORE on the camera. The CAMERA will become the lab - and 3D LUTs will start to play a much bigger part.
Creating 3D LUTs can be done by creating a look in a DI color grading application like DaVinci and then exporting - or even in Photoshop (newest CC version allows export 3D LUT). You are using traditional color UI tools to manipulate the overall image and then exporting the transform as a 3D LUT. New tools like LATTICE are making it easier and easier to create, preview, translate and re-size 3D LUTs.
But wouldn’t it be interesting if you could create 3D LUTs in a different way? What if you could actually “sculpt” color in a cube ...
A while back a Reduser (Hrvoje) hooked me into a beta of some software originally developed for still photographers. It took a very, very different approach to creating 3D LUTS and manipulating color and it got me pretty excited.
I’m very, very excited to announce Iris Paintbox as we head into NAB2015.
This tool allows you to go in more detail than typical rudimentary LUT building options and allows getting closer to a final look, while also able to achieve some things grading apps cannot. It allows reaching some results more practically and offers new routes for getting there.
It can be used at the start of the creative process for imagining color palettes. It can used for pre-visualization and shot/scene consideration, without burned-in image, with cross-platform image transform; during acquisition over the cameras signal path, in the middle of a creative process prior to a grading suite and at the end for final tweaks.
This is a professional image manipulation tool, primarily targeted to picture look design, which is also a very capable tool for specific picture corrections related to contrast, hue and saturation.
How does it work:
It lies on following principles:
- Separating chrominance and luminance through LAB principle (Luma A/B)
- Allowing independent modifications
- Mapping the picture onto a 3D space
- Allowing more detailed insight into values
- Ability to re-define ways of mapping and representing the signal through various color
spaces (LAB, YUV, + unique color spaces)
- Allowing different perspectives and access to signal depending on priorities and focus
Ability to shape the signal in any of chosen color spaces
- This way one can shape only specific hues and signal parts without affecting other parts, differing through hue,
saturation and lightness values.
- Ability to export the modifications as a standard 3D LUT
- Enabling usage on set for pre-visualization in cameras and monitors and in post production for cross application
workflows
In a nutshell - imagine representing the signal in a 3D color space, where axis are your chosen signal parameters,
presented shape as signal values and being able to access those signal values separately and from various angles/
perspectives, and modify it with different tools.
TOOLS (main ones):
A/B Grid tool
Central tool of the app. Maps colors in LAB or other spaces. Enables modifying separate color tonalities by moving
the nodes of the grid. Saturation increases towards the edges of the grid. Grind density customizable from 4 to 32
divisions with 11 available color spaces, from LAB and YUV to unique ones. (export color space is unrelated, this is
for internal manipulation). There are couple of ways and tools of moving the nodes of the A/B grid.
The A/B gris has a dual option, with ability to separately affect shadows and highlights and tune their point of
transition.
Curves
Advanced implementation of typical curves. 6 curves controlling brightness curve, saturation curve, and separate
color curves in 7 color system modes.
C/L Grids
Two planes of s 3D cube combined, where vertical axis represents brightness and horizontal saturation > enables
additional tone and saturation tuning
2D Curves
3 planes of an RGB cube where its edges are RGB axes. Diagonal of the cube contains neutral colors, where all
three components are equal.
Mask Tool
Enables additional separation of signal if required. More practical for stills work and direct export from the app and
useful for on set previz, not intended for final grade due to unpredictability of footage affecting LUT transforms.
Who is it the app for:
• Cinematographers and Photographers with advanced knowledge of digital image manipulation
• Colorists
• Special effects artists and post production specialists using workflows which rely on custom designed 3DLUTs
Advantages
• More intuitive look creation
• New creative routes
• Ability to get much closer to the final picture look while the footage is being shot
I’m told the price will be $250 for the app and I’m encouraging the developer to offer a NAB discount. The website is still under construction - and more information will be added in the coming days - but I wanted to start spreading my excitement for this tool.
I’m looking forward to showing you guys some more examples and 3D LUT workflows in general.
It’s very unique tool and in a league of it’s own. I highly encourage all of you to check it out.
http://irispaintbox.com/
You would also know my passion and belief that 3D LUTs are going to change and shape how we create creative images in digital cinema cameras during acquisition and new, more streamlines workflows.
Rendering is going to go away. Sooner than you think. The top NLEs are all working on realtime CDL and 3D LUT rendering over LOG (and RAW debayered to LOG) footage - coupled with lower cost proxy recorders and GPU advances. The trend that is going to accelerate is doing MORE on the camera. The CAMERA will become the lab - and 3D LUTs will start to play a much bigger part.
Creating 3D LUTs can be done by creating a look in a DI color grading application like DaVinci and then exporting - or even in Photoshop (newest CC version allows export 3D LUT). You are using traditional color UI tools to manipulate the overall image and then exporting the transform as a 3D LUT. New tools like LATTICE are making it easier and easier to create, preview, translate and re-size 3D LUTs.
But wouldn’t it be interesting if you could create 3D LUTs in a different way? What if you could actually “sculpt” color in a cube ...
A while back a Reduser (Hrvoje) hooked me into a beta of some software originally developed for still photographers. It took a very, very different approach to creating 3D LUTS and manipulating color and it got me pretty excited.
I’m very, very excited to announce Iris Paintbox as we head into NAB2015.
This tool allows you to go in more detail than typical rudimentary LUT building options and allows getting closer to a final look, while also able to achieve some things grading apps cannot. It allows reaching some results more practically and offers new routes for getting there.
It can be used at the start of the creative process for imagining color palettes. It can used for pre-visualization and shot/scene consideration, without burned-in image, with cross-platform image transform; during acquisition over the cameras signal path, in the middle of a creative process prior to a grading suite and at the end for final tweaks.
This is a professional image manipulation tool, primarily targeted to picture look design, which is also a very capable tool for specific picture corrections related to contrast, hue and saturation.
How does it work:
It lies on following principles:
- Separating chrominance and luminance through LAB principle (Luma A/B)
- Allowing independent modifications
- Mapping the picture onto a 3D space
- Allowing more detailed insight into values
- Ability to re-define ways of mapping and representing the signal through various color
spaces (LAB, YUV, + unique color spaces)
- Allowing different perspectives and access to signal depending on priorities and focus
Ability to shape the signal in any of chosen color spaces
- This way one can shape only specific hues and signal parts without affecting other parts, differing through hue,
saturation and lightness values.
- Ability to export the modifications as a standard 3D LUT
- Enabling usage on set for pre-visualization in cameras and monitors and in post production for cross application
workflows
In a nutshell - imagine representing the signal in a 3D color space, where axis are your chosen signal parameters,
presented shape as signal values and being able to access those signal values separately and from various angles/
perspectives, and modify it with different tools.
TOOLS (main ones):
A/B Grid tool
Central tool of the app. Maps colors in LAB or other spaces. Enables modifying separate color tonalities by moving
the nodes of the grid. Saturation increases towards the edges of the grid. Grind density customizable from 4 to 32
divisions with 11 available color spaces, from LAB and YUV to unique ones. (export color space is unrelated, this is
for internal manipulation). There are couple of ways and tools of moving the nodes of the A/B grid.
The A/B gris has a dual option, with ability to separately affect shadows and highlights and tune their point of
transition.
Curves
Advanced implementation of typical curves. 6 curves controlling brightness curve, saturation curve, and separate
color curves in 7 color system modes.
C/L Grids
Two planes of s 3D cube combined, where vertical axis represents brightness and horizontal saturation > enables
additional tone and saturation tuning
2D Curves
3 planes of an RGB cube where its edges are RGB axes. Diagonal of the cube contains neutral colors, where all
three components are equal.
Mask Tool
Enables additional separation of signal if required. More practical for stills work and direct export from the app and
useful for on set previz, not intended for final grade due to unpredictability of footage affecting LUT transforms.
Who is it the app for:
• Cinematographers and Photographers with advanced knowledge of digital image manipulation
• Colorists
• Special effects artists and post production specialists using workflows which rely on custom designed 3DLUTs
Advantages
• More intuitive look creation
• New creative routes
• Ability to get much closer to the final picture look while the footage is being shot
I’m told the price will be $250 for the app and I’m encouraging the developer to offer a NAB discount. The website is still under construction - and more information will be added in the coming days - but I wanted to start spreading my excitement for this tool.
I’m looking forward to showing you guys some more examples and 3D LUT workflows in general.
It’s very unique tool and in a league of it’s own. I highly encourage all of you to check it out.
http://irispaintbox.com/
