João Paulo Miranda Maria
Well-known member
Maybe one RCX update? Let's think positive....
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Kodak 2393 Emulation LUT Test
- Thread starter Juan Melara
- Start date
Björn Benckert
Well-known member
It's not possible. As the way they warp / maps the highlights etc is super hard (to me impossible) to mimic with tools for contrast/gain/curves,hue/tint etc that we got in RCXP. If you apply it to an image and start playing with contrast and such under the lut you will understand, As they fall off to white very different that regular color grading. Same goes for the mid tones that is spread out in a way that increase the detail in skins and skys etc.
Today I used the fuji3510log2hd_CUSPclip all day when posting this little commercial in flame. All done in Full 5kANA r3d's straight into the Flame batch timeline, balanced the r3d in the RED parameters, then a logexpo node, a few selective color grade nodes and then the fuji lut... Viola, Client is stunned, super happy and can not stay in his seat when we start to push the colors around... his jaw goes down even lower when I show him the actual resolution of his spot. Finalizing web stuff in 3296x1350 felt quite far away not to long ago.... but now, not so much.
Here is link to a little HD file: http://www.syndicate.se/Files/~usr/skavsjoholm/SKAVSJOHOLM_1920X800_20130122.mov
The Vimeo 3k stuff is on it's way trough the wire, can not wait to click it
Also some of the shots (the candle light stuff) was shot at 4000iso, after I left the set, the director told me about it and I was frankly quite worried... but as it turned out, after sampling down to 3296x1350, the stuff just had ha pleasant grain look to it. Does not show on the compressed file, but uncompressed it just looks like... film to me, so we just matched the noise onto the other shots.
John Marchant
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Worth saying; the files Juan linked to work happily in After Effects through the 'apply color LUT' utility effect.
Much appreciation to all concerned for making these available. Still wishing for an RCX output LUT panel though.
Much appreciation to all concerned for making these available. Still wishing for an RCX output LUT panel though.
BRANDON JAMESON
Well-known member
It's not possible. As the way they warp / maps the highlights etc is super hard (to me impossible) to mimic with tools for contrast/gain/curves,hue/tint etc that we got in RCXP. If you apply it to an image and start playing with contrast and such under the lut you will understand, As they fall off to white very different that regular color grading. Same goes for the mid tones that is spread out in a way that increase the detail in skins and skys etc.
Today I used the fuji3510log2hd_CUSPclip all day when posting this little commercial in flame. All done in Full 5kANA r3d's straight into the Flame batch timeline, balanced the r3d in the RED parameters, then a logexpo node, a few selective color grade nodes and then the fuji lut... Viola, Client is stunned, super happy and can not stay in his seat when we start to push the colors around... his jaw goes down even lower when I show him the actual resolution of his spot. Finalizing web stuff in 3296x1350 felt quite far away not to long ago.... but now, not so much.
Here is link to a little HD file: http://www.syndicate.se/Files/~usr/skavsjoholm/SKAVSJOHOLM_1920X800_20130122.mov
The Vimeo 3k stuff is on it's way trough the wire, can not wait to click it
Also some of the shots (the candle light stuff) was shot at 4000iso, after I left the set, the director told me about it and I was frankly quite worried... but as it turned out, after sampling down to 3296x1350, the stuff just had ha pleasant grain look to it. Does not show on the compressed file, but uncompressed it just looks like... film to me, so we just matched the noise onto the other shots.
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Pablo Moreno
Well-known member
Try it again, I just downloaded it..
BRANDON JAMESON
Well-known member
hmmm..here's what I got!
oÿ>ü¶žÝž1Ö â*·À| ÂÿÂ$ÄÿÖ˜ 7ÿµÐR*‚0 R!<RË”UéáCÀnºý'ÀÔ]zPcí¼lFŸ ëC €p Àð¿ïˆÀñ?õ¤Íÿå‰BV¤‚ñ}ìw#GÄ #ŠQ¶è€v Àø… Gi >gÿ*è1x2o Á¾ , @è‘0 ivo¶[ÎG#ö„ŒÛ›²Ý*^Ÿ€¦Y4K‚ÀdÑÉÖÔþ”!s ð?Ùƒ*äB@à>_ýôüØ0D`Â0ø 'üp8›ÿiÏ€`Œ8¹3¤Ç8”$¯5_ª Ã7tE(£„ë7¼AÑ;ià0– <üSàdàÙüpDmƒ ? ÁFòÚ =c)*B˜3Ë„!%3L´ªjŸnpñ@.ÊšÿCÛŠQÃŒ~JTä Õ¥Az@Ýü ÀÐ`Ãϼ@æ`Æx<ò À¢çAࣸl ü0à>_ýa ·áþäcq@*‡Ê“*™¶-Î ·½â455Yʹ~ƒÀ H½Ðaƒ+À|ßúöÀ" ‡@ÀtJÐа¡0´ï´ ÂDK‚8ß*kT-ÅL\¤ vqͧ„0a"¢ ƒ5z‹€†—ÊÿÆ083 ´ñ*†@@0»Þp’Þ ¨Bâä™î‡¤µÅÆ";5ýѸ)u%šãVÒÀŸCAÚJò ˆÀð¿òŽâïT›ÿÙÌ-é$-ðƒõÐ àFŒ‘xE.n¨ €v Àø…œGÑ,ºæòà €v€ø…J²ê™ÿÉÖÓùNí¿ÛolS^€ñ±b…1'„RÑ— ?Þ‘'0!ˆU’:¥ê¨>gÿxr%ÂÿÒ>‰ÿÅ€`”VĹ \XÕˆJ1€ç"l´t ÿYp‰ÿÍ€`—‘ýÇcˆKÔ àÀîy¶ Z:…ÿ¬¸ 'ÿ6‚\ ¤x ÿj@xŸýZ iæ? …YÄØ*ÇÀð¿÷¦‰ÿÕ `•‚¬¸ ÿÀñ?û´ ÌèúY{xåÀð¿øª‰ÿßÁ/9p_ÿgšªTµQÙBÂA (1V¦£ ÊIòïeœ-å(5ÐàS}TÝ†Ý ›Y fA¼*>—*( 2_î©HÐA }>q–1]üâ ¹Ä+ñãªØ1¨?TZŽ †@„ D£ð‡·rð Õí¸^ $h Ô¼yÃíö3-‹’wb a¤÷w2êÕu#74~>ˆËÓB•m´ ‰ð¿óâïT›ÿÚ#ßÈÕ b©ü± Š–íèË€âBq¼ 9áé ÄÿâÀ0JÁ‡"P…ÿ½ D tÝ{@Á.T€
Pablo Moreno
Well-known member
http://www.syndicate.se/Files/~usr/skavsjoholm/SKAVSJOHOLM_1920X800_20130122.mov
Right click and save as..
Björn Benckert
Well-known member
[/URL]
odd.. here is the same as reduser link: http://www.syndicate.se/Files/~usr/skavsjoholm/SKAVSJOHOLM_1920X800_20130122.mov
odd.. here is the same as reduser link: http://www.syndicate.se/Files/~usr/skavsjoholm/SKAVSJOHOLM_1920X800_20130122.mov
Pablo Moreno
Well-known member
It's not possible. As the way they warp / maps the highlights etc is super hard (to me impossible) to mimic with tools for contrast/gain/curves,hue/tint etc that we got in RCXP. If you apply it to an image and start playing with contrast and such under the lut you will understand, As they fall off to white very different that regular color grading. Same goes for the mid tones that is spread out in a way that increase the detail in skins and skys etc.
Today I used the fuji3510log2hd_CUSPclip all day when posting this little commercial in flame. All done in Full 5kANA r3d's straight into the Flame batch timeline, balanced the r3d in the RED parameters, then a logexpo node, a few selective color grade nodes and then the fuji lut... Viola, Client is stunned, super happy and can not stay in his seat when we start to push the colors around... his jaw goes down even lower when I show him the actual resolution of his spot. Finalizing web stuff in 3296x1350 felt quite far away not to long ago.... but now, not so much.
Here is link to a little HD file: http://www.syndicate.se/Files/~usr/skavsjoholm/SKAVSJOHOLM_1920X800_20130122.mov
The Vimeo 3k stuff is on it's way trough the wire, can not wait to click it
Also some of the shots (the candle light stuff) was shot at 4000iso, after I left the set, the director told me about it and I was frankly quite worried... but as it turned out, after sampling down to 3296x1350, the stuff just had ha pleasant grain look to it. Does not show on the compressed file, but uncompressed it just looks like... film to me, so we just matched the noise onto the other shots.
Underbara!, but Personally, I like more the Kodak 2393 kinda look..
João Paulo Miranda Maria
Well-known member
Worth saying; the files Juan linked to work happily in After Effects through the 'apply color LUT' utility effect.
Much appreciation to all concerned for making these available. Still wishing for an RCX output LUT panel though.
Good to know....
- Thread starter
- #51
Juan Melara
Well-known member
I like what you guys are doing. In another thread on here a lot of guys where getting great, almost finished quality results with Speedlooks by doing nothing more than applying them.
To me this is both great and also a bit of a worry.
This tells me that SpeedLooks is taking too much of a creative license with the image. This is good if all you're after is good looking footage with the least amount of time and creative effort. This is not good if you want to progress beyond this stage and actually value colour grading as an art and want to understand it and learn it properly.
In another thread a user posted image files with and without a Speedlook applied (3527 Blue from memory). Although I didn't post my results, using the before image and one of these LUTs as a start point I was able to closely match the Speedlook with minimal time and effort. But in even less time, (and still using one of these LUTs as a start point) I was actually able to get even better results.
I guess you could say why not apply 3500 Clean and begin from a less stylised start point. To that I'd say why not use these free LUTs and actually begin from the same start point as the big studios. As you yourself mentioned a lot of postproduction houses have been using LUTs for finishing for years. I've actually purchased some of these LUTs from them. When comparing them to the free LUTs - in one case the free LUTs actually looked better. In another case they were pretty much identical. If these LUTs are good enough for the big boys they're good enough for us.
Im sorry if any of this came off as harsh, but in my opinion spruiking your paid product in this thread is borderline poor form and goes completely against the spirit of this thread and the people who have given up their time to make quality contributions.
Also I'd look into getting Matt Ryan to supply some samples for your site. I've looked at all the video samples on there and in most cases the finished look falls way short of the "35mm look" (whatever that really means). And none of the samples really looked like feature films.
Heck, you're an award winning colorist yourself, why not show us what Speedlooks can really do.
John Brennick
Well-known member
Just curious, but on the windows side of things in Resolve lite, I didnt see a Support folder in the mentioned path. I made the directiories as it stated however the luts dont show up in the project settings like they're shown. Any idea what I'm doing wrong? Thanks in advance!
-J
-J
- Thread starter
- #53
Juan Melara
Well-known member
I dont have windows, I actually copied and pasted those instructions from another user so they may be wrong. I should have checked!
Easiest thing to do is download and install Resolve 9.1. Theres actually an "Open LUT Folder" button in the LUTs tab that takes you straight there.
Easiest thing to do is download and install Resolve 9.1. Theres actually an "Open LUT Folder" button in the LUTs tab that takes you straight there.
Pablo Moreno
Well-known member
Okay, Patrick, here is your request for Scratch, but I am posting here so everybody can see it..
Instructions on how to convert LUTs from one format to another in After Effects. (Windows). ( this method will work with 16, 32 or 64 samples per channel LUTs).
Donwload and install LUT buddy free plugin.
1) Load any image or footage in After Effects and put it on the timeline (resolution doesn't matter).
2) Load the plugin; (Effects - Magic bullet - LUT Buddy), and make sure is set to "Draw Pattern", 3D 32 on the drop down list. You'll see the pattern on the left top of your footage.
3) Again, go to Effects - Utility - Apply Color LUT, and choose the LUT you want to convert from the files and folders pop up window. You will see your image change as the pattern. (Don't pay attention to the look, in this case is irrelevant).
4) Load a second instance of LUT buddy, this time set it to "Read Pattern" 3D 32. Make sure is at the end, below the rest of the plugins.
5) In the same last plugin, Click on options. In the pop up window at the top right box "Convert LUT", choose: Type=3D, Bit depth=16, Samples=32, (sometimes the boxes are greyed out, its OK). Click the "Convert" button, ignore messages, stay there.
6) Now click on "Export LUT.." button. Choose your format from the drop down list, (in this case, choose "Inferno (*.3dl)". Give it a name, save it, that's it.
Last edited:
- Thread starter
- #55
Juan Melara
Well-known member
Nice work Pablo. Thanks for that.
Álex Montoya
Well-known member
Yes, Pablo, thanks for sharing that.
Harcharan Singh
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Great Thread...But some query
Great Thread...But some query
Hi,
With whatever little knowledge I have, emulation LUTS of various stocks are made after profiling the Monitor or projector where the final grade will happen
helping the colorist in seeing what will be his end result on print.
Without profiling I think a univarsal LUT cannot be build because what it will display with a LUT on a CINETAL monitor will not be same on a SONY BVM monitor or a BARCO projector.The LUT is
depended on the profiling of the display.
Correct me if I am wrong.
Thanks
Harcharan
Great Thread...But some query
Hi,
With whatever little knowledge I have, emulation LUTS of various stocks are made after profiling the Monitor or projector where the final grade will happen
helping the colorist in seeing what will be his end result on print.
Without profiling I think a univarsal LUT cannot be build because what it will display with a LUT on a CINETAL monitor will not be same on a SONY BVM monitor or a BARCO projector.The LUT is
depended on the profiling of the display.
Correct me if I am wrong.
Thanks
Harcharan
Jeff August
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Hey Harcharan
You are absolutely correct when discussing LUTs used in a traditional manner (to match your monitor to the print film stock, you will be printing to). In fact, 90 percent of the free LUTs floating around on the internet are print stock profiles. I've also noticed they are generally 17x17x17 in density, which is not a big enough cube for accurate and stable LUTs.
At SpeedLooks, we approach the use of LUTs much differently. SpeedLooks are creative LUTs and not technical. They are optimized for REC 709 color space. Our workflow bakes our SpeedLooks directly into the final image. They are designed to be used by DP's, Colorist's, Editors and DIT's. Because they are universal, it means you can use SpeedLooks on set to preview the look in real time, using any LUT box or monitor that accepts LUTs. The DIT can use them to make dailies, and SpeedLooks can be used by any color correction system for finishing. As we release more SpeedLooks, our hope is that they become a narrative language for DP's, Directors and editors -- just like 35mm motion picture film used to be. Keep in mind our SpeedLooks are not intended to be the final look...they are designed to give artists and colorists a great starting point.
There is one more thing that is unique to SpeedLooks…don’t tell anyone J
What makes us different from the rest is that our looks are created by extracting the beauty and character of negative 35mm motion stocks and not positive print stocks.
I love questions...let me know if you have more.
Jeff August
Andrey B
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You need to search it in Program DATA not Program FILES.
Jeff August
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Hey Jaun,
I apologize if I offended you by posting in this thread. The reason I did is to shed light on how LUTs are used in a more common workflow.
I’ve answered some of your questions below:
"This tells me that SpeedLooks is taking too much of a creative license with the image. This is good if all you're after is good looking footage with the least amount of time and creative effort. This is not good if you want to progress beyond this stage and actually value colour grading as an art and want to understand it and learn it properly."
My response - SpeedLooks are intended to get DP's, DIT's, Editors and colorists on the same page. They are to be used as a starting point of the creative color process. There are so many new users exposed to this advanced workflow and not all of them want to go back to school and learn another career...hehehe.
“In another thread a user posted image files with and without a SpeedLook applied (3527 Blue from memory). Although I didn't post my results, using the before image and one of these LUTs as a start point I was able to closely match the SpeedLook with minimal time and effort.”
My response - One thing to remember is the stability of our LUTs (SpeedLooks) and how they will hold up over an entire scene or movie. All SpeedLooks are high density 32x32x32 cubes.
“But in even less time, (and still using one of these LUTs as a start point) I was actually able to get even better results.”
My response - Yeah!!! that is our intent with all our looks. A starting point that is common to every stage in the production workflow and a special weapon in the hands of an artist like yourself when it comes to final color grading.
FYI…we are releasing a new SpeedLook in the couple weeks called SL 3535-Universal…check it out.
Jeff
I apologize if I offended you by posting in this thread. The reason I did is to shed light on how LUTs are used in a more common workflow.
I’ve answered some of your questions below:
"This tells me that SpeedLooks is taking too much of a creative license with the image. This is good if all you're after is good looking footage with the least amount of time and creative effort. This is not good if you want to progress beyond this stage and actually value colour grading as an art and want to understand it and learn it properly."
My response - SpeedLooks are intended to get DP's, DIT's, Editors and colorists on the same page. They are to be used as a starting point of the creative color process. There are so many new users exposed to this advanced workflow and not all of them want to go back to school and learn another career...hehehe.
“In another thread a user posted image files with and without a SpeedLook applied (3527 Blue from memory). Although I didn't post my results, using the before image and one of these LUTs as a start point I was able to closely match the SpeedLook with minimal time and effort.”
My response - One thing to remember is the stability of our LUTs (SpeedLooks) and how they will hold up over an entire scene or movie. All SpeedLooks are high density 32x32x32 cubes.
“But in even less time, (and still using one of these LUTs as a start point) I was actually able to get even better results.”
My response - Yeah!!! that is our intent with all our looks. A starting point that is common to every stage in the production workflow and a special weapon in the hands of an artist like yourself when it comes to final color grading.
FYI…we are releasing a new SpeedLook in the couple weeks called SL 3535-Universal…check it out.
Jeff