LUTs and internal ProRes

[Todd DosSantos]

Hi all. I have a client who is requesting 2k Pro Res as the primary file from my Gemini. In the past (with R3D files), I've shot and monitored to True Color's RED_IPP2_ALEXA_LOOK_Iridas32.cube LUT. I'm quite happy with the results, and the client is as well, and the footage is often intercutting with Alexa footage.

With using 2K Pro Res as the 'Primary Only' file in RWG / Log3G10, I find that I can still monitor to the Alexa Look LUT, but it doesn't migrate seamlessly with the metadata into Premiere, as the R3D files do. Furthermore, when I try to drop the same RED_IPP2_ALEXA_LOOK_Iridas32.cube LUT on top of the Pro Res in Premiere, I'm not getting a good result. The image contrast and saturation hardly move.

I need to make this as seamless as possible for them in post when I hand off the footage. Any suggestions or ideas would be appreciated, as well as any other internal Pro Res tips.

 

[Tyler Clements]

Using the ALEXA_LOOK_Iradias32.cube will work great when working in the RAW IPP2 color space and when using preview on your monitor. However, when you pull the ProRes (primary only) files into post you'll want to work with True Color's ALEXAV3Rec709 lut. That will give you the results you're looking for.

I do have trouble using the LUT when recording ProRes 422 or ProRes 422HQ as it still has a green tint to the footage after rendering the file. The way that premiere pro previews and renders is a little weird with that combination. Bringing the midtones a little away from the greens should fix this.

However, I have great results using the LUT in PP when shooting ProRes 4444 or 4444XQ and there is no green tint that the 422 exhibits.

I would suggest experimenting a little with different ProRes options in premiere and when you get it looking the way you want export the LUT for client.