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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 :)

LUTS in and out. You're such a dirty Lut

A

AlexJones

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Hey guys! I recently started using my preferred luts on my Weapon Helium. It's pretty cool you can apply them while filming but the issue is, when I open in Red Cine X or Premiere, the lut is not applied. There is a file associated with the lut in each folder containing each R3D but not really sure how to get it to apply to all footage as you import. This would be good as I can have a look before post has started for quick turnarounds.
 
No, Im not trying to use Ipp2. I'm using a custom Lut. I'm using Impulz Luts in camera.
 
If you are doing that non-IPP2 workflow, you need to be in "Legacy mode" in your Preferences and applying the LUT in the Post:Look:Effects.
 
AlexJones said:
No, Im not trying to use Ipp2. I'm using a custom Lut. I'm using Impulz Luts in camera.
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Any LUT needs to be applied to either a graded REC709 or LOG image depending on the type of LUT that it is. If you need a LOG image, IPP2 is a much better starting point.
 
hey guys so I'm not sure if I made myself clear. I already know I can use my LUT in camera. It looks good on the camera while filming but when I try to bring the clips into premiere or Red Cine X, the lut doesn't show up on the clips. I'm using a 3rd party lut called M31 from Impulz luts. I am in Legacy mode with red gamma 4 and red color 4.
 
AlexJones said:
hey guys so I'm not sure if I made myself clear. I already know I can use my LUT in camera. It looks good on the camera while filming but when I try to bring the clips into premiere or Red Cine X, the lut doesn't show up on the clips. I'm using a 3rd party lut called M31 from Impulz luts. I am in Legacy mode with red gamma 4 and red color 4.
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You probably have to manually load the LUT - In RCX there is a box on the right stack to do this. Not sure about Premiere but a quick Google led me here: https://www.premiumbeat.com/blog/adding-luts-in-premiere-pro/
 
I find it's not hard to duplicate the M31 look (and actually improve on it) by just using the color-correction controls within Resolve. I think Resolve is a better finishing tool than either Premiere or Redcine-X Pro. I do think RCX is fine for creating dailies or viewing on set.

BTW: my opinion is that the looks the Impulz people are selling were initially created without LUTs as well, by colorists working on major feature films. And also note a lot of those films have a look dictated by lighting and art direction -- it can't really be done by color correction alone.
 
Marc Wielage said:
I find it's not hard to duplicate the M31 look (and actually improve on it) by just using the color-correction controls within Resolve. I think Resolve is a better finishing tool than either Premiere or Redcine-X Pro. I do think RCX is fine for creating dailies or viewing on set.

BTW: my opinion is that the looks the Impulz people are selling were initially created without LUTs as well, by colorists working on major feature films. And also note a lot of those films have a look dictated by lighting and art direction -- it can't really be done by color correction alone.
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heh. That M31 LUT certainly got popular. Not a bad thing, it's a look many like. Just spottable.

There's a lot of differences between the grading/finishing software out there. Resolve has it's image related quirks still, and I use it regularly. I am more of an Adobe centric workflow overall, but when finishing out to 16 bit it's a bit of an adventure dipping into other buckets.

I want some of the stuff that's securely better than Resolve to come down in price a bit and really shake things up.
 
Can someone explain how the Light Iron color science for the DXL2 works? Is it basically an output LUT in the same manner as IPP2? Meaning, replicating the Light Iron color science is possible? Or is it something else, inside the Panavision camera, meaning it's nothing we can match up to even though it's the same sensor as in Red cameras?
 
Phil Holland said:
heh. That M31 LUT certainly got popular. Not a bad thing, it's a look many like. Just spottable.
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It's just an orange/teal thing. I would credit Stefan Sonnenfeld of CO3 as popularizing the look, which I think started in 2003 with Bad Boys 2. And trust me, he didn't use LUTs to create the look. Stefan realized that color contrast (red and cyan being opposites) would create maximum impact, and I think he and director Michael Bay punched that pretty hard in a dozen more projects that followed, particularly the Transformers films.

The problem with trying to do it in a LUT is that the LUT will not work if the background clashes in any way with those key colors -- like a wall that's also in a fleshtone direction. I'm fighting that right now on a project, and basically you wind up with VFX solutions to solve the problems (keys and tracking masks). It's not simple, it's not easy, and it's not just a LUT -- it's a lot of hard work. Creating separation between the characters and the background involves cooperation between the art director and the DP, and it's tough to achieve otherwise. This is compounded even more if you're delivering to different color spaces or HDR.

I actually find the orange/teal look kind of tiring if it's used too much, but it's effective in small doses here and there. But it's often not my decision, and I always try to give the director what he or she wants.
 
Christoffer Glans said:
Can someone explain how the Light Iron color science for the DXL2 works? Is it basically an output LUT in the same manner as IPP2? Meaning, replicating the Light Iron color science is possible? Or is it something else, inside the Panavision camera, meaning it's nothing we can match up to even though it's the same sensor as in Red cameras?
Click to expand...

I think the color science is just an output LUT based on IPP2. But, there's also a custom PV OLPF in front of the sensor, so I think it would be hard to match exactly with a RED OLPF, but a good colorist can probably get pretty close.
 
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