Need some basic LUT help

[steve green]

I'm not grasping the LUT concept and I'm really struggling to use them for my R3D's and pro res files. Can someone, post what the output menu should read when using a LUT with IPP2 and Monstro?

When I load them and view on a SDI monitor they're either oversaturated or "flat" depending on the setting I selected.

I'd love the LUT to be viewable on the R3D's as a reference for post, and "baked into" the prores files.

 

[rand thompson]

Steve,

I have never owned a Red Digital Cinema Camera so maybe someone who does will chime in with the screen grabs you requested. However, here are two workflow explanations from Phil Holland at Phfx.com and from page 85 of the "Red DSMC2 Monstro Operations Guide" if that helps

 

[steve green]

Steve,

I have never owned a Red Digital Cinema Camera so maybe someone who does will chime in with the screen grabs you requested. However, here are two workflow explanations from Phil Holland at Phfx.com and from page 85 of the "Red DSMC2 Monstro Operations Guide" if that helps

Thanks, Rand, I've tried to follow the ops manual to no avail. I'll try again, hoping to get the screen grabs to verify I'm not completely off target.

 

[rand thompson]

Alright then Steve.

 

[Alan Greene]

There was a good thread on LUTs recently that might help: IPP2 and LUTs

 

[steve green]

There was a good thread on LUTs recently that might help: IPP2 and LUTs

Just read that thread and come to the conclusion that in the Red eco-system IPP2 in camera Luts are not really usable. Such a bummer as I'm getting hammered with a client that needs pro res proxies looking good with a baked in LUT. AGH!

 

[Phil Holland]

I'm not grasping the LUT concept and I'm really struggling to use them for my R3D's and pro res files. Can someone, post what the output menu should read when using a LUT with IPP2 and Monstro?

When I load them and view on a SDI monitor they're either oversaturated or "flat" depending on the setting I selected.

I'd love the LUT to be viewable on the R3D's as a reference for post, and "baked into" the prores files.

Just read that thread and come to the conclusion that in the Red eco-system IPP2 in camera Luts are not really usable. Such a bummer as I'm getting hammered with a client that needs pro res proxies looking good with a baked in LUT. AGH!

Don't know what you mean by in camera LUTs not being usable. That's literally why the feature is there. In the IPP2 ecosystem you are placing the LUT, defined as a Creative Cube, before the Output Transform to whatever your Color Space and Gamma are. If you want the LUT after the fact, dive back into Legacy and likely use REDlogFilm. You need to know what the LUTs you are using are designed to work with really.

In terms of baking into proxies, 2K doable, 4K not doable.

You can also create a custom LUT with various output transforms, but this depends really on what you are doing. Sort of just need to know what your goals are. If you are talking about slapping a LUT on at the tail end of the IPP2 pipeline, you can't currently do that in camera. But you can create an Output Transform LUT via RCX and combine it with whatever LUT you are utilizing.

 

[rand thompson]

Steve,



Maybe this will help also. This is the method I use to make "Creative Luts" For both Redcine-X and to use back Inside Resolve.





At the Bench: Loading LUTs on a RED with IPP2 Workflow

RED's new IPP2 workflow, which is supported in-camera with the latest RED DSMC2 bodies brings a lot to R3D workflows. One of the most important features is the ability to load a custom 33-sided 3D LUT in .cube format into the camera for viewing. In this blog, Ian shows you two scenarios for on set and off set LUT creation.

To read the full post, visit our blog: https://www.abelcine.com/articles/blo...

 

[Hrvoje Simic]

Proxy LUT burn-in in LEGACY mode.