Orange & Teal Look as REDCine-X LUT

[Brian Bradley]

I want to create the Orange and Teal look in REDCine-X. Are there any tutorials or documentation on this forum or online that cover creating this look exclusively in REDCine-X? I want to send the LUT from REDCine-X back into my camera.

 

[Noel R.]

I'm not sure that is possible with a LUT. You may need to use a pro grading app like DaVinci.

 

[Paul Provost]

At minimum you need to key skin tones and push shadows and highlites to cyan outside of the key. Contrast/exposure affects the look a lot. It pretty much needs to be customized shot to shot, and easily looks very hokey. Even done correctly with care looks kinda hokey. Done very subtly with additional techniques it can have its place, while still looking pretty hokey. Hokey (needed one more for my quota).

 

[Björn Benckert]

You would need a 3D lut, which the camera does not take. So not realy possible. The camera only got simple color adjustments like curves etc / the same as in red cine. No 3D mapping of colours which would be what you need.

Something I thinks work better is to set you SDI out to redlogfilm, then get a "lut box" or a screen that can take a 3dlut and apply it there. that way you see your normal picture in camera and only on the client monitor or such you can flip on / off the lut and alter it and such. Then you do it on a 10 bit signal but that does not matter much just to see how it looks. in post you apply it to the real files and can grade underneath.:thumbup1:

 

[John Hope]

There are 2 teal-orange LUTs out there: KinoLUT and M31

 

[Marc Wielage]

The other problem is that this is very source-dependent, meaning how the footage is shot is going to determine how far you can push it.

A so-called "look LUT" can't automatically do this, because the human characters in the foreground are going to be lit differently in every scene. You can only do this by hand, though there are power grades and so on that will get you 50% of the way there, all of which are created by hand.

 

[Phil Holland]

What Marc said. I'll add, you'd be amazed at what you can achieve utilizing curves in Redcine-X Pro.

I'll add another thing too Locking down a consistent exposure technique really assists in pushing grades through later on.

 

[Matthew Scott]

I can vouch for the kinoLUT, it's hand crafted and gets you 70% there!

 

[Paul Russell]

There are 2 teal-orange LUTs out there: KinoLUT and M31

M31 fails on 99% of footage. KinoLut works better because it has plenty of variations for exposure and color temperature. Either way they are only starting points.
To get a real teal/orange grade is more complex than a LUT. Have a look at Juan Melara's excellent grading tutorial. You need Resolve for this - RedCine isn't up to the task.

http://www.vimeo.com/65617394

 

[Matthew Scott]

I disagree that kinoLUT is only starting point. The OP seems to be looking for a short cut to the T&O look, and in my opinion, kinoLUT is it. Of course learning how to do it yourself is much better, but clearly not everyone wants that. I know how to create my own looks and have put in several years learning how, but sometimes it's nice to have a quality LUT that actually works, and works with a few tweaks across multiple exposures. The creator of kinoLUT is a genius and should be given more credit! John Hope is the guy's name, what a legend

 

[Paul Russell]

Any preset is just a starting point, imho.

 

[Matthew Scott]

Any preset is just a starting point, imho.

REDColour3+REDLogFilm is a starting point....A meticulously crafted 3D LUT that has options to match any WB/exposure is a powerful, creative tool IMHO.

 

[Marc Wielage]

I'll add another thing too Locking down a consistent exposure technique really assists in pushing grades through later on.

That is very true. When the scene has been specifically designed for a certain look, and they make sure the set and costumes avoid certain colors, then they'll know for a fact that the look can be consistent in post. If you shoot on a dreary day where it's drizzling rain, and then try to cut that with the same scene in broad sunlight, clearly it's not going to match... and that's whether you're trying to do the Orange & Teal look or anything else. If it's well-shot, no problem.

Juan Melara's tutorial has one approach for the O&T look, but there's a half-dozen out there if you look around. Juan at least goes into detail as to why this look became popular, in particular how red/orange and cyan are opposites on the vectorscope. Note that there are also ways of doing the same look on Baselight, in Pablo, and in Luster, all using very different techniques from Resolve. I've found that combinations of curves, log controls, and keys can yield different results, but the truth is that so much depends on the principal photography, often it's a question of just using what works.

REDColour3+REDLogFilm is a starting point....A meticulously crafted 3D LUT that has options to match any WB/exposure is a powerful, creative tool IMHO.

That's generally my starting point as well, at least on projects that shoot on Red and need R3D files.

 

[Avidil Ryeson]

There are 2 teal-orange LUTs out there: KinoLUT and M31

There is one more TheEgoWorks LUTs

 

[David Battistella]

I want to create the Orange and Teal look in REDCine-X. Are there any tutorials or documentation on this forum or online that cover creating this look exclusively in REDCine-X? I want to send the LUT from REDCine-X back into my camera.

You want a LUT or a LOOK?

You want to create the LOOK you like in RCX you can do that no problem. Then you can export that LOOK from RCX and IMPORT that LOOK file back into the camera.

Basically. You should load up a wide variety of shots and set a LOOK that will give you the teal and orange you are looking for. Test it across a lot of shots though and keep it fairly mild and about 70% of what you want the final look to be.

Then just import that LOOK into the camera and that LUT will be applied (no destructively) to every shot you record.

Battistella

 

[Andrew PC Smith]

REDColour3+REDLogFilm is a starting point....A meticulously crafted 3D LUT that has options to match any WB/exposure is a powerful, creative tool IMHO.

That's when it pays to have a LUT-enabled monitor on set to preview. I agree with Marc, you really have to watch the colors you shoot. Some will "break" the look you're going for and provide your colorist with many rotoscoping headaches.