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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 :)

Phil Holland's PhilmColor Creative 3D Luts for IPP2

Login to Gumroad.com, pick forgot my password and your email address to change to a new one, login and your prior purchases, including the update will be available for download.

Love the new additions!
 
With all these LUT's my post process has really slowed down as I spend hours playing around and trying different looks... Thanks Phil
 
Finally starting playing around with these and I cannot wait to convert to the Monster so I can have in camera IPP2 and Phil's great LUTs. So much to play around with. I honestly don't know where Phil gets the time.
Many thanks again Phil!!! And Happy New Year
 
Peter Lyons Collister said:
Finally starting playing around with these and I cannot wait to convert to the Monster so I can have in camera IPP2 and Phil's great LUTs. So much to play around with. I honestly don't know where Phil gets the time.
Many thanks again Phil!!! And Happy New Year
Click to expand...

Me too! From a single still image I have created five galleries (at ISO 320, 500, 1000, 1600, and 2500 across all Tone/Rolloff combinations) and seven Tone/Rolloff comparisons (LOW/None, LOW/Hard, MED/Hard, MED/Default, HIGH/Hard, HIGH/Default, High/Med across the five ISOs) of all 75 base stocks. REDline and bash scripting are my heros!

If you want to play at home, here's the sample R3D image file I'm using to generate these descriptions: https://www.dropbox.com/s/byjjh1mbx1s1npw/C020_C001_01102V.0000000F.R3D?dl=0

I'll just make a few observations, but really this is a request for comment on the proper terminology to use for classifying the behavior of these various LUTs. I like to use the right words when I can ;-)

In the LOW/None world...

For my test image, accentor gives the most accurate color at ISO 320. Oranges and yellows get a little gaudy at ISO 500, and they start blowing out above that. This strikes me as a great stock for shooting a "dark" scene, as it really looks best when fed a dark image. What's a good way to name that?

By contrast, the colors of crane are most accurate at both ISO 320 and ISO 2500. Oranges and Yellows are still pushed a little toward each other, but effect is much stronger at ISOs 500-1600, where they also look almost over-saturated.

At ISO 500, dove has the most appropriate color balance.

At ISO 2500, harpyEagle has the most appropriate color balance.

In the HIGH/Soft world...

The colors of accentor looks best at ISO 500.

The appeal of crane remains at ISO 2500, but not so much at ISO 320.

Dove is strongest at ISO 1000.

harpyEagle is perhaps best at ISO 1600.

Obviously what I think are appropriate colors and tonal ranges are subjective, but I think what's really driving these looks for me is at what point in the exposure curve does saturation go from controlled to out of control, or at what point do color shifts go from subtle to extreme. Are these shoulders? Toes? Inflection points of S-curves?

Is a LUT that works best at ISO 320 a "slow" stock, or a "fast" stock? Is it a "dark" LUT or a "light" LUT?

I'm really, really liking the variety I'm seeing, and especially enjoying what some of these LUTs do for my highlights and shadows. I just don't know how to talk about them descriptively.

I'll also say one other thing: using JPG images for my viewers, I note that the sum-total of all my combinations lead to the following statistic:

5.2G gallery-0320
6.1G gallery-0500
7.3G gallery-1000
8.2G gallery-1600
9.0G gallery-2500

Which goes to show how much detail is lost, in general, developing at lower ISOs (JPEG thinks it can compress more). But for many of these tests, developing at ISO 2500 just blows out the colors beyond all recognition, so the JPEG compression statistic is telling us more about extraneous details rather than principal details.
 
@ Michael in regards to your file size of the JPG based on your ISO push you are adding more noise and hence more detail to the image as you are developing out at higher and higher ISOs, which is why you file size is larger.

Interesting thoughts on the various looks though.
 
Ahoy all. If you missed the email blast today, I have created the User Manual for philmColor Release 2. It's available in the Gumroad link or if you need it real quick:
http://phfx.com/tools/philmColor/manual/philmColorR2_manual.pdf

This has some handy thumbnails and some brief explanations of a few key stocks to help guide you through all of them.

Have a great weekend!
 
Phil, in release 3, will there be a chance to have 17x17x17 version of the LUTs?
 
Sherwin Laranga said:
Phil, in release 3, will there be a chance to have 17x17x17 version of the LUTs?
Click to expand...

Every camera that supports the IPP2 the internal camera workflow supports 33x33x33 LUTs.

If you can give me a good reason, perhaps, but otherwise I don't want to nuke the precision.
 
Phil Holland said:
Every camera that supports the IPP2 the internal camera workflow supports 33x33x33 LUTs.

If you can give me a good reason, perhaps, but otherwise I don't want to nuke the precision.
Click to expand...

I would like to load them on the Scarlet-W for monitoring because I'm not sure converting them to x17 using Lattice or Briz LUT Converter will be as accurate. Is it even worth using it for monitoring on the Scarlet-W? Under IMAGE, I have my settings as "Legacy" but with "RWG/Log3G10."
 
Sherwin Laranga said:
I would like to load them on the Scarlet-W for monitoring because I'm not sure converting them to x17 using Lattice or Briz LUT Converter will be as accurate. Is it even worth using it for monitoring on the Scarlet-W? Under IMAGE, I have my settings as "Legacy" but with "RWG/Log3G10."
Click to expand...

Worth is an interesting word.

But here's my advice as of now for cameras that only support IPP2 LUT workflow. Since philmColor is designed to work with sort of every type of material exposure-wise I would recommend monitoring with RWG/Log3G10 and whatever RED Output Contrast Tone Map and Highlight Roll-off LUT, personally I think Medium Con, Medium Highlight is a great general shooting target for most situations. And of course the Color Space, like BT.1886 or Rec.709. Whatever fits your workflow and then worry about the use of philmColor on the post side.

If you do have a Monstro or Helium body you can indeed load these up and get deep into where things land, but it's not the end of the world of you are working post side. This is one of those however you really want to apply it to your workflow things.

The reason I'm more or less avoiding making the concated transforms with LUTs is it will end up as about 2000 LUTs as of now and I truly don't think that headache is worth it logistically.
 
Phil Holland said:
Worth is an interesting word.

But here's my advice as of now for cameras that only support IPP2 LUT workflow. Since philmColor is designed to work with sort of every type of material exposure-wise I would recommend monitoring with RWG/Log3G10 and whatever RED Output Contrast Tone Map and Highlight Roll-off LUT, personally I think Medium Con, Medium Highlight is a great general shooting target for most situations. And of course the Color Space, like BT.1886 or Rec.709. Whatever fits your workflow and then worry about the use of philmColor on the post side.

If you do have a Monstro or Helium body you can indeed load these up and get deep into where things land, but it's not the end of the world of you are working post side. This is one of those however you really want to apply it to your workflow things.

The reason I'm more or less avoiding making the concated transforms with LUTs is it will end up as about 2000 LUTs as of now and I truly don't think that headache is worth it logistically.
Click to expand...
Thanks for the advice, Phil. I appreciate your response.
 
Hello Phil, congratulations for your work, can you tell me what software you use for the creation of LUT ? something like Nuke ? I imagine that it must require great mathematical knowledge for the proper mapping of the colors on the different shades of gradient. I find this job so wonderful !
 
Is Siskin perhaps related to a famous German camera manufacturer that begins with an "A"? ("The name siskin when referring to a bird is derived from an adaptation of the German dialect words sisschen" - Wikipedia). It does have a very nice look on skintones.
 
Raphaël_FR said:
Hello Phil, congratulations for your work, can you tell me what software you use for the creation of LUT ? something like Nuke ? I imagine that it must require great mathematical knowledge for the proper mapping of the colors on the different shades of gradient. I find this job so wonderful !
Click to expand...

It's a bit of everything and I'll share a bit of BTS soon with some of the film scans and digital comparisons, that stuff is real fun. I won't be sharing the process just yet, but it's rather unorthodox as I didn't use any of the common tools like Resolve, 3D LUT Creator, Nuke, etc.... I might down the line actually release something to create and tune these. If you're really, really curious. Every unique stock type has a different way of being created to some extent. For instance baseStocks are created differently than ghostStocks and the stuff I'm working on now is different than everything else released so far in terms of pure method.


Zeb B said:
This is really good stuff!
Click to expand...

Thank you Zeb. I've spent an unhealthy amount of time on this, but I love the results.


Jon Dishler said:
Is Siskin perhaps related to a famous German camera manufacturer that begins with an "A"? ("The name siskin when referring to a bird is derived from an adaptation of the German dialect words sisschen" - Wikipedia). It does have a very nice look on skintones.
Click to expand...

I'm glad you like Siskin, I wouldn't say it's based on their look, but rather what they based their look on, or at least share some of the familiar DNA. Siskin is Kodak based as are much of the baseStocks.

I've hinted at it before, but where the birds can be found might hint at certain things. While Shoveler's are not common at Dunkirk, the English would have welcomed them with open arms in South East England on the way home.

Things like ghostStocks and names like ectoplasm sort of sound like Ekta......

Half the fun is naming these :)
 
Hi Phil

Loving your luts. Question. The website has the examples on the Tips page, starting with IPP2 the luts are selectable below. Scroll down, click, the modified example image appears. Would it be possible to make it so the IPP2 button does NOT scroll down? That way I could toggle the lut`s on and off to asses what it`s doing as well as click back to the IPP2 to review the overall look? Or a press and hold toggle button for the IPP2?

Thanks
 
Donald MJ Anderson said:
Hi Phil

Loving your luts. Question. The website has the examples on the Tips page, starting with IPP2 the luts are selectable below. Scroll down, click, the modified example image appears. Would it be possible to make it so the IPP2 button does NOT scroll down? That way I could toggle the lut`s on and off to asses what it`s doing as well as click back to the IPP2 to review the overall look? Or a press and hold toggle button for the IPP2?

Thanks
Click to expand...

Thanks Donald. Finishing a LOOOOONG day today. That's something I'll add shortly. I understand preview/comparing is a bit rough at the moment.
 
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