Phil Holland's PhilmColor Creative 3D Luts for IPP2

[Adam Montville]

Just some wishing. I really hope the Hydrogen shoots .R3D, and uses IPP2, or at least the option in post. Would be awesome to use your LUTs on it!

 

[olivier harrault]

Just wanted to thank you guys for supporting philmColor. In the last month in particular I've been sent frames and trailers for stuff coming to Netflix, theaters, and a whole lot of commercials. Love seeing how you are putting these looks to good use.

The update is coming along nicely. Have a bunch of stuff "done", but a few more things I want to create. Should be released in September free to all those who purchased.

CAN'T WAIT !!!!! :hurray:

 

[Russ Fill]

Hey Phil I notice that most of your LUTs are subtle to most. It would be great to see some other extreme group or file of LUT's. Maybe like some major motions pictures or commercial work.
Im thinking Guardians of the Galaxy looks and projects with that extreme looks.?

 

[Phil Holland]

Hey Phil I notice that most of your LUTs are subtle to most. It would be great to see some other extreme group or file of LUT's. Maybe like some major motions pictures or commercial work.
Im thinking Guardians of the Galaxy looks and projects with that extreme looks.?

I'm working on a few "bolder concepts". However, a great deal of GOTG and GOTGV.2's in particular look is due to judicious use of colored lighting on set and a lot of it. I can make you a look that will "tungsten-ize" your skin tones, but that might not work out for a lot of situations. But yeah, I'll yellow it up for a few things

General stuff:
baseStocks = Generally stronger, bolder looks with a few subtle ones. Egret in particular comes to mind as subtle. Most are meant to not have tonal adjustments so they can work on every type of exposure, however, things like the bleach bypass emulations/looks obviously have those.
ghostStocks = Essentially "color science". Subtle, but does interesting things like fixing green skin from weird lighting environments and various other aesthetic shifts. Zero luminance tonal stuff, but certainly chromatic tonal movements and adjustments.
printModels = Anything beyond A is real flavored. These also have unique tone curves for various feels.
tonalAdjusts = No color shift, but just tonal adjustments.

But just a tease. Perhaps too big of a tease:

I'm waiting for a whole bunch of film shot on multiple formats to come back from the lab. A whole bunch.

But in short, with the V2 update, yep some bolder looks and a heck of a lot of other things.

 

[rohan banerjee]

I'm working on a few "bolder concepts". However, a great deal of GOTG and GOTGV.2's in particular look is due to judicious use of colored lighting on set and a lot of it. I can make you a look that will "tungsten-ize" your skin tones, but that might not work out for a lot of situations. But yeah, I'll yellow it up for a few things

General stuff:
baseStocks = Generally stronger, bolder looks with a few subtle ones. Egret in particular comes to mind as subtle. Most are meant to not have tonal adjustments so they can work on every type of exposure, however, things like the bleach bypass emulations/looks obviously have those.
ghostStocks = Essentially "color science". Subtle, but does interesting things like fixing green skin from weird lighting environments and various other aesthetic shifts. Zero luminance tonal stuff, but certainly chromatic tonal movements and adjustments.
printModels = Anything beyond A is real flavored. These also have unique tone curves for various feels.
tonalAdjusts = No color shift, but just tonal adjustments.

But just a tease. Perhaps too big of a tease:

I'm waiting for a whole bunch of film shot on multiple formats to come back from the lab. A whole bunch.

But in short, with the V2 update, yep some bolder looks and a heck of a lot of other things.

when will we be able to see the footage???

 

[Brandon Veen]

I remember when I saw the post on Instagram I just thought you were doing a shootout between IMAX and RED or something, but now would a guess that you're creating IMAX-inspired baseStocks be far off? (I suppose we will see soon enough, but the tease seems to point that direction, which is exciting)

 

[Phil Holland]

I remember when I saw the post on Instagram I just thought you were doing a shootout between IMAX and RED or something, but now would a guess that you're creating IMAX-inspired baseStocks be far off? (I suppose we will see soon enough, but the tease seems to point that direction, which is exciting)

There's something else tied to shooting 70mm, but Vision 3 is Vision 3 if you catch my drift. Format doesn't change colorimetry per say. In the last calendar month I've shot on nearly every film format and on various stocks for...... reasons.

This is likely my last go around doing this sort of work, experimentation, testing, and research.

 

[Aaron Lochert]

but Vision 3 is Vision 3 if you catch my drift

That right there would be worth the cost of entry into philmColor, IMO.

 

[Ben Scott]

I'm using a concatenated Philmcolor/IPP2 Lut for monitoring on the new car film/doc I'm working on. Producers all super happy with what they are seeing.

The one suggestion I would make is to have a single sentence description for every lut. There's so much in there that it can take a while to find what you're after outside the main ones you describe in your pdf.

EG - 'shadows pushed to green. gamma lowered. highlights strong yellow'

 

[Phil Holland]

I'm using a concatenated Philmcolor/IPP2 Lut for monitoring on the new car film/doc I'm working on. Producers all super happy with what they are seeing.

The one suggestion I would make is to have a single sentence description for every lut. There's so much in there that it can take a while to find what you're after outside the main ones you describe in your pdf.

EG - 'shadows pushed to green. gamma lowered. highlights strong yellow'

Heh. Darn. Guess I'll have to add a few things and be less mysterious. Vision 2 pushed 1 stop, etc....

Glad you guys are liking these. I'll whack out some basic descriptions soon. Was thinking about making an app to load and preview stuff too. Might have to dish that off to another human if I'm too slammed.

 

[Ben Scott]

Well now I like mysterious, but if people are using them in some instances as timesavers that would be a huge timesaver to narrow it down a tiny bit.

 

[Jon Dishler]

Hi Phil -- just one of the many to recently purchase Philmcolor. I have an Epic W and in camera, truly amazing! Also of course great in RCX. I just tried Dove for some green screen, amazing! Also wanted to thank for for group buy on ServPro -- that with the iPAD Pro and these LUTs are amazing. Can't wait for version 2 although there is plenty to chew on in version 1. Thanks so much for doing this!!!

Jon

 

[Phil Holland]

Hi Phil -- just one of the many to recently purchase Philmcolor. I have an Epic W and in camera, truly amazing! Also of course great in RCX. I just tried Dove for some green screen, amazing! Also wanted to thank for for group buy on ServPro -- that with the iPAD Pro and these LUTs are amazing. Can't wait for version 2 although there is plenty to chew on in version 1. Thanks so much for doing this!!!

Jon

Thanks for that Jon.


Just one other note I want to make. philmColor is designed towards the concept of what the heart of IPP2 is all about. The ability to successfully use these LUTs to grade for SDR and/or HDR. These all should play relatively nicely for both. I've just been setting up a new HDR setup here at my home studio that makes things much easier for me to test this stuff out "fully".

While nearly every look has some sort of motion picture film heritage, for some of these bolder looks I'll certainly aim a bit more "wild".

Though I have to say in some areas there are risks when going to crazy and this is true for all grades. Pushing blues around super heavily for instance could induce more image noise on skies and whatnot, but that's stuff I've avoided for the first round and tuned everything to work well on damn near anything. Which actually is a bit of a bummer because I have a couple of "truer" stock emulations that have a rather booming blue, but truly I would recommend only using it on lower ISO footage if aiming there.

That's some of the battle with the development of these for sure. Crafting LUTs for IPP2 requires a level of finesse and if you don't want to break the image, you gotta test a wide variety of content. For phase two, my library of test images has been organized a bit more heavily. It's now several thousand shots of about 5-15 seconds that I can bake out in segments. Like "sunsetsStressTest", "nightTimeHighISO", "daylightColorChart", "tungstenColorChart", "weirdLight", etc.

I've got a lot done already for the update, just waiting on some film to get back and few other things to hammer out the next batch. Then boom, release. So stay tuned.

 

[Alain M]

Hello Phil... Question: Did my upgrade recently to Helium 8K S35 and after the crazy traveling finally I am gonna dive and purchase your LUTs. meanwhile, I was trying tonite to get adjusted to IPP2 workflow and its awesome, but when I go to REDCINE X and do the correct pipeline preference REDWIDEGAMMUT and Log3g10 with the IPP2 Monitoring setup: Color Space: Rec709 and Gamma: 1886 as showing in the RED Tech Video, The image gets very saturated specially on the reds... I am able to fine tune the Ipp2 Contrast and Highlight from low to high and its awesome.. I reduce the saturation to about 85% and I find an outstanding image. But for some reason the Image is very saturated from the beginning without touching the saturation.. Am I doing something wrong? That is not even adding a Creative 3D LUT at all... I ll do that with yours which I want to do after I get this right.... Then start doing it straight In-Camera.

Thanks

 

[Phil Holland]

Hello Phil... Question: Did my upgrade recently to Helium 8K S35 and after the crazy traveling finally I am gonna dive and purchase your LUTs. meanwhile, I was trying tonite to get adjusted to IPP2 workflow and its awesome, but when I go to REDCINE X and do the correct pipeline preference REDWIDEGAMMUT and Log3g10 with the IPP2 Monitoring setup: Color Space: Rec709 and Gamma: 1886 as showing in the RED Tech Video, The image gets very saturated specially on the reds... I am able to fine tune the Ipp2 Contrast and Highlight from low to high and its awesome.. I reduce the saturation to about 85% and I find an outstanding image. But for some reason the Image is very saturated from the beginning without touching the saturation.. Am I doing something wrong? That is not even adding a Creative 3D LUT at all... I ll do that with yours which I want to do after I get this right.... Then start doing it straight In-Camera.

Without screenshots or an R3D I'm "working blind", but you'll find some colors pumped up a bit with IPP2. However, you shouldn't be seeing "anything crazy".

 

[Alain M]

Without screenshots or an R3D I'm "working blind", but you'll find some colors pumped up a bit with IPP2. However, you shouldn't be seeing "anything crazy".

Here are the settings and the colors at medium both contrast and highlights. No LUT no curve.. Plain with IPP2 pipeline

www.alainmaiki.com/redfootage

NOTE: Now, If I set up the preference with IPP2 Monitoring setup: Color Space: Rec2020 and Gamma: 1886 the colors look more correct. I am using my new MacBook Pro 2017 with this testing. Rec2020 seems for color accurate than Rec709 in the IPP2 Monitoring but I aint no expert on this... I might be doing something wrong.


Thanks Phil.

 

[Phil Holland]

Here are the settings and the colors at medium both contrast and highlights. No LUT no curve.. Plain with IPP2 pipeline

www.alainmaiki.com/redfootage

NOTE: Now, If I set up the preference with IPP2 Monitoring setup: Color Space: Rec2020 and Gamma: 1886 the colors look more correct. I am using my new MacBook Pro 2017 with this testing. Rec2020 seems for color accurate than Rec709 in the IPP2 Monitoring but I aint no expert on this... I might be doing something wrong.


Thanks Phil.

Well you need to figure out what your target output is and what your monitoring on. IPP2 is more colorful in general, but if you are finding it too saturated you can knock down the saturation via the CDL control. Give that a whirl. I've noticed also between Helium and Dragon I'll knock down or knock up saturation pretty often to get them to match.

 

[Martin Stevens]

Hello Phil,

Do your LUTS contain within them Secondary Color Corrections? I would assume they must,
but what's odd is that RedCine X does not have a Secondary Color Corrector.

 

[Phil Holland]

Hello Phil,

Do your LUTS contain within them Secondary Color Corrections? I would assume they must,
but what's odd is that RedCine X does not have a Secondary Color Corrector.

Technically they do "all sorts of things". I'd love to see RED implement a few more grading features for RCX, but it's truly not a full blown grading platform. Though at this point I've certainly finished jobs with it where that's possible.

 

[Alain M]

Well you need to figure out what your target output is and what your monitoring on. IPP2 is more colorful in general, but if you are finding it too saturated you can knock down the saturation via the CDL control. Give that a whirl. I've noticed also between Helium and Dragon I'll knock down or knock up saturation pretty often to get them to match.

Thanks Phil. I ll get the philColor this weekend and continue testing. When you mention “what your target output is” what do you mean exactly? It gets confusing sometimes. My workflow is apple displays, premiere pro, then davinci after adjusting ipp2 settings in REDCINE X which you are helping me now understand, then ProRes 4444 output export