Welcome to our community

Be a part of something great, join today!

Log in
  • 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

Phil Holland said:
I've communicated and nagged clearly. Short of me showing up and coding it myself it can't happen any faster unfortunately.

Which really sucks as they are SO DAMN CLOSE to nailing it. Literally just need to integrate the file browser so you can navigate for them.
Click to expand...

With apologies to Aretha Franklin: R-E-S-O-L-V-E / find out what it means to me.
 
Michael Tiemann said:
With apologies to Aretha Franklin: R-E-S-O-L-V-E / find out what it means to me.
Click to expand...

Yep, Resolve works nicely. Still need to integrate a couple things SDK-wise, but less of a frustration.

I'm grumpy because I know productions using Creative Cubes in PP for the big N and this really could be integrated by now.
 
Hi Phil,

Purchased your LUTs and really excited to put them to use

Are you aware if Adobe has yet streamlined the use of creative LUTs in Premiere for R3Ds? I can't seem to figure out how to correctly implement them in the RED Source Settings. When using them in Lumetri, it doesn't seem like they're placed in the right part of the grading chain

Thank you for any advice and insight!
 
Last edited:
Hi Phil, do you know if the latest Oct PPro update has implemented tetrahedral LUT interpolation? It's not mentioned in the release notes so I doubt it but thought you might know if that's still something they're working on. Thanks,
Corey
 
Quick update peeps.

Been chatting with Adobe and "they know and will add the browser". It's just taking a bit of time as they have a huge queue of features they are adding to Premiere Pro CC.

That said, the current release plays real nice with philmColor and Creative Cubes.

Workflow example would be either set your Creative Cube in REDCINE-X PRO before importing into Premiere Pro CC or if you have clips loaded already you can do the "Reload RMD" via the Master Effects dialogue for the RED Settings. Not so bad. And you can toggle the Creative Cube on and off.

However, I have noticed some fun stuff. If you have more than one Creative Cube within the .RDC folder it will sometimes freak out and choose the furthest down the line alphabetically. Solution, only have one .cube in that directory.

Ideally once they get this sorted out you can just point it to a Creative Cube wherever and it all works.


Corey Robson said:
Hi Phil, do you know if the latest Oct PPro update has implemented tetrahedral LUT interpolation? It's not mentioned in the release notes so I doubt it but thought you might know if that's still something they're working on. Thanks,
Corey
Click to expand...

They do not have Tetrahedral available in Lumetri yet, however the RED SDK does indeed use that interpolation for the Creative Cubes within the Metadata.


So yeah, long story short it's literally like 95% of the way there implemented, with a couple frustrations. However, there has been a nice speed boost recently in the latest release when working with R3Ds that's noticeable.


And just a word on philmColor Release 3. Still in progress, I have a host of new stuff ready now, but there are other things I'm still working on. I've received a lot of requests over the last few months at user groups and various other places. Notably people want "numbered Creative Cubes".


I'd like to emphasize that the baseStocks and printModels are the strongest looks for sure (achromics too because you know B&W), but don't be scared to dig deep into the ghostStocks. Those are truly subtle color-science-ish adjustments.

I've had lots of specific requests for looks I've actually made for productions in the last few months. Some of that will make it's way into the newest release for sure.
 
That all sounds cool! Waiting for the timing in buying PhilmColor this winter, after buying new filters, mattebox and glass.

Looking forward to using these LUTS!!
 
Hi Phil, got your LUTs. What's the best way to use them if I'm planning to only record prores 4K via EPIC-W. I'm loading them in camera currently. My goal is to have them burned in, so the prores files are ready to go in premiere pro, but wondering if that's the best route to take.

The LUTs look great and looking forward to exploring them! Thanks!

Nikhil
 
Well, well, well. I don't really do Black Friday sales, but I got a touching email from a film student in France.

Until end of day Monday, you can take $75 Off philmColor for RED IPP2. Most of you know of these, but really proud to see all the productions from features through commercials where these are deployed.

Free updates for life, a whole lot of LUTs, and Release 3 is just peaking over the horizon too.



www.philmcolor.com
 
Thanks for making our lives easier Phil!
Even when used with old RED ONE footage the results are great!!!

A MUST HAVE for every RED Cinematographer!
And if you haven't got it already, the discounted price is all the more reason to go get it now!!!
 
Appreciate that Kyle. I've obviously spent a lot of time developing these and continue to do so. Got some fun stuff in the works for R3, I know it's taking me a while, but doing everything I can to make the next release very special.
 
Huge thumbs up for me as well. I use one or more of Phil’s LUT’s on virtually every shoot. Excited for V3 to see what else you’ve cooked up!
 
A 3am update.

In case you missed my instagram post, some gratitude and words.

phfx_philmColorR32020Update.jpg


What I wrote: RED IPP2 philmColorR3 Update

3am R3 update. I know, it's been a minute since R2's release. But the new stuff is coming. Something old, something new. I'm nearly done. Half the delay has been figuring out how to release all this in a sensible way. Trying hard not to over complicate it, there's a lot going on. More than the first two releases and there's a lot in those really, needed to refine a bunch. But I've been working hard and listened to what people are after.

Dug through the archives of old film processing experiments, mainly Kodak Vision2 and Vision3 processed at CFI, Pacific Title, Technicolor, Fotokem, and Deluxe. Thank god I didn't throw this stuff away because some of these experiments have been lost to time. We often scrapped test footage and color wedges. Bins of it. But I held onto the interesting stuff. I am more of a Kodak man than Fujifilm as that's mainly what the film's I worked on rolled with, but I grabbed some Fuji in there too. Went to the bother of filming new tests in 2017, 2018, 2019 during the few times I worked with films this past decade. Bought a film scanner, it's in my office behind me now. Replaced half my fridge with film negative for 3 years. Shot several years of camera tests. Most interestingly I have been as usual testing every digital cinema camera along the way. Making notes, taking measurements, writing code. Making.

This project has transformed into something bigger. I honestly didn't know it would be so popular and I'm grateful that it has as it allowed for me to due what I'm describing above and the subsequent time afforded to do the real R&D. Feature films, commercials, projects off all sorts all over the world. Thank you. You inspired the extra effort. Many have discovered you can use these LUTs with other camera's grading workflows. I'll make that easier too. Some of this stuff was hard to pin down. Mainly because of HDR evolving as well during the last few years. But I've locked on target. Done some massive quality control. There's a drip of it in Komodo, more on that soon, and also soon I'll open the valve fully. Some is a bit off script, but I think that's appropriate now.


And what I'm writing here to this specific community, honestly a home to me in many ways. To say the least, this project wouldn't have happened without REDuser and motivational support by RED, Jarred, and Graeme as well as a few others elsewhere in the world. Even crazier looking back this project wouldn't have happened without Kodak and Arri, but that's something we'll have to drink to talk about. At the end of the day I'm hopefully providing you a big tool chest of stuff you want to use.

Getting this last bunch of work done right and making it all "work" and just figuring out how to release this thing has been a real difficult thing for me to get the reigns on. I went for the whole buffet and now I needed to figure out what to put on the plate. Then even weirder, new ideas entered while doing the busy work of the R&D I mentioned.

Got one little surprise to add to the release. I was going to release it separately as a new product, but I think in the end, it should be part of this project after all.

Thanks again. And thought I've been told I should be doing a subscription model and perhaps encoding this into a plugin, yes philmColorR3 will be a free upgrade to existing R2 and R1 owners.
 
Big thanks.

Phil Holland said:
A 3am update.

In case you missed my instagram post, some gratitude and words.

phfx_philmColorR32020Update.jpg


What I wrote: RED IPP2 philmColorR3 Update

3am R3 update. I know, it's been a minute since R2's release. But the new stuff is coming. Something old, something new. I'm nearly done. Half the delay has been figuring out how to release all this in a sensible way. Trying hard not to over complicate it, there's a lot going on. More than the first two releases and there's a lot in those really, needed to refine a bunch. But I've been working hard and listened to what people are after.

Dug through the archives of old film processing experiments, mainly Kodak Vision2 and Vision3 processed at CFI, Pacific Title, Technicolor, Fotokem, and Deluxe. Thank god I didn't throw this stuff away because some of these experiments have been lost to time. We often scrapped test footage and color wedges. Bins of it. But I held onto the interesting stuff. I am more of a Kodak man than Fujifilm as that's mainly what the film's I worked on rolled with, but I grabbed some Fuji in there too. Went to the bother of filming new tests in 2017, 2018, 2019 during the few times I worked with films this past decade. Bought a film scanner, it's in my office behind me now. Replaced half my fridge with film negative for 3 years. Shot several years of camera tests. Most interestingly I have been as usual testing every digital cinema camera along the way. Making notes, taking measurements, writing code. Making.

This project has transformed into something bigger. I honestly didn't know it would be so popular and I'm grateful that it has as it allowed for me to due what I'm describing above and the subsequent time afforded to do the real R&D. Feature films, commercials, projects off all sorts all over the world. Thank you. You inspired the extra effort. Many have discovered you can use these LUTs with other camera's grading workflows. I'll make that easier too. Some of this stuff was hard to pin down. Mainly because of HDR evolving as well during the last few years. But I've locked on target. Done some massive quality control. There's a drip of it in Komodo, more on that soon, and also soon I'll open the valve fully. Some is a bit off script, but I think that's appropriate now.


And what I'm writing here to this specific community, honestly a home to me in many ways. To say the least, this project wouldn't have happened without REDuser and motivational support by RED, Jarred, and Graeme as well as a few others elsewhere in the world. Even crazier looking back this project wouldn't have happened without Kodak and Arri, but that's something we'll have to drink to talk about. At the end of the day I'm hopefully providing you a big tool chest of stuff you want to use.

Getting this last bunch of work done right and making it all "work" and just figuring out how to release this thing has been a real difficult thing for me to get the reigns on. I went for the whole buffet and now I needed to figure out what to put on the plate. Then even weirder, new ideas entered while doing the busy work of the R&D I mentioned.

Got one little surprise to add to the release. I was going to release it separately as a new product, but I think in the end, it should be part of this project after all.

Thanks again. And thought I've been told I should be doing a subscription model and perhaps encoding this into a plugin, yes philmColorR3 will be a free upgrade to existing R2 and R1 owners.
Click to expand...
 
Thank you for the hard work Phil!
Can't wait to find out what's in R3...!!!
 
You must log in or register to reply here.
Back
Top