SpeedLooks for Speedgrade, Resolve, Scracth, Lustre, FilmLight

[jimhare]

What Matt said... Thanks for the much better explanation than I gave Matt!

 

[jake blackstone]

"SpeedLooks is optimized for the latest digital cinema cameras, however, you can use them on any footage recorded in LOG color space. Included is our specialized camera patch technology, allowing you to customize your look specifically for the camera you shot on. You can optimize for the Alexa, RED, C300, Canon 5D/7D and the Sony F series cameras. Our camera patch technology is an ideal way to give footage from multiple cameras a consistent look. SpeedLooks uses LOG C for our base color space - we call it ‘SpeedLog’. Our camera patch technology automatically converts your camera footage to SpeedLog, which creates a consistent and optimized look across all cameras and footage. If you’re including linear color space footage - shot on any HD camera in any format - into your production, we’ve included a special linear patch to help give you a consistency with LOG images."

http://looklabs.net/index.php?p=looks&id=1

I'm confused. If all they trying to do is to convert every camera to emulate Alexa, then why are they saying that the patch can be used on Alexa too. Isn't Alexa already Log-C? Why would you need Alexa to emulate Alexa?;-)
Don't get me wrong, if someone can get Epic look as good as Alexa out the gate, I'm all for it! I just need to see it...

 

[Matt Ryan]

I'm confused. If all they trying to do is to convert every camera to emulate Alexa, then why are they saying that the patch can be used on Alexa too. Isn't Alexa already Log-C? Why would you need Alexa to emulate Alexa?;-)

thats if your shooting in rec. 709 rather than logC to begin with in capture on the Alexa.

 

[Matt Ryan]

Here's a link to the TIFF files for download:
http://matthayslett.com/wp-content/uploads/2012/12/ForJake.zip
These are with my balancing for final levels. RAW untouched images and tiffs will be posted shortly. Found in a later post.

Log C input LUT, no output LUT:

RLF Input, no output LUT:

Log C input LUT, Clean 3500 Fuji Output LUT:

RLF Input, Clean 3500 Fuji Output LUT:

and yes I was purposely blowing out that window when I shot it.

 

[jimhare]

My guess is they wrote the LUT for the Alexa so it's easier to have a common starting point as LOG-C, hence, bend other cameras to that starting point.

You wouldn't use the INPUT LUT on an Alexa, it's ready for the OUTPUT LUT as is.

The goal is not to emulate an Alexa OUTPUT, just to make it look like one on the way in. That's my take anyway.

I'm confused. If all they trying to do is to convert every camera to emulate Alexa, then why are they saying that the patch can be used on Alexa too. Isn't Alexa already Log-C? Why would you need Alexa to emulate Alexa?;-)
Don't get me wrong, if someone can get Epic look as good as Alexa out the gate, I'm all for it! I just need to see it...

 

[Matt Ryan]

added JPEG images in above post with link to tiffs. Right click and open in a new tab to view full 3K size.

 

[Adrian Jebef]

This is an outdated information. Starting with V9 of Resolve you can now grade within user adjustable range on a single node by using Log grading mode.

Sure but it's still not as much control as using SpeedGrade. Have you ever tried SpeedGrade? Old or new?

 

[jimhare]

Matt, does the Log-C version start with RLF in the RAW setting? RC3 for color space?

 

[Matt Ryan]

Matt, does the Log-C version start with RLF in the RAW setting? RC3 for color space?

yes it does. Everything is RC3, Redlogfilm in the RAW settings for all the images.

 

[Juan Melara]

So no corrections at all on those stills? Those blacks look a bit crushed to be RLF.

 

[Matt Ryan]

So no corrections at all on those stills? Those blacks look a bit crushed to be RLF.

Yeah, my mistake. Those are my final grades with just a levels adjustment and vignette at the edges. RAW untouched images will come soon. Sorry about that!

 

[jimhare]

Good Stuff, thanks Matt. Hey, is there a difference between putting the input/output in the first/last node and setting it as input and output in the LUT preferences?

In other words, I assumed doing it once as a pref for the entire timeline would only apply the output at the end of the chain, same as the last node. Am I wrong? If so I'll start putting them in the nodes, just found it a pain when I know I'm going to use it on every shot.

See below:

 

[Matt Ryan]

Good Stuff, thanks Matt. Hey, is there a difference between putting the input/output in the first/last node and setting it as input and output in the LUT preferences?

In other words, I assumed doing it once as a pref for the entire timeline would only apply the output at the end of the chain, same as the last node. Am I wrong? If so I'll start putting them in the nodes, just found it a pain when I know I'm going to use it on every shot.

haha no idea, Never tried it before. If there is an option for input and output LUTS in the config tab, I'd do it that way (I will from now on haha). Then you wont accidentally make corrections on those nodes and screw it up. Thanks for the heads up. It was getting tiring doing it individually for every clip in the timeline!

 

[Adrian Jebef]

the input Epic LUT is to convert RLF to logC. They have patches for different cameras to get them all to the logC start point, or at least as close as possible. They have an input Lin2Log lut for 5D footage etc. That way you can get multiple cameras close to matching and close to logC to begin...

This actually makes a lot of sense and is really the only way a single "look" / LUT could possibly give somewhat consistant results between different camera original files. Basically, the input "Log" LUT is designed (per camera) to transform each camera's highs/mids/lows into a consistant gamma range scale that can then be re-transformed with the output "creative" LUT (like stock emulations) into a consistent final "look". IE: let's just say that EPIC records mid-grey (18%) at 42 IRE, ALEXA records it at 38 IRE, 5D records 50, Sony F65 at 35. With the input "Log" transform SpeedLooks puts mid-grey for every camera at 40 on the scale. So when an output "creative" LUT is used it only has to be written once because it is already optimized for mid-grey at 40.

Make any sense?

Matt, it would be great to see a sequence of mixed camera footage with the same SpeedLook applied. I think it would be really interesting to see where SpeedLooks pushes highlights and shadows across different camera source footage.

(when you have the time)

:emote_popcorn:

 

[jimhare]

I've found the same thing. No matter where I expose I find 320 is usually the best starting point for SL.

nope, thats only because I shot and exposed for 500ISO, then dropped it to 320 in Resolve to start color. But both have same exact settings, just one has the logC input LUT... It wouldn't looked so crushed if I left the ISO at 500ISO. I posted the grab of my settings above.

 

[Matt Ryan]

It was a dark set, here's a bts shot from a 60D at 800ISO:

pass: muse

 

[jake blackstone]

What output LUT did you use to linerize those images? Was it an ARRI ALEXA LUT?

yes it does. Everything is RC3, Redlogfilm in the RAW settings for all the images.

 

[Matt Ryan]

This actually makes a lot of sense and is really the only way a single "look" / LUT could possibly give somewhat consistant results between different camera original files. Basically, the input "Log" LUT is designed (per camera) to transform each camera's highs/mids/lows into a consistant gamma range scale that can then be re-transformed with the output "creative" LUT (like stock emulations) into a consistent final "look". IE: let's just say that EPIC records mid-grey (18%) at 42 IRE, ALEXA records it at 38 IRE, 5D records 50, Sony F65 at 35. With the input "Log" transform SpeedLooks puts mid-grey for every camera at 40 on the scale. So when an output "creative" LUT is used it only has to be written once because it is already optimized for mid-grey at 40.

Make any sense?

Matt, it would be great to see a sequence of mixed camera footage with the same SpeedLook applied. I think it would be really interesting to see where SpeedLooks pushes highlights and shadows across different camera source footage.

(when you have the time)

:emote_popcorn:

Makes absolute sense. One of the reasons I bought the set.

yeah I'd be happy to do it. I only have Epic/Scarlet footage on me though. If anyone wants to donate a few clips from different cam's I'll process it.

 

[jimhare]

I would have thought it would be the Speedlook LUT like this:

What output LUT did you use to linerize those images? Was it an ARRI ALEXA LUT?

 

[Matt Ryan]

What output LUT did you use to linerize those images? Was it an ARRI ALEXA LUT?

No SpeedLooks Clean 3500 Fuji LUT.

I'll run the standard Alexa Lut and post those JPEGS right now and zip the tiffs. Give me a sec.