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Author Topic: Film Punch LUT available to download  (Read 7620 times)

Andy600

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Film Punch LUT available to download
« on: December 11, 2013, 06:18:09 PM »
Hi guys,

I've been grading a project shot in Magic Lantern Raw Video and thought I would share a LUT I developed with you.

This is my Film Punch LUT (It's a kinda 'Blockbuster, blueish shadows, punchy but with more natural skin tones' look) and can be downloaded here: Film Punch LUT

I have included a basic guide on how to use the LUT correctly. It will work with any LOG footage but the guide details an Adobe Camera Raw/AE/PPro workflow.

Also included a sample DNG and JPEGs






Before (CDNG LOG):




After (with Film Punch LUT, a touch of extra contrast and a vignette):




Regards

Andy600



UPDATE: I have uploaded 2 more LUTs for those not using ACR (Raw-to-LOG for use before applying Film Punch and Raw-to-LOG-Film-Punch for an all-in-one look for raw or REC709 footage). Details in the zip: https://bitbucket.org/andy600/tl50d/downloads/Film_Punch_LUT_Update.zip note: the original method with ACR will give the best results but this is for those who can't do that!
« Last Edit: December 15, 2013, 04:45:14 PM by Andy600 »
600d & 50d / Manual lenses / Post in After Effects, Premier Pro and Davinci Resolve. Brit living in Latvia. Developer of CinelogDCP www.cinelogdcp.com

pilgrim

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Film Punch LUT available to download
« Reply #1 on: December 11, 2013, 10:35:55 PM »
It's look great. Thank you for sharing. :)

teedidy

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« Reply #2 on: December 12, 2013, 12:30:20 AM »
The LUT looks great. Hopefully soon I will have some graded footage to share using it. I noticed it is a little blue compared to the LUT's VisionColor uses, which is nice since it gets rid of the pink/red tints.

-T

Andy600

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« Reply #3 on: December 12, 2013, 12:36:46 AM »
Thanks guys :)

BTW there are really only 2 basic things to remember when using it as long as you have zeroed all the settings in ACR.

1) If your footage looks too blue when applying the LUT you need to readjust your WB + Tint as per the instruction PDF.

2) If your footage looks too dark/light adjust the exposure either in ACR (best method) or with a plugin (Exposure, Curves, Levels etc) placed before the LUT.

Looking forward to seeing your results. I'll post my project at the weekend as I'm away for 2 days from tomorrow.
600d & 50d / Manual lenses / Post in After Effects, Premier Pro and Davinci Resolve. Brit living in Latvia. Developer of CinelogDCP www.cinelogdcp.com

N/A

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Film Punch LUT available to download
« Reply #4 on: December 12, 2013, 02:47:32 AM »
Downloaded, shooting a wedding this weekend so I might give it a go on some h264 footage.
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arrinkiiii

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« Reply #5 on: December 12, 2013, 08:13:19 AM »

Thanks Andy, you ROCK  :D

Andy600

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« Reply #6 on: December 14, 2013, 10:46:43 PM »
Updated the 1st post with a short demo video  :)
« Last Edit: December 14, 2013, 10:53:02 PM by Andy600 »
600d & 50d / Manual lenses / Post in After Effects, Premier Pro and Davinci Resolve. Brit living in Latvia. Developer of CinelogDCP www.cinelogdcp.com

Canon eos m

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Film Punch LUT available to download
« Reply #7 on: December 15, 2013, 04:58:01 AM »
Hi Andy,

Thank you for the LUT and easy to understand instructions.

I successfully converted a picture directly into ACR following your instructions. However, when I do the same using AE CC (first import and then to ACR), the ACR camera profile dropdown only shows the 'embedded' option and none others (including vision log). Any idea how to get past this problem.
Canon 5D Mark III, Gopro Hero Blacks with 3D Casing, A Few Lenses, Adobe CC 2014, MacBook Pro, Windows 8 PC, Lots of Video Rig!

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Andy600

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« Reply #8 on: December 15, 2013, 12:49:52 PM »
It sounds like it could be an Adobe CC specific problem if you can use ACR + the VisionLog directly. (I don't have Adobe CC so I can't try). Have you tried through Adobe Bridge?

If Bridge doesn't work you can try converting your raw files to Cinema DNG with Chmee's raw2cdng app (link is in the instructions) adding your camera model to the text box. Look at the exif from a raw photo to find exactly how it needs to be written. It should be something like 'Canon EOS 5DIII' etc. Failing that, you could use exiftool to add it. 1% posted how to do it in the forum but you'll need to search for it.

My money is on it being a CC issue unfortunately.
« Last Edit: December 15, 2013, 01:32:15 PM by Andy600 »
600d & 50d / Manual lenses / Post in After Effects, Premier Pro and Davinci Resolve. Brit living in Latvia. Developer of CinelogDCP www.cinelogdcp.com

dariSSight

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Film Punch LUT available to download
« Reply #9 on: December 15, 2013, 02:11:33 PM »
It sounds like it could be an Adobe CC specific problem if you can use ACR + the VisionLog directly. (I don't have Adobe CC so I can't try). Have you tried through Adobe Bridge?

If Bridge doesn't work you can try converting your raw files to Cinema DNG with Chmee's raw2cdng app (link is in the instructions) adding your camera model to the text box. Look at the exif from a raw photo to find exactly how it needs to be written. It should be something like 'Canon EOS 5DIII' etc. Failing that, you could use exiftool to add it. 1% posted how to do it in the forum but you'll need to search for it.

My money is on it being a CC issue unfortunately.
How do I use the LUT with Final Cut Pro X?
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Stedda

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« Reply #10 on: December 15, 2013, 02:24:12 PM »
Looks good, thank you.  :)
5D Mark III -- 7D   SOLD -- EOS M 22mm 18-55mm STM -- Fuji X-T1 18-55 F2.8-F4 & 35 F1.4
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Andy600

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« Reply #11 on: December 15, 2013, 03:04:22 PM »
How do I use the LUT with Final Cut Pro X?

I'm not a Mac/FCP user but I presume there are utilities or plugins in/for FCP that let you apply LUTs?

You will first need to convert your raw footage to LOG colorspace. You can usually do this with a Cineon convertor plugin (use Linear to Log) or another LUT (Linear to LOG). You will still need to manually adjust White Balance for this LUT to work correctly (as per the instructions  ::) ).
« Last Edit: December 15, 2013, 03:06:00 PM by Andy600 »
600d & 50d / Manual lenses / Post in After Effects, Premier Pro and Davinci Resolve. Brit living in Latvia. Developer of CinelogDCP www.cinelogdcp.com

Andy600

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« Reply #12 on: December 15, 2013, 04:43:41 PM »
I have added 2 more LUTs for those not using ACR (Raw-to-LOG for use before applying Film Punch and Raw-to-LOG-Film-Punch for an all-in-one look for raw or REC709 footage). Details in the zip: https://bitbucket.org/andy600/tl50d/downloads/Film_Punch_LUT_Update.zip
600d & 50d / Manual lenses / Post in After Effects, Premier Pro and Davinci Resolve. Brit living in Latvia. Developer of CinelogDCP www.cinelogdcp.com

Tongotongo

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« Reply #13 on: December 15, 2013, 06:20:09 PM »
Hola, donde se colocan estos filtros?

Hello, where these filters are placed?
Canon 650d Tamron 17-50 mm 2.8 canon 50 mm fijo 1.8 magic lantern

Andy600

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« Reply #14 on: December 15, 2013, 06:38:20 PM »
Hola, donde se colocan estos filtros?

Hello, where these filters are placed?

You need to apply them in your editor using a LUT utility or plugin (LutBuddy etc)
600d & 50d / Manual lenses / Post in After Effects, Premier Pro and Davinci Resolve. Brit living in Latvia. Developer of CinelogDCP www.cinelogdcp.com

dariSSight

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« Reply #15 on: December 16, 2013, 12:08:54 AM »
I'm not a Mac/FCP user but I presume there are utilities or plugins in/for FCP that let you apply LUTs?

You will first need to convert your raw footage to LOG colorspace. You can usually do this with a Cineon convertor plugin (use Linear to Log) or another LUT (Linear to LOG). You will still need to manually adjust White Balance for this LUT to work correctly (as per the instructions  ::) ).
I applied Vision Log in ACR but I'm doing my edit in FCPX and I think that's where you want me to apply your LUT. So how are most Non-Adobe editors applying it, I can use Premiere Pro but my project is in FCPX?
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Andy600

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« Reply #16 on: December 16, 2013, 05:38:39 AM »
I applied Vision Log in ACR but I'm doing my edit in FCPX and I think that's where you want me to apply your LUT. So how are most Non-Adobe editors applying it, I can use Premiere Pro but my project is in FCPX?

You could try this http://www.colorgradingcentral.com/lututility but with me not using FCP/FCPX someone else will need to recommend a good method. BTW the LUTs are .cube format. Let me know if you need another type ;)
600d & 50d / Manual lenses / Post in After Effects, Premier Pro and Davinci Resolve. Brit living in Latvia. Developer of CinelogDCP www.cinelogdcp.com

johnha

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« Reply #17 on: December 17, 2013, 10:25:39 PM »
Andy, thanks for sharing! Your log sample looks amazing. Did you use the Cineon convertor plugin to achieve that?

Thanks again!
-John

Andy600

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« Reply #18 on: December 17, 2013, 11:44:05 PM »
Andy, thanks for sharing! Your log sample looks amazing. Did you use the Cineon convertor plugin to achieve that?

Thanks again!
-John

You're welcome :)

I used the VisionColor DCP in Camera Raw. It's free :) Link and info in the PDF (in the download). If you can't use that I've uploaded a raw-to-log LUT that will do the same kind of thing (link is a few posts above this).

600d & 50d / Manual lenses / Post in After Effects, Premier Pro and Davinci Resolve. Brit living in Latvia. Developer of CinelogDCP www.cinelogdcp.com

johnha

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« Reply #19 on: December 18, 2013, 02:33:36 AM »
I used the VisionColor DCP in Camera Raw. It's free :) Link and info in the PDF (in the download).

Ah geez, I'm using VisionLog 2.1 already. D'oh, should've RTFM! Thanks! I guess your grass just looked greener, haha.

Thanks again for sharing your LUT!

DanJam

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Film Punch LUT available to download
« Reply #20 on: December 20, 2013, 02:12:18 AM »
For people who are beta testing drastic technologies plugin to plop raw footage right into a CC timeline (which is flawless with out chugs) is there a way to white balance the footage before applying this LUT?

Is this LUT only for those who use dngs and cdngs?

I've been avoiding cdng on my 5d2 because of the extreme aliasing that frames receive.

Should I use the update for "log footage?"

Edit: Used the update. Very nice on 5d II .raw files. Everything is "plug and play." Unlike other LUTS the aliasing and some hotspots aren't as punchy! This is pretty solid. Most of my .RAW footage as of now are outside/inside day time shots and tons of God rays.

Thank you Andy.
« Last Edit: December 20, 2013, 02:20:14 AM by DanJam »

Andy600

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« Reply #21 on: December 20, 2013, 02:55:10 PM »
Thanks @DanJam. Good to hear it's working for you :)

Tip: For white balancing non-raw footage you can use your NLE scopes, RGB parade, histogram etc but try to give more priority to highlight balance (lining-up the peaks as shown in the instruction PDF). You might need to push/pull the red channel a little if skin tones are blushing too much but I've made it fairly forgiving in the mid-tones. If it gets too blue in the shadows you can pull it back in the opposite direction using the shadow (lift) color wheel.

Tip 2: If you want to use on Cinestyle I would apply the Cinestyle LUT temporarily after something like Colorista, using Colorista to correct/balance the footage first, then when you're happy with the balance you can swap the Cinestyle LUT for mine. The Film Punch LUT assumes the footage is balanced and in a LOG colorspace.
600d & 50d / Manual lenses / Post in After Effects, Premier Pro and Davinci Resolve. Brit living in Latvia. Developer of CinelogDCP www.cinelogdcp.com

impulse921

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« Reply #22 on: January 04, 2014, 04:14:34 AM »
Hey Andy thanks for this LUT! I just got into the raw recording thing (with the 50D) and your tutorial helped me grasp the workflow and learn how to work with LUT's. I have a small nature shoot I did and graded with your LUT that I'll upload shortly when finished. Your vid looks great.

I have a few questions about your example video that are geared toward the 50D. What resolution did you shoot it in? I hear people talking about shooting in crop mode with the 50D for raw. I don't really understand what that means. I recorded some test footage at 1536 x 1024 at 3:2 ... I assume that's the highest and best the 50D can do or am I missing something?

Andy600

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« Reply #23 on: January 04, 2014, 12:58:19 PM »
Thanks :)

The 50D will go to 2000x1080 in crop mode (press the zoom button once, go back into the raw menu and you'll see you can increase the resolution). This video was a mixture of crop/non-crop on an old 28mm f2.8 manual lens. The non-crop shots were 1584x792 (2:1) scaled up and crop shots were 2000x910 (2.20:1) scaled down. I added a letterbox in post to keep the aspect ratio constant. Crop mode shots will give the best results as they are pretty much free of aliasing and moire at the expense of increased crop factor.

My advice is to shoot as much as you can get away with in crop mode on a wide lens and only use non-crop for close-ups and shots with shallow DOF to minimize aliasing and moire.
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impulse921

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« Reply #24 on: January 04, 2014, 06:31:15 PM »
The 50D will go to 2000x1080 in crop mode (press the zoom button once, go back into the raw menu and you'll see you can increase the resolution). This video was a mixture of crop/non-crop on an old 28mm f2.8 manual lens. The non-crop shots were 1584x792 (2:1) scaled up and crop shots were 2000x910 (2.20:1) scaled down. I added a letterbox in post to keep the aspect ratio constant. Crop mode shots will give the best results as they are pretty much free of aliasing and moire at the expense of increased crop factor.

My advice is to shoot as much as you can get away with in crop mode on a wide lens and only use non-crop for close-ups and shots with shallow DOF to minimize aliasing and moire.
Excellent advice Andy! Thanks for the clarification on crop mode, I wasn't sure how to achieve that. I think that my next video will be much better :)

I shot this video with the 50D using a 50mm and a more wide angle zoom lens. All in 1536x10234 and I downscaled it to 720p for vimeo. Most importantly: graded with the Andy600 Film Punch LUT! I underexposed and had to compensate in post. Next time I'll do a better job shooting ;)

 

courtesy