Visioncolor Impulz / MLRaw in After Effects

[rtf]

Just got the new Impulz LUTS from Visioncolor. Very excited about it but how do you apply them? These seem different from the OSIRIS ones. Which folder do you choose? Which LUTS must you use? I am confused.

I shoot RAW and use the VisionLOG in ACR and After Effects.

[swinxx]

I dont have it, but the manual is confusing.. I would be interested in a resolve workflow. Someone from visioncolor told me that the company advises against using bmd?? So how should the material be handled?? Greets! Perhaps someone knows a better way.

[swinxx]

I meant bmdfilm

[baldavenger]

I too am interested in hearing about recommended approaches.  Minimal loss of data along the pipeline is key.

[Jbowdach]

Just got the new Impulz LUTS from Visioncolor. Very excited about it but how do you apply them? These seem different from the OSIRIS ones. Which folder do you choose? Which LUTS must you use? I am confused.

I shoot RAW and use the VisionLOG in ACR and After Effects.

There is a visionlog folder of LUTs in the package (at least in ultimate) that should work fine if you have converted to VisionLOG. They are quite different compared to OSIRIS, which are def more "look" based, while Impulz is more based on emulating various 35mm prints stocks. There is also a generic LOG folder that should work although I would expect the VisionLOG based LUTs to work more accurately then the generics.

[rtf]

They are quite different compared to OSIRIS, which are def more "look" based, while Impulz is more based on emulating various 35mm prints stocks.

Yes. I expected a more instant look like the OSIRIS Lut's. With Impulz you definitely need to tweak/grade and make adjustments to get good results (in most of the cases). Hopefully someone will post a tutorial on how to achieve good results.

[rtf]

How to use the Impulz LUT's + Review:

http://blog.sherifmokbel.com/?p=220

It mentions the fact that the majority of LUT's have an overal red tint, which is true. Anyway, nice review.

[swinxx]

but keep in mind that you use those luts completely different with raw material! and that is the main part of getting it done right..
the thing is that bmc raw material looks different than ml raw material.
when using davinci resolve and you treat the material as bmd film, the interpretation of the material from the canon sensor is wrong. so to work with such luts and davinci resolve (which is free and great!) we have to wait for a special conversion process from visionlog for that ml material.
greets.

[baldavenger]

Agreed.  Hopefully Resolve 11 will solve this conundrum.  Otherwise it is required to convert ML Raw to Prores with the VisionLog profile, and even then there still lingers an uncertainty for me.  I fear detrimental loss of data and image damage.

[scarluuk]

For the times i worked with OSIRIS i just imported everything in after effects, get a neutral white balance and add the visionLOG profile.
Then i rendered it out (with some minor tweaks if necessary like noise reduction) to prores 4444 which i then import in Davinci.
From that point i start grading, what i find very useful is apply the LUT you want to a Node and then add a node before that one.
Now you have a stylized look that you can tweak but since you are adjusting the node before the LUT you are working with data that could get lost after the LUT (crushed blacks ETC.) so you can use stuff like your highlights and shadows, or just key out the sky and drop it down a notch. whatever you want and in my opinion most of the times this is better than using a Node after the LUT.
Of course most people agree that you should get a neutral picture (color correction) before the node but i find it very useful to see it with the LUT already applied.

BTW, for IMPULZ, i used a combination of 2 LUTs for a videoclip i just did.
The clip however was shot in Cinestyle H.264 but nonetheless, the colors are nice.
I used a Kodak stock from impulz without the film contrast, just the color conversion and then i added the KDX profile from osiris.
The combination of emulating film and then using a stylized look worked just fine to create a very saturated look with the teal orange effect but keeping a bit of a film stock look.

Anyway, downloaded resolve 11, lets see what it can do.
I saw that you can finally get your highlights, shadows, lift and gain in the RAW tab, this could be useful to create a LOG like profile for magic lantern RAW without going to BMDfilm, or use BMDfilm and get the lift up to get a more neutral picture for canon.

[rtf]

Anyway, downloaded resolve 11, lets see what it can do.

A lot of computers don't support Resolve, people tend to forget that. You need some sort of rare graphics card to run it, at least with Windows.

[swinxx]

i thought you just need a nvidia gfx (cuda compatible)..
here it works fine.

[rtf]

i thought you just need a nvidia gfx (cuda compatible)..
here it works fine.

Yes, correct.

[Rewind]

Some useful info maybe

[rtf]

Some useful info maybe

Nice, thanks. 

[Kharak]

Not so familiar with Resolve, but instead of rendering out of AE, can't you just open Adobe Bridge, apply VisionLog to the DNG's/CDNG's and then import in to Resolve?

[timbytheriver]

If you WB/correct in anything that uses the ACR interface (AE or Bridge), and add VisionLog LUT the settings don't seem to hold when the DNGs are subsequently opened in apps like PPro – which I believe uses the Lumetri engine behind Speedgrade – unless it's rendered out to a movie file. Not sure about Resolve as my machine isn't up to it...

Maybe I'm doing something wrong... ? :S

[togg]

Some useful info maybe

That's really good, if you want to understand how to use those powerfull luts watch this video! I had finally get what to do with Cineon versions. Thrilled to see the results.