Free Ektar 100 LUT for Magic Lantern footage

[hyalinejim]

Hmmm... maybe check everything again. Especially that Camera Raw is decoding using project settings.

[Tom_LS]

I changed Color science and after I was able to choose Bypass, but DNG isn't correct.

[hyalinejim]

Looks like both of you are getting the same results using my settings. I'm on version 12.2 - maybe that's the reason? If you guys are on 12.5 there might be something different going on with the colour management settings.

I'm no expert on this. Baldavenger or Andy600 would know the answer to this.

What happens if you make a new project from scratch using the settings I posted?

EDIT: does this post help?

https://www.magiclantern.fm/forum/index.php?topic=10151.msg166250#msg166250

[Deadcode]

Im using 12.5, and it seems like changing Timeline color space do not alter the gamma. The rendered file is more flat, but still far away from LogC gamma.
In the Resolve FX library there is an option to convert the image between color gamuts and gammas. Could you please do a tutorial using that? (i tried it, but i got different result compared to yours)

Edit: at first sight, Andy's tip is working, testing...

[Deadcode]

Okaj, we are getting closer, bit still not that good looking like what you have posted before:

https://drive.google.com/file/d/0B9d46mzo8guUTUc3eHdoUFd5aVU/view?usp=sharing

[Tom_LS]

[Deadcode]

If you expose correctly you should not push to exposure slider 2,5 stops. With ETTR shooting 0 - +0,66 is enough

[hyalinejim]

@deadcode
The 2.5 exposure boost is to get the image to match the output of Cinelog-C from Adobe Camera Raw, which is what the luts are designed for, as ML DNGs come in quite a bit underexposed in Resolve. This is certainly necessary in 12.2 as you can see above with Resolve and AE workflows, but maybe it's different in 12.5 with the recommended settings.

@Tom_LS
That looks right - I think you're good to go!

Okaj, we are getting closer, bit still not that good looking like what you have posted before:

https://drive.google.com/file/d/0B9d46mzo8guUTUc3eHdoUFd5aVU/view?usp=sharing

Yeah, you have to work at it a bit!

For reference, I found this great series of photo-video-essays shot on Ektar:

https://vimeo.com/walknyc

Here are some frame grabs from those, plus some similar looking compositions I took today, given the ADVANCED treatment:

[Tom_LS]

@hyalinejim
thank you so much. I know that I have to train, but now I have starting point.

[hyalinejim]

Hey, that's looking damn good! @Tom_LS

It's not always easy to get a good look out of ADVANCED 02, but it's very versatile. Have you tried to use TWISTED? It's a little bit less powerful, but a lot more straightforward.

I was thinking about what DeafEyeJedi wrote earlier and if TWISTED = CANDY, then I think ADVANCED = WHISKEY!

Sláinte!

[DeafEyeJedi]

I was thinking about what DeafEyeJedi wrote earlier and if TWISTED = CANDY, then I think ADVANCED = WHISKEY!

Straight up on the rocks and very well thought of! 

thank you so much. I know that I have to train, but now I have starting point.

Indeed, that's a great starting point. Quite impressive!

[Tom_LS]

Thnx,
I have another question. I use crop mode 3x3 binning for slow motion. I'am using AETTR when I shoot. It is ok in good light condition (daylight), but in low light it's changes my canon ISO value to max. It's strange for me, because when I'am shooting h.264 I need, for example ISO3200 and ISO12800 for RAW in the same light condition. Is it normal?

[Deadcode]

Would you please create a more universal version about the Ektar LUT?
It took me an hour to match my 5D Mark II Raw to my A6300 SLOG2. It would be awesome if you can make a "REC709" version. "Twisted" gives different result with SLOG2
Here is the result:

[hyalinejim]

Well, I don't have any Sony cameras so can't help you out there. The lut is designed for ML Cinelog footage. However, if you'd like to use it with your Sony I would suggest first making a lut to match SLog2 to Cinelog in terms of tonality and colour. Then apply the Ektar lut. I did this with my XC10 and now I can match that easily to my 5D3.

Here's how I did it:

1. Load up a white image on your monitor
2. Colour balance each camera against the white image and slightly defocus
3. Find the point at which each camera clips highlights 100%
4. Take a series of videos, lowering by 1/3 stop each time until you get down to 12 stops (36 videos)
5. Denoise and blur each clip
6. Separate them out into individual squares, arranged horizontally. Now you have a map of the tonality of each
7. Use curves to match one to the other (split-screen one on top of the other and match the curve on the waveform)

That's the first step. Once tonality is matched, it's time to match the colours. See my post above on how to do that. All of this takes time, of course, but it's a great skill to develop as you will be able to match cameras fairly closely. Here's how my Ektar luts look on the XC10:

https://vimeo.com/215240765

When I shoot it side by side with my 5D I can slap a lut on the XC10 and it matches pretty closely. Looks like you got a close match from your screengrab - maybe you can use that correction in future?

[DeafEyeJedi]

Thanks again to @hyalinejim for forcing us to dig through puddle of mud in order to fine-tune Ektar ADVANCE_02 into decent looking images. It's so Filmic that it perplexes me (in a good way) about the fact that this is possible even during a time where Film is literally facing some sort of an extinction, unfortunately.

Decided to test this one out by ETTR on Willoughby during an early morning w sunlight peaking through from a nearby window w 5D3 shot on Helios 44-2 wide open in 45p 1920x1080p 12-bit lossless @ ISO 1600 and here's what it looks like going from Adobe Standard to Cinelog-C to ADVANCE_02 (as is) to ADVANCE_02 + Curves to ADVANCE_02 + Curves & Saturations just for those who are curious:







Full album of Cinelog-C + Ektar 100 comparisons can be found here: https://flic.kr/s/aHskUHaD21

[hyalinejim]

That's a nice looking cat!

Ektar ADVANCED 02 gives terrible results at first, but then gives very filmic results once you fine tune how the signal enters and exits the lut.

Check out these saturation control luts. One of them rolls off saturation in the highlights and shadows. The other pulls back on rampant reds or anything that's going to blow out (particularly useful for the TWISTED lut). There are two versions of each - medium and strong - and they should be the final luts in the chain.

https://drive.google.com/open?id=0B1exEpCRAfgFWWFoNzBQSEd1MVU

By the way, I've been busy creating lots of looks for the GH5. I'm still in the process of deciding which are working well and which are a bit crap. When I do, I'll convert the best of them for Magic Lantern and post them here. Here's a preview of what's coming down the line:

https://www.flickr.com/photos/149046938@N02/albums/72157680842293914

I'm beginning to see that some of them might have very specific uses.... just like real film!

[pc_bel]

@hyalinejim

I'm following this post from the beginning and all I can say is a big thank you for you. A lot of work shared with all of us. Really Nice LUT.
THANKS!!!

[Deadcode]

I tested my new Feiyu MG V2 gimbal with my 5D Mark II + 24-105
It worked perfectly. The max load for the gimbal is 1630g, 5D2 + 24-105 is 1520g.
The point im posting it here, i used Ektar 100 LUT from hyalinejim. I still cant figure out how to use the advanced version properly but im improving with every grading session

https://www.youtube.com/watch?v=RF4hQ4WTHs0

[hyalinejim]

The advanced lut is a bit wacky. You need to play with the tonality before (and after) the lut using controls that will alter the whites, midtones and black levels... such as levels, curves or lift-gamma-gain.

It gives unexpected results - sometimes it's a nice surprise and sometimes... not as nice. I promised earlier to make more luts and I still plan to do that. I'm shooting a roll of Fuji 400H at the moment and have shot a Wolf Faust IT8.7 target with it at various exposures. I'll do up a lut based on that in the next month or so.

[pewpow]

Thanks for the LUT's!

[beauchampy]

Thanks for the LUT! Just used it on a wedding video I made for a friend and it really looks great.

[DeafEyeJedi]

So glad you used this LUT @beauchampy and it is indeed quite addicting especially with the skin tones.

Which Log did you apply this on top of? Cinelog-DCP?

Also was this the TWISTED or ADVANCED_02 version?

[hyalinejim]

Sit tight, guys. I'm gonna make a really great Ektar lut. I've been shooting lots of test charts, with lots of rolls of film, and testing lots of different ways of matching contrast and colour. Maybe in like four or five weeks I'm going to post a LUT that will match, fairly accurately, Ektar 100 as processed and scanned by one of Europe's top film labs.

Here's a taster of what I've been up to. In this case it's Portra 400 developed and scanned by my local camera shop,



and a 5D3 RAW photo to Cinelog plus curves and a LUT



This is all still a work in progress. When I'm happy I'll come back and give you guys Ektar 100... ULTIMATE!!!!

[ilia3101]

Could you also give some hints about how you emulate film? ... such as which hues shift in which direction... in what way is saturation affected... curves, or any other relations between factors. Possibly??

(I want to implement some kind of film processing effects in to MLV App)

Those stills look really good!

[hyalinejim]

It's not particularly straightforward! Each film stock has different characteristics in how it renders certain hues - Portra 400 may have warm greens and tan skintones, whereas Fuji 400H will have cool, minty greens and pinkish skin, for example. In addition, contrast and saturation increase as exposure increases with film, and there are various colour casts in the shadows and highlights at different exposure levels.

We are used to exposing plus or minus one with our digital cameras, and seeing a noticeable increase or decrease in brightness. But when negative film is scanned by a lab, the scanner usually automatically compensates for these exposure differences. You end up with bracketing tests where the brightness doesn't seem to change much, but the colour and contrast does:



https://carmencitafilmlab.com/how-exposure-affects-film/

My methodology is first to match the general contrast and colour shift using curves, and then to fine tune exact hue and saturation reproduction for various colours using a LUT. I've dabbled with trying to introduce the film emulation as a DCP profile, but the results aren't very good. I'm getting more consistent and accurate results by debayering (to Cinelog in the case of Canon DSLR RAW but I also get great results with GH5 VLog 10bit) and then adding curves and a LUT.