What LUT are You using?

Started by usasikh1, August 17, 2013, 09:32:02 PM

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usasikh1

Just wanted to open a discussion on what LUT are people using to  as a starting point for  color grading?

Please include some screen shots of images or/and wave monitor if possible.

scarluuk

I use the LUT's from Vision color and so far the LUT's have been very good for me.
Last project i did was a 48 hour film project in the Netherlands and to grade the footage a LUT took away a lot of time.
Now i'm grading a bit more for perfection, so i'm regrading the film but i still use the LUT's provided by Vision Color.
The movie we made with this LUT was also awarded best movie by audience and public for the 48 hour film project in Utrecht :)
Here is a quick screen grab from the current grading (I used the M31 LUT from their collection for the interior shots)
You don't need eyes to see, you need vision.
Canon 5D mark III / Canon 24-105mm F4L IS / Samyang 14mm T3.1 / Samyang 24mm T1.5 / Canon 50mm F1.4 / Samyang 85mm T1.5

aaphotog

That grab looks AMAZING. Is that from 5D2 RAW FOOTAGE?
I REALLY wish that one of my macs were good enough to run resolve smh
Quote from: scarluuk on October 30, 2013, 06:53:25 PM
I use the LUT's from Vision color and so far the LUT's have been very good for me.
Last project i did was a 48 hour film project in the Netherlands and to grade the footage a LUT took away a lot of time.
Now i'm grading a bit more for perfection, so i'm regrading the film but i still use the LUT's provided by Vision Color.
The movie we made with this LUT was also awarded best movie by audience and public for the 48 hour film project in Utrecht :)
Here is a quick screen grab from the current grading (I used the M31 LUT from their collection for the interior shots)


scarluuk

It's RAW from the mark III, lovely camera :)
I really like davinci resolve, the controls and speed is very useful and the UI is easy but good.
Only downside is that you'll need a good mac haha (but that's why it's a dedicated piece of software right?)
You don't need eyes to see, you need vision.
Canon 5D mark III / Canon 24-105mm F4L IS / Samyang 14mm T3.1 / Samyang 24mm T1.5 / Canon 50mm F1.4 / Samyang 85mm T1.5

remoteman

Haha I like your node names. Beautiful frame too.

scarluuk

Quote from: remoteman on November 06, 2013, 01:03:07 PM
Haha I like your node names. Beautiful frame too.

Ghehe, i made that screen grab for a friend of mine who wants to learn a bit about my color workflow so a gave them a few names so he would understand it a bit :p
You don't need eyes to see, you need vision.
Canon 5D mark III / Canon 24-105mm F4L IS / Samyang 14mm T3.1 / Samyang 24mm T1.5 / Canon 50mm F1.4 / Samyang 85mm T1.5

kgv5

I was making some comparisons resolve 10 vs ACR, i am using vision color osiris pack, tried m31 lut and it looks completely different in resolve and ACR. In ACR i use vision log profile, after applying m31 it looks very nice, in resolve with rec708 to LOG>>M31 LOG it looks awful. Could someone post a proper way of applying osiris luts in resolve? Thanks
www.pilotmovies.pl   5D Mark III, 6D, 550D

scarluuk

Quote from: kgv5 on November 12, 2013, 10:09:10 PM
I was making some comparisons resolve 10 vs ACR, i am using vision color osiris pack, tried m31 lut and it looks completely different in resolve and ACR. In ACR i use vision log profile, after applying m31 it looks very nice, in resolve with rec708 to LOG>>M31 LOG it looks awful. Could someone post a proper way of applying osiris luts in resolve? Thanks

I haven't tried the Osiris pack in ACR yet, will try it soon.
My workflow for Davinci is to set the CDNG color space from the clips to BMfilm and then apply the M31 LUT to the first Node.
Applying a rec708 to LOG LUT doesn't get the extra RAW data, it just flattens the picture (Not getting the RAW data back) whilst in ACR it's not a LOG LUT you apply but just turn the RAW data to a flat image so it's like LOG color profile. (or in the case from Davinci BMfilm for RAW HDSLR)
You don't need eyes to see, you need vision.
Canon 5D mark III / Canon 24-105mm F4L IS / Samyang 14mm T3.1 / Samyang 24mm T1.5 / Canon 50mm F1.4 / Samyang 85mm T1.5

kgv5

Thanks, but osiris (or every other lut) looks completely different in resolve (bmd film, rec709 to LOG, whatever) than in ACR with vision LOG and lut buddy. Colors are different (for example m31 lut: in ACR grass is greenish blue like blockbuster teal orange look if you know what i mean but in resolve its becoming much more yellowish, completely different look when theoretically should be the same. Visionlogs luts consists of lut (rec709 to log) which in theory should be the same as their visionLOG profile for ACR just to have the same starting point. I am sure, that with some tweeking one can match resolve with acr but i wonder, which app represents the effect creators of those luts wanted to achieve (acr looks nicer imo but resolve is so much faster).
www.pilotmovies.pl   5D Mark III, 6D, 550D

scarluuk

Quote from: kgv5 on November 13, 2013, 08:23:21 AM
Thanks, but osiris (or every other lut) looks completely different in resolve (bmd film, rec709 to LOG, whatever) than in ACR with vision LOG and lut buddy. Colors are different (for example m31 lut: in ACR grass is greenish blue like blockbuster teal orange look if you know what i mean but in resolve its becoming much more yellowish, completely different look when theoretically should be the same. Visionlogs luts consists of lut (rec709 to log) which in theory should be the same as their visionLOG profile for ACR just to have the same starting point. I am sure, that with some tweeking one can match resolve with acr but i wonder, which app represents the effect creators of those luts wanted to achieve (acr looks nicer imo but resolve is so much faster).

Yes it does have some difference when using ACR and Davinci, i think it's of the way how davinci uses the RAW data differently.
Vision color announced that they are working on custom profiles (UCS) for color editing software.
Here is a quote from their site, perhaps this will solve the issue?
QuoteVisionLOG UCS™ converts footage from a large number of both high and lower-end digital video cameras and motion picture film stocks to a universal LOG color space. Not only does this allow for accurate camera and profile matching but also drastically increases color accuracy for film emulation LUTs and presets. VisionLOG UCS™ will be released in open LUT formats to maximize (non-destructive, 32-bit float) post-workflow compability. Third-party preset developers will be able to obtain flexible licenses to incorporate VisionLOG UCS™ into their own products.
You don't need eyes to see, you need vision.
Canon 5D mark III / Canon 24-105mm F4L IS / Samyang 14mm T3.1 / Samyang 24mm T1.5 / Canon 50mm F1.4 / Samyang 85mm T1.5

dude

May i ask how you apply lut in acr?
i thought you have to go flat with visionlog, and then apply a lut in ae.
when i try this, my footage always looks like crap. am i missing something?

Steven Griffith

QuoteThanks, but osiris (or every other lut) looks completely different in resolve (bmd film, rec709 to LOG, whatever) than in ACR with vision LOG and lut buddy. Colors are different (for example m31 lut: in ACR grass is greenish blue like blockbuster teal orange look if you know what i mean but in resolve its becoming much more yellowish, completely different look when theoretically should be the same. Visionlogs luts consists of lut (rec709 to log) which in theory should be the same as their visionLOG profile for ACR just to have the same starting point. I am sure, that with some tweeking one can match resolve with acr but i wonder, which app represents the effect creators of those luts wanted to achieve (acr looks nicer imo but resolve is so much faster).
Not only is the the color science of the BMD film profile in Resolve completely different from our VisionLOG ACR profile (and our LUTs don't currently detect the input color space when converting the existing values to new output values), but the BMD film profile's delinerarization and matrix decoding is engineered for a different camera with a very different sensor than the 5D-originated footage you're trying to interpret with the profile. There seems to be some confusion regarding LOG profiles in general so let me just add that there is no such thing as a universal log color space that is the same for all cameras. LUTs are merely a static table of numbers representing input to output value transformations that are calculated based on specific input device data. The accuracy of the conversions depends on the extend to which the input device is taken into consideration when performing those transformations. Our current LUTs are available as Rec.709 and LOG versions which are derived from averaged video and log color space data that will yield the intended visual results only after the variables (input color spaces) are manually adjusted (a part of primary color correction in colorists terms). We're currently working on a more automated process by creating the VisionLOG UCS that converts a large number of cameras and profiles to the exact same LOG space.

QuoteMay i ask how you apply lut in acr?
i thought you have to go flat with visionlog, and then apply a lut in ae.
when i try this, my footage always looks like crap. am i missing something?
You can't apply LUTs in ACR. Post some more details on your workflow/images and we may be able to help.
Steven Griffith | VisionColor
www.vision-color.com
[email protected]

dude

acr and that s it.
editing with premiere and ae, so i can use the lut buddy or the internal tools.

pind

where do you guys get those LUTs ? I think Vision color are not free? thank you
My first RAW with ML  --->  http://www.youtube.com/watch?v=qvztBDW2mWc&feature=c4-overview&list=UUppNuhISexbdjO8Rg-3YbBA 5D3 + ML Canon 28-70mm f2.8 17-35mm f2.8

togg

Quote from: scarluuk on November 07, 2013, 12:18:15 AM
Ghehe, i made that screen grab for a friend of mine who wants to learn a bit about my color workflow so a gave them a few names so he would understand it a bit :p

And he doesn't need a video too? :D
Good work!

sebble

Quote from: togg on January 02, 2014, 02:39:09 PM
And he doesn't need a video too? :D
Good work!

Ohh I do believe he needs a video tut too :D
I mean who wouldn't want a video?

ultimatemale

Just currently finished working on a shot film were i was the dop (for a friend)
I shot on the 5D3 with ML RAW using two Kumputerbay cards 64gb 1000x (aspect ratio was 1920 x 818) 25p.

Am 100% totally new to Davinci resolve, but viewing these shots in resolve and just experimenting with some grades is totally mind blowing :D
Wow, being able to manipulate colors without degrading the footages is just wow :D

Just a quick mess about with no LUT


Before grading


avasarin

Quote from: kgv5 on November 13, 2013, 08:23:21 AM
Thanks, but osiris (or every other lut) looks completely different in resolve (bmd film, rec709 to LOG, whatever) than in ACR with vision LOG and lut buddy. Colors are different (for example m31 lut: in ACR grass is greenish blue like blockbuster teal orange look if you know what i mean but in resolve its becoming much more yellowish, completely different look when theoretically should be the same. Visionlogs luts consists of lut (rec709 to log) which in theory should be the same as their visionLOG profile for ACR just to have the same starting point. I am sure, that with some tweeking one can match resolve with acr but i wonder, which app represents the effect creators of those luts wanted to achieve (acr looks nicer imo but resolve is so much faster).

Keep in mind that you have to balance your shot once applied the LUT, I mean in terms of contrast/shadown and highlights and color balance/white balance. Once you have a good neutral image you can start your grade.
About LUTs and Davinci Resolve there is this good article of Juan Melara (austrlian colorist, it does a wonderful job IMHO).
http://juanmelara.com.au/print-film-emulation-luts-for-download/
BTW I use a custom LUT, it's called Hunter's LUT. Give it a try. Further information in this video https://vimeo.com/67970827

Melars's article explains well how a LUT works and all the wheres and whys. But as always, the best school is trying by yourself.
5dmk2 - Nikkor set(20-28-35-50-105mm), Vivitar 85-105 - BMPCC
http://www.frabiatofilm.com
https://www.facebook.com/stringssenzatempo

rsousa

Hi,
Ive also just finished this job where most of it was shoot in raw with 5DMK3. Coming from a video background (and  little expericne in raw and DSLR) I wanted to see how I would manage so much raw material (15 days - 300GB day). I must say I was very happy to see that all went smooth. Time consuming as expected but excellent quality.
Then, I only had 15 days to edit 1x 15 minute doc/corporate video, 2x 3min teasers and do the music production and so I couldn´t really spend time colour grading which was a shame. For that reason I decided to use Hunters LUT. It was great to have this free LUT and for some images it worked pretty well. No much room to work with  but It was fast and had no complains from the client. Im now back in resolve to see what else I could better and Ive found that Blackmagic 4K LUT works ok. A few adjustments and its looks good. Maybe a little oversaturated.
Here is a still of an interview.

4K BM LUT

Draw estilo por ruxps, no Flickr

HUNTERS LUT

DRAW HUNTER LUT_1.17.1 por ruxps, no Flickr

4K BM LUT

Utopia final por ruxps, no Flickr

HUNTERS LUT

UTOPIA Hunters LUT_1.29.1 por ruxps, no Flickr

4K BM LUT

Unicer2 por ruxps, no Flickr

HUNTER LUT

Mar DHeo painting por ruxps, no Flickr


latas encolhiodas oliveiros por ruxps, no Flickr


Caos por ruxps, no Flickr


MRDHEO_1.18.1 por ruxps, no Flickr


CATA Curadora HUnter LUT_1.4.1 por ruxps, no Flickr

One of the teasers is here.
https://vimeo.com/90568701
Its in Portuguese and has no english subtitle (sorry)

rtf

I start with Visionlog in ACR and color grade using Visioncolor lut + Colorista.