![]() ![]() When creating these LUTs, I used the native camera-brand LUTs as a baseline and then made additional adjustments to enhance color balance, contrast, saturation, and other key variables. With that in mind, I decided to create a a brand new set of color grading LUTs to replace (and improve upon) the LUTs being used with many of today’s popular cinema and video cameras. Most camera brands offer LUTs for use in post-production, but the quality of their native LUTs isn’t always great. Should work with all Gen 5 Pocket cameras and the UM12k.ĭownload links and before/after footage will follow soon in the next posts.Looking for a color grading LUT to convert your raw footage from Log to Rec 709? I have you covered with this free set of camera-specific LUTs for Sony, Lumix, Blackmagic, Arri, RED, Canon, Fuji & iPhone!Ĭonversion LUTs are of course applied to raw footage and used to create neutral starting point for your creative color grade. It is now identical to my Gen 4 LUT LBK-Neutral-Hi-DeSat v10 and makes it possible to mix footage from Gen 4 with Gen 5 by using my respective LUTs for each Gen. To counteract I've provided a 64 point LUT too and you can switch to Tetrahedral interpolation - that completely eliminates the banding. In extreme cases with blue LED washes I found you will get banding in the highlight gradients when Resolve project settings are set to Trilinear interpolation. It's best to set ISO a bit higher than you would for the other LUTs because this one will lower the brightness the way it works. skin tones get the slightly more saturated "film look" in the darker parts It will give your landscapes a nice boost, make clouds popĢ. It gets more contrast through an additional master curve adjustment, a luminance curve adjustment, tweaked sat/sat, lum/sat, sat/lum and other adjustments.ġ. And then heavily modified in every other aspect. This LUT is based on the RGB curves of the official Blackmagic Design Gen 5 Extended Video. Signal yellow will become signal green for example. Be careful with yellows: because of the way this LUT bends the greens it will also bend yellows towards green. Less contrast and flatter highlights compared to v4ģ. Less magenta and less yellow in green tones which changes grass and leaves back to a more natural, less brownish and fresher lookĢ. This LUT has been built before v4 but offers some interesting modifications.ġ. You should be able to mix footage from Gen 4 with Gen 5 by using my LUTs for each Gen. ![]() It is quite similar to my Gen 4 LUT LBK-Neutral-Hi-DeSat v10, but offers a bit more contrast. It has a nice glossy look, but therefore does not show the last bit of details in highlights (they are there but very low contrast for a smooth roll-off). ![]() This LUT is almost neutral to the colors in any way, it handles mixed light situations quite well, the highlights roll-off increasingly de-saturated like analog film. The LUT is also nice for the camera LCD, to feed an external monitor like the Atomos Shinobi and for a client monitor - so it has to look pretty.Ĭurrently there exist three versions of the LUT: The goal was to get a natural looking image with most of the dynamic range intact, beautiful skin tones and a nice highlight roll-off. My LUTs are using the full capability of what you can do in 3D LUT Creator with LUTs. These are not just some simple RGB channel curves tinkered looks like a lot of Youtubers are trying to sell with glossy marketing words. The new much flatter base provided some challenges to overcome and it took me quite a while and a lot of iterations and testing to get the look where I wanted it to be. In the beginning of 2021 I started creating a new LUT for the latest color science. Some of you might know and use the LUT I created for the PCC4k color science Gen 4: ![]()
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