You couldn't just place them over a grade you were working on to see what they looked like for instance. You needed a severe, "unnatural" grade (ie one you would never normally do) before the LUT, lifting the gamma and crushing the contrast, trying to create something that looks like log footage. The result was a very high contrast image, with highlights and shadows blown and crushed. They all seem to expect logarithmic colour. I found them very tricky to use with Rec 709 footage. I don't have any of the Adobe LUTs, but I was experimenting with the ones that come bundled with DaVinci Resolve, as well as ones posted in various places, eg: Are these packs really worth using over them? And I edited it on a 4GB MacBook Air, which is just good enough I think for this kind of grade on 1080p H.264.Īnd yes, particularly if you compare it to the all-plugins $595 version of Film Convert, it's good value.Īdobe has quite a few LUTs built in. I've never had the "not enough app memory" error though. It got really slow with the titles.īut in another sequence I've been working with, which is just an edit, a bit of stabilization, LUT, and then a light grade, the performance hasn't really been affected. I had a Neat Video denoise at the top of the effects slot (but presumably that's just a one-off render isn't it? It doesn't continue to calculate the denoising in real time, I would have thought?), a little bit of stabilization (also a one-off render) occasionally a pre-correction, then the LUT, then a secondary correction, then the titles. For the "Walking Home" clip above, my machine did slow down to a crawl by the end of the editing. Yeah the performance issue is interesting. A 1D LUT typically onlys adjust brightness/luma (though 3 1-D LUTs can control RGB individually, however color remapping isn't possible without a 3D LUT). ģD LUTs differ from 1D LUTs in that you can map one color to another in a smooth way (and map many colors to other colors). ![]() ImpulZ has a few teal & orange 3D LUTs which are popular, and might take a while to set up from scratch.Īdobe CC has SpeedGrade which allows creating 3D LUTs for the Lumetri effect in Premiere: might be worth trying to create 3D LUTs from scratch first, then if too time consuming consider purchasing 3D LUTs (ImpulZ, OSIRIS, Filmconvert, etc.). I wrote some software tools a few years ago to create 3D LUTs and found that it was super important to be able to visualize what was going on with the 3D cube otherwise getting good general results was tricky. Are they worth it? Yes, if the 3D LUT is done well so that nothing weird/strange happens. IIRC 5219 is included in ImpulZ, as are a few other interesting film stocks. 5248 is in AE via Color Finesse, but didn't do much when I tested it. My favorite film stock is Eastman EXR 100T 5248- if there was a tool or toolchain that could replicate that well, it would be worth it to me. So, anyone serious about color grading should first off make sure they have enough RAM. I'm beginning to wonder whether there is something wrong with my computer, because even editing with my 8GB rMBP, I never got a message saying I was out of app memory after only rendering a couple minutes' worth of files. The problem I'm running up against is that even with my 2013 iMac, 16GB doesn't seem to cut it for LUTs: but even when just adding subtitles, it dies on me. The LUT Utility and Osiris package is also very affordable, compared to say, Film Convert. I've been using LUT Utility and Osiris LUTs, and there is no question in my mind that they help produce a more pleasing tonality. ![]() Hope you keep up the good work! While I haven't tried 'nesting', I still find the results I get using LUTs in FCPX far preferable to those without. ![]() If GH4 users aren't keen on the Cinelike D profile they could shoot with a natural profile and try the Rec.709 LUTs rather than the GH4 specific ones.įirst of all, very nice blog, Yojimbo. The generic Rec.709 LUTs work really well with the G6 footage.
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