In reality, there really is no need to overcomplicate the needs. Colour Film Boost Pro - 10 Colour Film Boost Pro is a film emulation LUT pack based on real film measurements combined with bold creative adaptations and aesthetics. (You can see the options in the LUT output section of LightSpace.) Claire LUT is based on popular cold-warm, teal-orange palette with increased contrast and a clever teal-blue tint to everything along the neutral axis. In out testing we found a 101 point 3x1D input/shaper LUT, with 16^3 3D LUT provided a level of accuracy that easily matched far larger pure 3D LUTs, although we also use a 1024 point 3x1D input/shaper LUT, with 20^3 3D LUT. lut. We do a lot of ICC work (v4 specifically) and are astounded by the issue we come across.įor direct use, the simpler and less confusing approach of standard 3D LUTs is the easier (and therefore better) approach - in our experience. The Phantom Neutral LUT is my favorite because it’s the best SLOG3 to REC709 LUT i’ve found where I don’t have to do anything after if I don’t need to whereas other LUTs you end up spending time to increase or decrease contrast, lowering or increasing saturation and other tweaks which is time consuming. (Regardless of any input/shaper 1D LUTs, as you still need to interpolate the 3D LUT component accurately.) Many LUT formats used within the film & TV industry use input/shaper LUTs, with a 1D LUT per colour channel.Īs you increase the resolution of the 1D input/shaper LUT component you can reduce the impact of inaccurate interpolation, in the grey axis.īut, using 'better' interpolation is the correct method, as Walter says. If you have source images that are of a different gamut or gamma (say, raw camera images that have proprietary gamma and gamut values), they will need to be 'corrected' to match Rec709 gamut with Log C or 2.4 gamma to attain the correct end result. Note: The Free LUTs provided here expect the underlying image to be 'corrected' for a Rec709 display, with the image either being a LOG gamma image, as defined by the standard Cineon video Log format (which is basically Arri Log C), or have a gamma of 2.4, both with a Rec709 gamut. Featuring immaculate ALEXA-like skin-tone reproduction. It introduces a slight 'S' (D-LogE) profile to the image, as per the description included within the Free LUTs page.Īlso, the information on the page does state: Developed to emulate the ALEXA Rec709 LUT as close as technically possible. In Photoshop open a neutral LUT png image. Open a neutral LUT PNG image in photoshop. ![]() ![]() (Any 'curve/distortion' between the LUT points is entirely down the system implementing the LUT.)Īnd the 'knee' at the bottom the Rec709 gamma LUT is as intended, as is the knee at the top of the LUT. A color look-up table replaces the source video colors with different colors for dramatic effect. The 'patterns' you are seeing are not inherent in the LUTs. Looks like Resolve has some issues with the interpolation of the LUTs.
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