3 LUT myths + Why do Hollywood LUTs work better?

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There's a simple reason Hollywood gets better looks using LUTs, and it's not for the reason you might think.
You'll also learn about:
• Camera LUTs
• How to make sure you're using the right LUT for the right job
• Why Hollywood always uses LUTs (and why they always look so damn good)
See you in the video.
P.S. LUTS in the video are below.
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Grab my Voyager LUT Pack. 17 LUTs to provide beautiful looks for any type of project so you can grade faster, take every image further, and attract better and better jobs.
procolor.ist/vo...
Get my free Kodak 2383 film print LUT for DWG and ACES here:
procolor.ist/fr...
Get my free Fuji Film LUT here:
procolor.ist/f...
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The biggest shift for getting better grades doesn't come from techniques in Resolve, it comes from knowing how to THINK like a professional colorist. Learn the colorist mindset with my ebook, The Colorist's 10 Commandments:
procolor.ist/ebook
Start creating your own studio-quality show LUTs, camera LUTs, and LUT packs with my pro look design plugin Contour (free trial available): procolor.ist/c...

Опубликовано:

2 окт 2024

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Комментарии : 79

@VernardNuncioFields 4 дня назад

I like big LUTS and I cannot lie!

@watzmaaname 3 дня назад

🤣🤣🤣

@ema.colorg 4 дня назад

I think the problem is the sale of luts. People buy them without knowing how they were made and then expect their footage to look identical.

3 дня назад

Lattice helps a lot to check LUTs…

@chevonpetgrave4991 3 дня назад

This! I no longer buy LUT’s from anyone who cant a t the minimum state what color space the lut expects and outputs. That is asking for disappointment.

@maurice_morales День назад

But my question is how do we use Lattice to properly evaluate the LUT? There’s very little information on how to use Lattice.

День назад

@@maurice_morales watch Yedlins videos, curves crossing more than once is a quick way to spot an improper LUT

@AdventuresAdam День назад

Thank you! Pro pack purchased and look forward to having more consistent workflow as a solo guy. Cheers.

@Gordymax 7 часов назад

Dinner is served!!!

@maurice_morales День назад

Can you do a video on stress testing a LUT?

@xplodingminion2029 4 дня назад

Where could I go if I’m interested in creating LUTs that like you mentioned are able to do things not possible in resolve?

@mahdiahmadzade9190 3 дня назад

It's also my question!

@dukebozikowski3801 3 дня назад

He makes an awesome course on TAC Resolve training

@creed3500 3 дня назад

nuke can manipulate luts in some ways that resolve can't and is probably the area I would start off with

@MuhammadAli-ny6ni 3 дня назад

You can use contour plugin build by Cullen Kelly to create luts other option are to use Dehancer or look designer plugin

@xplodingminion2029 3 дня назад

@@creed3500Do you know any good places to start online for learning LUT development in Nuke?

@blacktar 3 дня назад

It would be neat if LUTs would be standardized (ISO? IEC? AMPAS?) as a format with obligatory metadata like the intended input and output color space it was created for, attribution, license, etc. LUTs are super useful (I wouldn't want to live without them), but unfortunately still a very "dumb" data format.

@ErrickJackson День назад

LMTs kinda do this, just more specific to ACES, but no one makes LMTs so it’s just kind of an empty space.

@maurice_morales День назад

That would be awesome.

@maurice_morales День назад

@@ErrickJackson I’m curious to see what ACES 2.0 will be like

@kirankiranmishra 3 дня назад

So you saying the look we gonna get from the lut to grade a film, contains same colors and ratio as viewing lut on set so that DP and set he’s exposure and do lighting accordingly and then we use same lut to grade with working color space ????

@danielaleksis 3 дня назад

Hey Cullen! Do you have a tutorial on how to use your Voyager LUT pack on HDR videos?

@LoremIpsumProd 3 дня назад

Prolly just output to the requirement?

@AllThingsFilm1 4 дня назад

Thank you for the LUTs and this walkthrough. Q: When creating a viewing LUT to install in the camera, do you create a 33 cube or 65 cube LUT?

@GeezerStray 4 дня назад

Has to be 33, most cameras can't take a 65 cube.

@maurice_morales День назад

@@GeezerStraythe Alexa 35 can take 65. I believe (not sure) the Venice 2 can take 65 as well.

@tonypmedia 3 дня назад

It looks better because today's people don't take the TIME AND EFFORT to design their look and save it. Mainly social media... but the majority likes to buy their way around it and although looks good sometimes, it's not the right look or looks out of place, cliche and/or simply degrades the footage. HOWEVER... those won't believe it but LENSES makes a big ass difference and exposure too. White/color balancing plays 90% role too. I'm no hypocrite here, I have this major problem somewhat too. I need to upgrade lenses to compliment the rest of my good lenses that looks very good.

@MMPHOTOANDVIDEO 3 дня назад

Good Idea Every Time Made own Fresh Lut Become Healthy Footage

@NOIRGRADE 3 дня назад

saying "LUTs are bad" is like saying "ArriWG is bad". There is always more to story. I'd actually like to hear your thoughts on grading in the native capturing color space (granted there is only one in a project)

@haileykurioreilly9890 3 дня назад

How are the LUTs made if they do impossible things on Resolve?

@frankinblackpool 4 дня назад

Using a Viewing LUT can have strange results with prosumer kit. With my Panasonic camera using a Log colour profile, I can and do use a Viewing LUT created by and distributed by Panasonic to replicate a Rec 709 colour space when I use my camera. The camera knows how to use the LUT and compensates the Waveform to give good exposure when filming. Contrast that with a field monitor by Atomos Ninja. The Atomos also allows me to use a viewing LUT and lets me use the Waveform to expose my shots. BUT. And it’s a very big but, the field monitor does NOT compensate the difference between exposing correctly for LOG and using the viewing LUT and this results in incorrectly exposed footage, better known as a day wasted. I’m not a professional, and am probably not sing viewing LUTs ncorrectly through user stupidity, but I’d rather look at a washed out LOG colour profile when filming, knowing that I have the exposure nailed. And, more importantly, I can visualise the end result. I just wish clients could visualise end results too, it would make life much more simple.

@mattstahley6340 3 дня назад

I use lumix cameras and if you are shooting in v-log and monitoring with a lut the waveform displays the v-log pre-lut exposure. Also with most monitors they have setting that allow you to use exposure tools pre lut. I know my Atomos Shinobi and Blackmagic Video assist do this.

@frankinblackpool 3 дня назад

@@mattstahley6340 If you know a way that the Ninja V does this, then I’d be very grateful for the assist.

@TechMediaLifr 3 дня назад

@@frankinblackpool not using any of those devices but maybe it's possible to enable the viewing LUT and Waveform in Camera and send that out to your monitor, so you don't have to rely on the monitors tools (recording has to be done in camera then).

@mattstahley6340 3 дня назад

@@frankinblackpool Ive never used a Ninja V but it has to be somewhat similar to the non recording Shinobi. Do you have the Input source set up to receive V-Log and V Gamma? I think it's in the INPUT part of the menu and there's a section where you choose what your your camera is outputting.

@mohamadali2066 3 дня назад

In one of your very early videos you have shown a way to separate the contrast and the color effect of the lut into 2 different nodes using layer mixer and compositing mode can you please explain it again soon or send me the video which I couldn’t find, also is there a different method since BDM added compositing mode per node?

@Pazeditions 3 дня назад

This may help How to separate Color and Contrast from any LUT inside Davinci Resolve ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-kmoik-rdjss.html

@artengineeringmedia4183 3 дня назад

Just to clarify, can I purchase a LUT, use it as a viewing LUT on my camera, and also use the same LUT for my grading? Also are there things i need to put into consideration?

@LoremIpsumProd 3 дня назад

LUTs are color space specified. You need to find one that has a technical transform from your camera space to 709/2.4 most probably.

@artengineeringmedia4183 3 дня назад

@@LoremIpsumProd ok, thank you

@SquashGearReviews 3 дня назад

Beginner question - If you're creating a viewing LUT purely for in camera monitoring, but intend on exposing to the right, how do you navigate this? (i.e could you factor in a 2-stop exposure reduction within the viewing LUT to get a more accurate idea of what the final result will look like, or are there drawbacks to this?)

@conortychowski 3 дня назад

Yeah, you would just reduce the exposure by X amount of stops before generating the camera LUT, and then when you load it into the camera, it'll force you to expose X amounts over to get to well-exposed image. There's no drawbacks that I can think of!

@OlegUstimenko 2 дня назад

i would argue that its pointless to do this, but its surely possible. Either use the hdr wheels exposure tool with a value of -2 or the gain wheel in the node before your creative look.

@SquashGearReviews 2 дня назад

@@OlegUstimenko why would it be pointless? If the intention of a monitoring LUT is to see something that represents what my end result’s potentially going to look like, surely it would help to have a representation of this in camera? For example, you might set up a grade to have cooler shadows, but if you’re exposing to the right, you’re not going to see this in action?

@OlegUstimenko 2 дня назад

@@SquashGearReviews because exposing to the right isnt super useful anymore with current camera tech, and can be achieved more quickly by selecting a lower iso.

@lombardy3274 3 дня назад

Always a fountain of knowledge! Question, I purchased some Ravengrade Kharma LUTs (Kodak Vision3 5203 among others). However, even when using the correct colour space for those LUTs (converting from BMD Gen 5 to Arri LogC3) the look out of the box has extremely low saturation, so low that it cannot be what was intended by the LUTs. Have I missed something?

@TechMediaLifr 3 дня назад

Have you set your output to a Display Colorspace like Rec.709?

@lombardy3274 3 дня назад

@@TechMediaLifr yes all colour space management is correct as intended

@pavol0 3 дня назад

which color space does your camera output

@lombardy3274 3 дня назад

@@pavol0 it’s BMCC6K BRAW so you can decode into most mainstream colour spaces and gamma… I’ve tried decoding into BMD5 with CST from BMD5 to LogC3 and I’ve also tried decoding straight into LogC3 but both result in the same desaturated look. Also, the Kharma LUTs are ‘hybrid’ in that they are both imparting a look and taking the footage from LogC3 into Rec709. Wondering if there’s something else under the hood I am missing that needs changing.

@pavol0 2 дня назад

@@lombardy3274 try downloading a red log sample footage, if it still remains

@cloudrippr 3 дня назад

So I'm shooting sLOG3. Are your LUTs for use in camera or post production? Sony gives me the option of viewing using a Gamma sLOG3. Would I use one of your LUTs then or in post? In case you haven't noticed, I'm new at this.

@akshaysaiju4615 3 дня назад

His LUTs would come in handy while you're in post production. His LUTs work inside Davinci Wide Gamut Intermediate which is a color space inside Davinci Resolve to which you can convert your SLog footage to and use his LUTs. So in short, you can use his LUTs regardless of which camera you're using because you'll be converting your footage to DWG anyway. There are a lot of videos on his channel which will explain this process a lot better than i have, i recommend checking them out

@albertorambaudi6055 3 дня назад

i did it in my sony...if i dont forget somethin what i did was > inside davinci with CST input slog3gmutcine and CST OUT DW/inter { then your manual look or LUT2383kodakC.kelly DW} and then CST OUTPUT BACK TO SLOG3 . export lut , and import in Camera SD and install lut in Pictures profile , and turn on Gamma Assist display for Slog to R709. VERY IMPORTANT remember to turn off option in sony camera for not bake the lut in the video if you want to keep for original shoot in slog3

@chevonpetgrave4991 3 дня назад

@@albertorambaudi6055this is an unnecessary workflow. Is it because sony mirrorless cameras don’t have a true LUT preview feature? A true LUT preview will always convert from the color space the luts tells it, to the out put color space that the lut tells it to…So your lut should only need to specific that input and output. Im guessing picture profiles don’t work that way.

@TubeSilva 3 дня назад

Do productions use more than one viewing lut since scenes in a film are not all identical. For example, indoors, outdoors, night, etc?

@OlegUstimenko 3 дня назад

Depends on the project. The last movie I was a DIT on, there was a separate lut for night scenes that raised the black levels.

@maurice_morales День назад

The idea is to have 1 LUT for the show and use CDL’s for adjustments

@mohamedashfaq9167 4 дня назад

❤

@bigsnap5 4 дня назад

Reliable in camera viewing LUTS are in very short supply. Cullen would you consider creating LUT packs for in camera viewing in the future?

@MarkRay84 4 дня назад

You should be able to export the same Luts is 33 for the monitors or cameras.

@mattstahley6340 3 дня назад

I’ve converted most of his voyager luts for my camera in resolve.

@AdventuresAdam 2 часа назад

@@mattstahley6340Could you point to a video that shows this process for a noob? Thank you!

@Mionwang 3 дня назад

LUTS WITH BUTTS! Any og film riot fans here?

@vybesmedia7176 3 дня назад

Why do you have banding in your video?

@nietlullenmaargraven887 3 дня назад

Blame RU-vid!

@Wildridefilms 3 дня назад

8 bit youtube encoding + dark gradients

@wxjunkie 3 дня назад

RU-vid is an 8-bit video platform.

@focuspulling 4 дня назад

Emphasis on LUTs is misleading; LOG is the fulcrum of any such debate/discussion, of course. "Look Up Table" literally means precise conversion BACK to reality, using one and only one mathematical formula keyed to a specific camera and shooting mode: it's reverse-engineering to reality with only one allowed result. Your notion of a hybrid LUT tries to interpolate the creative tweaking process into the reverse-engineering pipeline. But AFTER conversion, as a discrete stage (not a LUT), we sometimes, but not always, starts with a faux LUT file that stacks on a vague look. We proceed from there...

@m1nt9reen 4 дня назад

Eh?

@CullenKelly 3 дня назад

Hmm, I think we might be talking about different things...the emphasis on LUTs is definitely intended here, and my points aren't specifically related to log spaces. Since your definition of LUT is one I've never heard before, and I don't share, I think this may just be a matter of using the same term for different things?

@focuspulling 3 дня назад

@@CullenKelly I can only continue to emphasize that LUT literally means Look Up Table: a precise mathematical formula for looking up the reverse-engineering of conversion from temporary LOG acquisition, to REC.709, on a camera-sensor-specific basis. The file format used for LUTs (used to be more commonly called cube files) happens to work for creative profiles too, but that's the extent of it.

@joePiercyTA 3 дня назад

@@focuspulling "Eh?", great response! Creative LUTs are useful for defining a Look, whether or not you're using log footage. Cullen only converts to rec709 here because its his output color space (super important). The simplest way to put it is LUTS reassign values. Can this be destructive? Of course, especially if you aren't aware of all the best practices involved in creating a LUT. That's where "$5 LUTs" are dangerous, imo, ultimately compromising the image. A well designed camera LUT created with the director, assistant directors, DP, production designer, etc. can be absolutely invaluable to ensure they get the image they intend to from their camera and lighting allowing them to apply their creative look on set and make judgement calls right away. This LUT can then be reused as a starting point for the Colorist too providing them valuable information on how the camera data was manipulated and how the look the project leadership intends was achieved.

@focuspulling 3 дня назад

@@joePiercyTA I'd add to this an emphasis that a LUT file designed to tweak actual LOG conversion further creatively, is as you wrote just a starting point: no professional colorist obeys a creative look for every scene anyway. Further: there's practically no such thing as not shooting in LOG (even though some old-timey boutique types argue that it's extra work or bill more for it). Any production by a working professional with grading in the pipeline, will always use LOG footage without exception (otherwise, amateur or lazy). Notably, the past century of color cinematography history is characterized by celluloid camera masters that have pretty much had that flat LOG look requiring further post work ("color timing," which was how long the celluloid copy got dipped into emulsion burning for R, G and B).

@IDKOKIDK 3 дня назад

Luts are destructive, that's why they shouldn't be used as first node, The NLE can't see the destroyed data beyond that node.

@CullenKelly 3 дня назад

There are other reasons why you may not want to use a LUT in your first node, but none to do with it being destructive. If you’re using the right LUT for the right job in the right way, it’s *never* functionally destructive.

@thatcherfreeman 2 дня назад

The main destructive way that a LUT is going to be unrecoverable is that it will clamp inputs to the 0-1 range. Any other destructive behavior is going to be dependent on what specifically the LUT is supposed to do and the sampling resolution of the LUT. Ironically in the first node, which you're sending the camera's original log footage, you actually have excellent odds of it being entirely within the 0-1 range. It is possible to apply a LUT in that context and not lose any information, though you'd have to be careful that the LUT you're using will be appropriate for such a task, IE log to rec709 LUTs likely would not pass that bar.