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LUT DOWNLOAD: Comet_Trails

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  • #16
    Thanks for this work, Kholi. This is something that a lot of people will want, I'm sure. The flesh tones are a bit too magenty for my taste, but I'm sure that's easiely fixable. I appreciate the difficulty of creating a LUT that works with footage shot under many different conditions. Here's a suggestion FWIW. If you knew the exact color temperature of the light source you're shooting with, and you set that temperature in Resolve, you would take the white balance variable out of the equation. Based on my own experience in color correction, you would probably want to create two LUTs - one for 3200K and one for 5600K.

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    • #17
      Originally posted by Ralph B View Post
      Thanks for this work, Kholi. This is something that a lot of people will want, I'm sure. The flesh tones are a bit too magenty for my taste, but I'm sure that's easiely fixable. I appreciate the difficulty of creating a LUT that works with footage shot under many different conditions. Here's a suggestion FWIW. If you knew the exact color temperature of the light source you're shooting with, and you set that temperature in Resolve, you would take the white balance variable out of the equation. Based on my own experience in color correction, you would probably want to create two LUTs - one for 3200K and one for 5600K.
      There are two things with skin:

      1. Some people are just naturally "red". That will really confuse the process, but if you go back and look at content shot on film, people are all sorts of shades, red included.

      2. I actually agree with you, though, that it's slightly too magenta. Weird thing's that it's hard to split the difference, I'm just on my way back into the footage archive to see if I can balance this outside of primaries/offset.

      Blackmagic footage... the inherent green cast won't go away with White Balance, it also seems to have an effect on everything else, so that's the main goal of balancing things in the LUT, at least for me!


      And on color temp: I'm not SURE so someone correct me if I'm wrong, but I think it being an input LUT means that you don't necessarily have to worry about WB versions? However, I know for sure that you have to get extremely close or nail white balance for it to work, unless you're going for something different.

      On the other hand, you should nail white balance, anyway.

      SKYPE (best way to talk to me): Camera_Kholi | twitter
      Avery and Pete: Superseeds Feature Film Trailer

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      • #18
        I do kinda think the camera looks better shot in daylight (CMOS and all - weak blue channel, etc) and so optimizing for 3200k is something i've thought about. But i tend to do it in a node before my LUT and i figure getting into the nitty gritty like that is so personal preference anyway.. I always find colour saturation not quite 'right' with tungsten shot footage on the BMCC (and some other cams too).

        Also when shooting 3200k sometimes taking the chroma/luma split further and splitting chroma into separate RGB nodes (can't wait for resolve 10 to make this a one click operation!) and applying more NR to blue channel helps.. Blah blah blah. :P
        Blackmagic Design
        My BMD LUTs.

        **Any post by me prior to Aug 2014 was before i started working for Blackmagic**

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        • #19
          Alright, the posts on Tungsten and Daylight put me on toward figuring out if versions were needed. My conclusion's that for ProRes, yes indeed. I went on to create a 3200, 4500, and 5200/5600 Input LUT. So, if you're anywhere in those you should be able to find a base.

          In the event that you have multiple settings on a few clips, you can set your 3D Output to whatever you'd like in the project settings, then do your 3D Input (3200, 4500, 5200/5600) on the first node of the clip(s).

          Going to investigate a 7400 Kelvin version, as well, for very late day.

          Now, for RAW? Just my personal opinion, but it seemed unnecessary. In the RAW tab, setting tungsten to 3215 and Tint to -7(ish) pretty much does it, and for Daylight, 5200-5600. There doesn't seem to be any need for a kelvin specific LUT when dealing with the RAW.

          Spent four hours last night working on that, then another four this morning trying to figure out this "cyan" and "orange" deal. The Cyan, I don't think it's wise to do in a LUT. It affects too much of the image and should really be a case by case deal, say if you have a blue shirt that's going crazy when you saturate, while someone else's blue hat's okay, doing this in LUT would shift things.

          Key that, or use a HUE vs SAT/LUM curve.

          For the Orange/Red issue, this I've gone and done in the LUT. It's not perfect, but I felt there was a safe compromise between taming far reds (like water bottle labels, signs, etc) and losing some red in the skin (which could become too much, anyway, when saturating). So that's ONE more box checked off.

          At this stage, I really need more footage to test out with. ProRes, DNGs, etc. Footage that isn't my own as I've gone through everything that I have available.

          So, if anyone's reading and you want to help out, upload some DNGs and I'll test with them, or ProRes LOG clips!

          SKYPE (best way to talk to me): Camera_Kholi | twitter
          Avery and Pete: Superseeds Feature Film Trailer

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          • #20
            Kholi, here's a link to a RAW sunset timelapse:

            https://www.dropbox.com/sh/c0on9waa2lpburu/PoOCaS_EHB

            It's a short video, under 10 seconds I believe. It could be a nice test for complex sky colors and wide dynamic range.
            I can't wait to get my hands on that LUT!

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            • #21
              Originally posted by thinkingcloud View Post
              Kholi, here's a link to a RAW sunset timelapse:

              https://www.dropbox.com/sh/c0on9waa2lpburu/PoOCaS_EHB

              It's a short video, under 10 seconds I believe. It could be a nice test for complex sky colors and wide dynamic range.
              I can't wait to get my hands on that LUT!
              Thanks much!


              Going to check it out today.

              SKYPE (best way to talk to me): Camera_Kholi | twitter
              Avery and Pete: Superseeds Feature Film Trailer

              Comment


              • #22
                Originally posted by Kholi View Post
                Thanks much!


                Going to check it out today.


                @Kholi

                Have you released the lut yet?
                Thanks

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                • #23
                  Looking Good Kholi!

                  Will you be making this publicly available at any time? Even a version before you decided its perfected would be great - as it already looks pretty good!
                  Tom Majerski
                  Cinematographer / Photographer / CGI Artist / Filmmaker

                  http://www.TetraGrade.com
                  http://www.imdb.com/name/nm5157752/

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                  • #24
                    Originally posted by Kholi View Post
                    Thanks much!


                    Going to check it out today.
                    anytime!

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                    • #25
                      Originally posted by Tom View Post
                      Looking Good Kholi!

                      Will you be making this publicly available at any time? Even a version before you decided its perfected would be great - as it already looks pretty good!
                      I think it's ALMOST ready for RAW but not ProRes. Still need to go out and grab some more ProRes footage.

                      RAW's just a lot easier to build out because I don't have to worry about white balance. Hopefully soon, until then I'm going to continue to tweak.

                      SKYPE (best way to talk to me): Camera_Kholi | twitter
                      Avery and Pete: Superseeds Feature Film Trailer

                      Comment


                      • #26
                        Aaand here are two stills from a small shoot that we're not quite done with, Output Lut is Macregor's F35 LUT, a fistful of nodes for the "look", which of course isn't finalized:




                        As mentioned in the Cooke thread, Cooke S4 Mini's on BV1 MFT.

                        SKYPE (best way to talk to me): Camera_Kholi | twitter
                        Avery and Pete: Superseeds Feature Film Trailer

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                        • #27
                          Looking good Kholi
                          Adam Roberts
                          www.adamroberts.net

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                          • #28
                            In general I like the look of this LUT, nice contrast and color, smooth high end roll off. But it sure does crush deep shadow details hard. Nothing wrong with that if it is what you are after aesthetically. For overall tonal range I like Frank's LUT better.

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                            • #29
                              Originally posted by razz16mm View Post
                              In general I like the look of this LUT, nice contrast and color, smooth high end roll off. But it sure does crush deep shadow details hard.
                              That's actually me doing that, after the lut:

                              (INPUT LUT + Macgregor's F35 LUT, no corrections)


                              (INPUT LUT + Macgregor's F35 LUT, look, no curve)


                              It doesn't take you anywhere you don't want to go, basically. It's the starting point to balance the original RAW image in various areas, most importantly a more defined black point, but the rest is operator owned.

                              That's just me trying to avoid low contrast images. xD

                              SKYPE (best way to talk to me): Camera_Kholi | twitter
                              Avery and Pete: Superseeds Feature Film Trailer

                              Comment


                              • #30
                                Kholi, I like the idea of a LUT that doesn't take me somewhere I don't want to go.
                                CaptainHook's LUT is my go-to, but sometimes I have to scrap it because it stylizes the shot too much.
                                Many times it's a welcome addition, but it would be nice to have another more neutral option to get me out of LOG land.

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