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    New LUTS - Sony F35 - Giving Something Back to the Community
    #1
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    I have been trying to get the best results using all the LUT's I've found in the forum and I haven't been completely satisfied. So I created 3 new ones and would love to hear your feedback.

    Shot on CineEI mode with a meter for exposure.

    Here is how they were created:

    3d LUT Creator - It's a great color LUT generator. If you don't know about it check it out.
    In 3D LUT Creator I created a Transform LUT from Sony F35 to Arri which transformed individually
    sLog to LogC
    s-Gamut to Alexa Wide Gamut RGB

    Screen Shot 2018-01-19 at 3.30.55 PM.jpg

    Screen Shot 2018-01-19 at 3.32.27 PM.jpg

    From here I created a Transform LUT - and imported it into Resolve.

    In Resolve I added 4 nodes:

    Node 1 had the new Transform LUT
    Node 2 had the Standard Arri LogC to Rec709 LUT in Resolve (Thanks Hunter for the inspiration with UnThink)
    Node 3 had Exposure adjustments to avoid black and white clipping
    Node 4 had Saturation (very little)

    And with that I created 3 different Luts
    Key side underexposed by 1 stop
    Key side exposed to meter
    Key side overexposed by 1 stop (default caucasian)

    Here they are. This worked for me for mixed lighting - Daylight/Tungsten.
    https://www.dropbox.com/sh/i7u1fatyl...jFN1kTbca?dl=0

    Rick LUT
    Untitled_2.9.1.jpg
    T4_2.8.1_2.8.1.jpg
    T2.8_2.7.1_2.7.1.jpg

    And here the un-touched 2.8 footage in case anyone wants to try it. Remember to select 'Full' Data levels in your clip properties.
    https://www.dropbox.com/s/3rrq2f6sv6...Noise.mov?dl=0
    Last edited by rbirnbaum; 01-22-2018 at 12:55 PM.


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    #2
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    Premiere Pro CC, built-in Alexa => 709_EE LUT, Tint 20.6 (green to magenta), Exposure -.4, Contrast 25.4, Highlights -75, Blacks -.7, Saturation 148.5, Curves: (center point both = gamma), a hair down green, hair up blue. Waveform shows full range utilized after edits. About 5 minutes.

    F35Skintones.jpg

    Goal was filmic highlights and preserve skintones through highlights as much as possible. If we have to bias in one direction, prefer slight magenta to green for skin.

    After much experimenting over the years, not a big fan of LUTs beyond an initial input correction when using a log/wide-color-space format. My "high end" camera is the C300 II. Sometimes get better color from the 1DX II! When grading for the A7S II using Slog2 and SGamut3.cine, I could sometimes use the Alexa => 709_EE LUT, which is why I tried it on your clip. Otherwise, I'd just grade with curves to fix gamma, then manually set highlights, shadows, blacks, WB, tint, saturation, contrast etc. Once you get to know the camera it's pretty fast!

    While I'm now all Canon (for now: DPAF with Canon lenses, fast grading), still a fan of the F35/F65 (and maybe VENICE if they improve the color/highlights more). The F35 and F65 have pretty trick sensors! (totally different designs, cool in different ways, and both can produce great skintones).


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    #3
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    Default ACES not other color corrections done accept bringing the exposure down on the first image by one 1 stop to correct exposure.

    T 2.8 - Theoretical Caucasian.jpg
    T 2.8 - Theoretical Caucasian +1Least Noise.jpg


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    #4
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    Quote Originally Posted by jcs View Post
    Premiere Pro CC, built-in Alexa => 709_EE LUT, Tint 20.6 (green to magenta), Exposure -.4, Contrast 25.4, Highlights -75, Blacks -.7, Saturation 148.5, Curves: (center point both = gamma), a hair down green, hair up blue. Waveform shows full range utilized after edits. About 5 minutes.

    F35Skintones.jpg

    Goal was filmic highlights and preserve skintones through highlights as much as possible. If we have to bias in one direction, prefer slight magenta to green for skin.

    After much experimenting over the years, not a big fan of LUTs beyond an initial input correction when using a log/wide-color-space format. My "high end" camera is the C300 II. Sometimes get better color from the 1DX II! When grading for the A7S II using Slog2 and SGamut3.cine, I could sometimes use the Alexa => 709_EE LUT, which is why I tried it on your clip. Otherwise, I'd just grade with curves to fix gamma, then manually set highlights, shadows, blacks, WB, tint, saturation, contrast etc. Once you get to know the camera it's pretty fast!

    While I'm now all Canon (for now: DPAF with Canon lenses, fast grading), still a fan of the F35/F65 (and maybe VENICE if they improve the color/highlights more). The F35 and F65 have pretty trick sensors! (totally different designs, cool in different ways, and both can produce great skintones).
    Thanks for sharing your workflow! I like the skin tones.... I feel the blue of my top is a little electric, and that the lamp highlight is too close to clipping, but great to know how you approach it.


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    #5
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    ACES works very well... I have been trying Resolve Color Managed Workflow and it is very impressive.
    I will post results soon. Great advantage of that workflow is that all the color interpretation is automatically done by Davinci Resolve and therefore doesn't suffer from the dangers associated with LUTs


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