Phantom LUTS

LUTs have two purposes; if they aren't transforming an image then they are creatively affecting it in someway by manipulating the color/tint/gamma of pixels.

You can stack LUTs; LOG --> REC709 --> Creative

The ones above might be better if you are looking for a certain look and find one which you can slap on your footage and call it a day, but from my experience you usually need both; LUTs and manual post-production correction/grading.

Simple exposure and white balance changes with your LUTs may have a major impact.
 
I've been using them and am very happy with them. I find it's a great set of LUTs that only require minimal tweaking to get a finished look the way I like. Alister's LUTs are more versatile for correcting a range of exposure scenarios but the Phantom LUTS really do look excellent. As much as I like the notion of a color managed workflow I can't deny that the image I get from Phantom LUTs with a few basic adjustments before and after the LUT do a great job.

As an example, here are a couple stills using the Phantom LUTs. I don't recall the exact node tree but I think it was just WB, slight exposure adjustment, a little contrast, and maybe a tiny bit of saturation (plus the LUT).

BOFFA-UCP-GLENWAY-15SEP2022_1.15.1.jpg BOFFA-UCP-GLENWAY-15SEP2022_1.13.1.jpg
 
Also, I keep getting updates of the LUTs (without additional payment). I forget what version I bought but I've received at least 2 or 3 updates.

The above shots were the FX6 with the 24-105, fyi.
 
I only bought the ARRI look pack. At the time I was still using Film Convert for the rare times I really wanted a "film" look.
 
How about color straight out of the camera!? :happy:

P.S. If parts of the image look slightly out-of-focus/soft even when they appear to be somewhat in focus, probably are. I have been trying to fix this damaged lens every day, taking it apart and putting it back together, but I'm not having any success likely because I have no idea what I am doing.


[Replaced with the 4K version...the same one that's below.]
 
Last edited:
Rarely does anyone unless you're looking for it - but I'm really sensitive to out-of-focus shots, especially with what I am trying to do right now with this lens where I'm in a twilight zone of analyzing focus.
 
P.S. Here's a 4K export. I really don't like doing this [even though everyone recommends it - and they are right], but I guess I have to because Google doesn't put any effort into processing HD files anymore and you have to trick YT to make the end result look more like it should (90% less compression).

 
Last edited:
I think everyone is another company guy/gal because they can't afford ARRI, lol.

If one is in this business and interested in technology, primarily cameras, I would assume one will always be at least curious about using ARRI and I was of course no exception after using literally almost everything else. It wasn't until a few years ago when the Classics became affordable but I wasn't ready yet.

Well, after 12 years of hoping...and crying...and laughing...and spending an amount equal to a decent entry level salary chasing everything else, I've come full circle and have ended my journey with ARRI, perhaps how many others have as well.

I was always more of a Canon or Blackmagic guy than a RED guy, but I think RED is as closest as you'll ever get to the best.
 
scorsesefan said:
Anyone use them for their fx6/a7siii? Are they any better than the free Alexa LUTS or Alister Chapman’s? Thanks
Click to expand...

The Phantom LUTs are very good. Use them regularly on FX6 and A7SIII footage - mainly the Phantom Arri Neutral LUT - and they genuinely bring the best out of the sensor and the colour science as a single-step transformation/creative treatment. The ARRI-logC2video709 is also very good (and it's free). Have the Phantom Film pack too but they're a bit too much of a novelty. Good luck.
 
I use these as well (the Arri pack only) for the A7siii and FX6. I don’t shoot slog often, but I find these more neutral than the Venice LUTs. They’re a nice starting point, or just leave them alone and they look alot like the Arri 709 out of camera.
 
I have been using the same - Phantom Arri Neutral LUT with my A7IV/A7sIII and think it really improves the camera's image. The difference might subtle but it is a refinement which I think is important to elevate the mirrorless cameras. S-LOG3 to this LUT gets me very close straight away. I did not think I would be this happy with the Sony image before I migrated and owe some of it to this LUT.
 
You must log in or register to reply here.
Back
Top