![]() The Standard LUTs are to be applied to images that are already in Rec709 color space, while the Log versions can be used as a one-step LUT to be applied to generic log images. Then the color correction or “look” LUTs are grouped into Standard and Log versions. These are organized by camera type, since not all manufacturers use the same logarithmic values. First you have Utility LUTs, which are designed to convert color spaces from log to Rec709 (the standard video color space) or in the opposite direction. I took these LUTs for a spin and like most LUT packages, they come in a groups. If you cut in Apple Final Cut Pro X, then the addition of a LUT plug-in, like Color Grading Central’s LUT Utility, enables you to add third-party LUTs to any clip on the timeline. cube LUTs you’ve saved on your hard drives. If you edit in Adobe Premiere Pro CC, the Lumetri Color panel lets you browse and add any. cube format, which are compatible with most modern editing and compositing software applications. Through the website, you can pick up a comprehensive package of LUTs in the 32x32x32. ![]() One new developer offering a package of easy to use LUTs is French filmmaker IWLTBAP. Some, like Koji, strive to duplicate the colorimetry of certain film stocks, while others, such as SpeedLooks from LookLabs, create stylized “look” files that give you a range of creative color correction choices. ![]() With more cameras shooting in some form of a log or flat color profile and more editing software being able to integrate color look-up tables (LUTs), numerous developers have designed their own LUT packages. ![]()
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