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Deluts Luts By James Miller
Deluts Luts By James Miller Artist

Colouring your world with over 100 film looks for video & stills. DELUTS LOOK LIBRARY SONY FILM100- New colour science / AUGUST 2020.cube LUT files/// THIS SET CONTAINS LUTS FOR:- SONYCINE4 SGAMUT3CINE (UPDATED 29th AUGU James Miller About Contact.

There seem to be quite a few people out there who are not quite sure why, when and how you should use a Look, Picture Profile, LUT or LOG when your filming. I’m going to explain the basic differences between them and run you through how to use them in the real world.

There are so many LUTs, film stock emulation and scene files available today that it can be hard to know what will work best for you. I am also going to look at some of these available options and provide some tutorials on how to use them.

First of all let’s break down the difference between a LUT and a Look, scene file or Picture Profile.

Looks, Picture Profiles and Scene Files:
The majority of cameras available today are designed to be able to record a rec.709 video-compliant signal. The reason cameras do this is that rec.709 is the current television broadcast standard. Rec.709 produces video that could air on television without any post-production color grading. Rec.709, sometimes known as BT.709 was implemented in 1990 with the introduction of 16:9 broadcasts. Rec.709 compliant signals are broadcast in an 8bit colour space and squeeze all the camera information into around 5 stops of dynamic range.

Back in 1984 RCA introduced the first CCD imager in a television camera, the CCD-1 and it wasn’t long before CCD cameras would eventually have dynamic range capabilities that would exceed both the display dynamic range and the Rec.709 gamma function. Today’s professional cameras allow you to go way beyond the limits of standard HD (rec.709) to get more dynamic range, without straying too far from the HD standards. These new cameras allow the user to make adjustments to the image that alter the cameras response to things such as colour, contrast, black levels, and knee. You can also make adjustments to the sharpness and detail of the image. These in-camera adjustments are usually referred to as Picture Profiles, Scene Files or Looks. Usually a camera manufacturer will include a variety of these in their cameras, and most of them can be adjusted by the user. Some manufacturers have introduced cameras with “hyper-gamma” or gamma modes with a film-like response, which stretch the gamma curve even further to get more dynamic range. The trouble is, all cameras interpret Rec.709 differently. Monitors are usually the only items that conform to the rec.709 gamma standards, but the majority of cameras generally do not. And although the rec.709 standard provides a consistent image, the irony is, most consumers don’t have their TV’s set up to replicate a perfect rec.709 image.

The downside of Picture Profiles or scene files is that they are usually very specific to a particular camera model. On many cameras you can save these files to the media and export them to copy or share between identical cameras. This is commonly done on multi-camera ENG productions where it is important to have a consistent ‘baked in’ look for all cameras.

It’s very important to remember that any of these Looks, Scene Files or Picture Profiles you use will be ‘baked in’ to the recorded image. This is common practice among broadcast and documentary shooters who are often required to provide footage that will not be adjusted in post due to time and budget constraints. These files are made for a specific camera and their look ends up part of the recorded image. Fundamentally this is what makes a Look, Scene File or Picture Profile different from the concept of a LUT.

LUTs:
LUT stands for Look Up Table, but what is a lookup table? A lookup table should be viewed as a sort of electronic business card and your computer, camera or monitor is the rolodex that stores all those business cards. Just like business cards, LUTs contain information that can be organised or filed in whatever way you like. In the video world when a LUT is applied to an image, the information from that LUT is read and the camera, computer or monitor changes the look of the image based on the information it reads. If your material is going to be broadcast,you use a LUT to normalise or correct a Log image to see what it will look like when it is broadcast as a standard HD Rec. 709 image. A LUT is a shortcut for applying this offset to a image. You could manually adjust the image in post, but this is a time consuming process. A LUT allows you to do this step quickly and more accurately.

LUTs are not just used to normalise or correct a LOG image to rec.709. LUTs can be created to achieve any type of look that you are after, but unlike picture profiles, looks and scene files, they aren’t baked into the image. You can still bake the look into the recording if you would like, but that is not their primary purpose. I will talk about when or why you would bake a LUT into a recording later in the article.

A LUT is used so that you can see what the image will look like later in post,while still allowing you to record your camera’s clean Log image. Recording in Log allows your camera to capture its maximum amount of dynamic range. A LUT is applied to your camera’s viewfinder or monitor, but not generally to the recording. The benefit of this is that you can see an image on location that is closer to what the final image will look like after colour grading. By not baking in the LUT to your recording you get the added flexibility of being able to change the look entirely in post.

The other big benefit of using a LUT is that you can have a LUT loaded into your camera or monitor and then have the same LUT in your edit or colour correction program. This gives you complete confidence that what you are seeing when your recording can be recreated precisely later on.

LUTs come in various forms and there’s a lot of confusion as to the difference between 1D and 3D LUTs. A 1D LUT can be very useful in many situations and does a fairly good job at modifying a Log image. Their Achilles heel is that they offer very limited adjustability and colour correction options. They map the colours red, green and blue separately so any adjustment you do only effects that individual colour. 3D LUTs are more complex and you may have seen a file before that ends in .cube. Thats because 3D LUTs are based on a three-dimensional cube. The main benefit of a 3D LUT over a 1D LUT is that it maps all colors together and not individually. This allows for a far greater level of adjustment to the image.

Now that I’ve described the differences between LUTs, Looks, Picture Profiles and Scene Files, let’s look at when and how should you use them.

Looks, Picture Profiles and Scene Files:
Anybody who is shooting with a camera that doesn’t feature a proper Log recording option will likely be using one of these to maximise their camera’s potential. I’ve used Picture Profiles on most of my cameras and I’ll give you a quick breakdown of why and when I use them. The primary reason for using a picture profile is to maximise the dynamic range of the camera, or to create a specific look. I’ve always been partial to the Scene Files that Andy Shipsides creates over at AbelCine. He has been doing it for a very long time and the Scene Files can be downloaded for free for a wide range of cameras.

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Picture profiles or Scene Files can be great to use for material that needs to be recorded in 8bit and low-bitrate codecs. They allow you to fine tune your image without it needing to be heavily adjusted in the edit or post. You really do need to make sure that you get your exposure and white balance right when you are shooting though if you’re using a low bitrate codec such as AVCHD or certain flavours of MPEG recording. By using Picture Profiles you will find that because they are not recording a strict rec.709-compliant image, small adjustments may have to be done in the edit or post. Usually this may just involve bringing the

Deluts LUTs By James Miller