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New York Sony Pro Moni-Tour – Los Angeles With more and more cameras shooting in flat

-looking Log modes or RAW, the topic of LUTs on set and their implications in post have become big points of discussion. At the same time, there are Digital Technician: On Set LUT Creation 101- 1D & 3D LUTs – Los Angeles many cameras that utilize the more traditional Scene Files for control of color and contrast. Phantom Flex/Miro/4K Intensive Training – New Furthermore, there are cameras like the ARRI ALEXA and RED EPIC that offer their own York unique types of image control. With all these different formats, the difference between LUTs, Looks and Scene Files can be confusing, so in this article I explain the terms and discuss how Topics these files are applied. Digital Cinema High-Speed Film Optics Scene Files, Picture Profiles and Custom Looks Broadcast & Production Apps & Software Most traditional HD cameras shoot standard HD (Rec. 709) video, which produces video that Product News Profiles could air on television without any post-production color grading. We often call these types of Audio Workflow cameras “broadcast cameras” for this reason. Professional HD cameras allow you to push beyond Accessories & Support Lighting the limits of standard HD to get more dynamic range, but they still generally conform to the HD Archiving & Asset Mgmt standards. Most of these cameras allow you some amount of adjustability over the image, including color, contrast and detail adjustment. We generally call these settings Scene Files, which Related Posts is what Panasonic calls them, but they’re also called Picture Profiles (Sony EX cameras) and A Closer Look: ALEXA XT & Its Workflow Custom Profiles (Canon XF cameras). These settings can offer a wide variety of adjustments to Go Anamorphic with the Arri ALEXA Plus 4:3 the camera, including gamma adjustments, color saturation, color matrix adjustments and detail ARRI ALEXA Camera Lineup enhancement settings. Settings are created in the camera, and generally they only work with a Post-NAB Equipment Roadmap specific piece of hardware—a particular camera model. We call them files, and not just settings, Raw, Log and Uncompressed Explained because you’re often able to save the settings onto a memory card to share between cameras of Related Products the same model. Because these cameras all shoot traditional video, any adjustments made incamera are “baked” into the recorded image. So what you see in-camera is what you get in post. + Camera Accessories These same adjustments can be achieved with external remote-control units, also called “paint + Cameras boxes.” Because these files are camera-specific and bake their look into the recorded video, a + Test Charts Scene File is distinctively different from the concept of a LUT. CineTechnica - Latest Posts From ‘Jesse’s Box’ to PCU2: The Evolution of a Phantom Control Unit Canon LUTs for the C100, C300 and C500 Arri’s Photometrics App is a Pocket-Sized Lighting Resource C300 Quick Tip: Assigning a Custom White Balance Button DP Morgan Schmidt Takes the Flex4K to NYC for Samsung

A Panasonic Scene File in which settings are created in the camera, but conform to standard Rec. 709 color space.

What’s a LUT? LUT is an acronym for lookup table, which in computer science is a data structure used to replace a computation. In other words, a lookup table is a defined set of data that’s used instead of actually doing much processing. In the video world, a lookup table does much the same thing; it’s a set of data offsets that, when applied to an image, will alter it in some way. If I have a flat Log C image and I want to get something like a standard HD Rec. 709 image, I can apply this offset, which will do that adjustment for me. I could do this by eye every time, but with a LUT it can be done quickly and accurately. LUTs come in various forms and with various intentions, which only adds to the confusion. First, let’s talk about the forms of LUTs that are out there today. 1D LUTs do the work of modifying an image, but with fairly limited adjustment possibilities. A 1D LUT is composed of three different data mappings: one for red, one for blue and one for green. Each color is treated separately, so a change in red wouldn’t affect a blue value, for example. This limits complex color correction overall, but a 1D LUT can be very useful in many situations.

For digital cinema projection.com. Software and probes are used to create these types of LUTs. is used to process the incoming image and apply the LUT to the output. a Look can be generated and loaded into the camera.4267 • Los Angeles 888. wide-gamut video output. and they all look a little bit different.700. The Sony F65 camera will be able to do the same thing in the future with ASC CDL files working as the Look. that essentially function as LUTs. and ARRI has a Look Generator. This could also be done by adjusting each monitor with its own controls. using a LUT may be preferred. So they came up with a standard they call an ASC Color Decision List (CDL). but instead to make an image “correct.4416 © 1989-2013 AbelCine . With these tools. a Calibration LUT is used to make a digital projection have the same look as a film projection. which created a lot of problems between on-set tools and postproduction. LUTs can be created for different purposes. They may be as simple as converting a flat S-Log or Log C feed into a normal-looking Rec. A Viewing LUT is usually a 3D LUT because it gives the most possible adjustment. check out Light Illusion’s website. What’s a Look? RED and ARRI both enable recording in a RAW format. these Calibration LUTs are designed to make different displays match well. the Look works like a LUT. This is a 3D LUT with a relatively simple format. like the Cine-tal Davio. New York 888.223. Both cameras have the ability to load in special files. but given that not all monitors are equally adjustable. A piece of hardware. A Viewing LUT is what people are most often talking about when describing LUTs. with no baked-in color adjustment. so the ASC CDL offers the clearest solution for working with LUTs on set and in post. often called a LUT Box. usually 17. which is a very flat. where a 1D LUT usually maps an output value for every input value. Most color-grading software applications can load an ASC CDL file. So in simple terms. However. The American Society of Cinematographers (ASC) saw that there was a huge variety of LUT formats out there. Okay. a 3D LUT with the same mapping would be too complex. They’re designed to make a camera’s output look good during shooting. there’s a difference. Besides these two varieties. so you have a LUT. isn’t designed to create a look.3D LUTs are more complex and are based on a three-dimensional cube. This type of adjustment then travels through metadata of the recorded clips and can be applied very easily through the right post tools. ___ This resource is based on an article written by Andy Shipsides for HDVideoPro Magazine. 709 spec. 709 image. and many on-set tools can work with these files. which can be done through their online LUT Generator. sometimes called a Display or Monitor LUT. which I call Looks. www. So a 3D LUT is created with a number of input and output points.880.” Let’s say you’re on set and have three different monitors. Software like cineSpace from THX and Light Illusion LightSpace CMS can be used to combine Calibration LUTs and Viewing LUTs. So the difference between a LUT and a Look is subtle. ARRI also has a Log C shooting mode. Now. The difference between a Look and a LUT is that these Look Files only can be used incamera. while others also will include some aesthetic choices. a piece of hardware. To learn more about this process and about LUTs in general. Blackmagic Design HDLink Pro or Pandora Pluto. or at least to match each other. The cameras then can apply the adjustments to their outputs for monitoring. is used in between the camera and a monitor.1599 • Chicago 877. These LUTs are then sent to post-production to create dailies and to give the colorist a starting point for the final grade.lightillusion. how is it applied? Usually. A Digital Imagining Technician on set often will create a Viewing LUT for the DP to look at. This cube maps all colors together and gives much greater adjustment potential. but is built just for a specific camera and doesn’t require any external hardware. Basically. ARRI also allows you to convert their Look Files into actual LUTs for post. A Calibration LUT. RED’s files are made through their RedCine-X software. and any value outside of those points is interpolated. but because the files are camera-specific. We could create a LUT that makes each of these displays adhere to the standard HD Rec. which can be a tricky process.