Here’s looking at you, Killeen

LUTs.   

I generally leave the more technical posting to the masters and the internet forums, but  the LUT world, building them…  what camera, what color space, what client?…. how useful and when are they useful?…Photoshop v Lightroom v DaVinci?  thought I’d take a stab at it.

A very talented DP, Ronan Killeen and I got into this discussion on set the other day and it got me thinking “am i doing this right enough to share my knowledge with a more seasoned DP?”

The answer I got from the internet was, funnily enough, that building LUTs is still relatively new and changing consistently to the point that it’s difficult to find too many RIGHT or WRONG.  Most things are intuitive to everything in the camera world, quality equipment, consistent settings, and attention to detail.  I’ve used them (like most DPs) as a reference grade on monitor for what the final look will be.  However, I also find them incredibly helpful as a jumping off point when working with a colorist.  If you’re not in the same location to sit down with them, building a post LUT can quickly share the look you’re going for. 

You can use the standard Rec 709 or other attached LUTs in camera or monitor and even buy a package of LUTs, but making your own is good practice in color and gives you a level of ownership over what you’re creating.  File away the things you don’t like about the standard in-camera/monitor luts and apply those changes to your own.  

I’ve attached screenshots from a short I shot in 2016 directed by Alex Serio.  The director and I knew we wanted a warmth for the character Clare, and a cooler feel when Frank shows up.  The overhead shot attached was keyed with a joleko bounce and the outdoor shot with diffused natural light (litegrid if I remember properly).  We shot REDlogFilm and used Zeiss CP.2 Super Speeds.  

The below shot on each is the lut I created in photoshop from the color card for each scene.    

1. CHIP CHART.  I cannot emphasize this enough.  If you’ve ACed for me, you know I’m pretty stuck on shooting color cards every shot when possible.  Staying true to the look you planned and lit for is important. You should know what look you want before you shoot.  Know the story, know the character, light for them, shoot for them.  I’ve used the X-Rite card for 4 years now and it works beautifully. 

2. KNOW YOUR GAMMA.  Now, I don’t love the RED look, but on an EPIC you can achieve a decent grade with REDlog.   This gamma produces a flat image w/ low contrast.  You can see into the blacks and it allows a good level of latitude when in post (as you can see in the attached).  I chose these screenshots, because RED, Sony, Canon, etc are the cameras I most recommend creating luts for.  The standard Rec 709 in the Alexa family is pretty solid.  

3. KNOW YOUR COLOR SPACE.  I consistently work in the sRGB color space, because it pairs best with my color checker.  Now, Adobe RGB or ProPhoto RGB are also fine, just make sure to select the right one; the file that is created retains only that specific color space.

3. PICK YOUR PROGRAM.  As a DP and not a colorist, I’m not full-fledged in DaVinci and honestly I prefer to leave full grading up to the masters.  Currently, Photoshop is my highest skill set so I often create LUTs there from a screen grab.  I am still learning Lightroom, so might make that switch soon.  I would recommend Adobe products for cinematographers because they are simple, affordable, and provide what we need.  SURE, if you have money to burn and want to get into Flame or DaVinci then go for it, but I’d prefer to spend my dough and time on camera and lights. 

4. HIGH QUALITY SCREEN GRAB.  Make sure to grab a RAW frame from your footage.  If you didn’t shoot RAW, export a TIFF from your editing software.  If you didn’t shoot a color card, export an image that has your character’s skin in it as well as something white (when possible).  

5. EXPORT.  Once you’re in Photoshop, create and Adjustment layer.  From there you can change the color and export File > Export > Color Look Up Tables.  Either choose your preference of extension (most common and a safe bet is .CUBE) or do what I do and export them all  just in case :)   In Lightroom, you’re able to use more tools to your advantage like Camera RAW presets.  Conversely, you will need to download a plugin (I’ve heard Export LUT is the best and is the one I have).  Again, because I’m a DP and not a colorist, I prefer the fast, simple, cheap Photoshop way so far.  

6.  KNOW WHAT YOURE USING IT FOR.  Now, just as a reference for a colorist who is going to go through and grade the film… Photoshop will do.  If you’re trying to make a LUT for final export, you’re going to need a high quality (for example EXPORT LUT allows for 256 color grid points/16 million colors).  In my experience at least 150 grid points is necessary.  I do NOT recommend this route anyway, because many things are not transferred with LUTs (highlight and shadow adjustments being the main). 

Overall, there is much more I can go into.  If you skimmed this and are now at the bottom thinking “what a crap list” I hope what you take away is to use a color card whenever possible, know what look you’re going for ahead of time, and find what work and is helpful for you.  LUTs are just another tool at our disposal, so use them when the project calls for it. 


Other shoutouts… check out the fantastic actors in these screenshots, Shaina Feinberg and Chris Roberti


Using Format