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The following workflow is for Cullen Kelly's discontinued Core Elements Creative LUT Pack, but is applicable to his Voyager LUT Pack and film print emulation LUTs as well. https://youtu.be/0ERXpfUuRQ4 Description of the Core Elements Creative LUT Pack (discontinued) from Cullen Kelly's website: Create studio-grade cinematic looks Tailor to your vision Use for HDR, SDR, and... Continue Reading →
During an appearance on Cullen Kelly’s Grade School, the brilliant colorist Jill Bogdanowicz revealed a secret to accentuating texture without it looking over-processed. While working on Joker, the colorist used Live Grain – which separates out the red, green and blue channels, creating grain that resembles scanned film – to accentuate texture in the cooler,... Continue Reading →
We purchased a subscription to Video Village’s Filmbox back in February but were disappointed that highlights roll off at just a couple hundred nits, which is why we are no longer able to recommend the plugin for HDR. When we mentioned this peculiar behavior over at the liftgammagain colorist forum, Greg Cotten, the developer of... Continue Reading →
Cullen Kelly is offering his Voyager LUT pack at a 50% discount. All proceeds will go to help the striking writers and actors. "As you may know, the Writer's and Actor's guilds here in the U.S. are on strike. I won't take the time to go into the full details of it; there are news... Continue Reading →
Cullen Kelly's offering a free Fuji 3510 film emulation LUT for use with ACES and DaVinci Wide Gamut. We can't honestly say we're really fond of the flat, yellowish-green look, but it might work for one of your projects - and free HDR compatible LUTs aren't exactly falling out of the sky!
HDR Video Shooters will primarily be interested in the Core Looks, which are divided into three different collections: the C100, C200 and C300. The C100 group is comprised of film emulations based on measurements of real film stocks or film processes. All of the C100 profiles produce a rich color palette with deeply saturated colors,... Continue Reading →
Cullen Kelly has released a new LUT pack called The Voyager for 2023. The Essentials pack sells for $79.00 and includes the following: The 17 core Voyager LUTs to grade faster and deliver high-end work on any job Color Grading Mini-Course so you can make stunning images out of anything you’re grading with “Tasting Notes”... Continue Reading →
There's next to no sample footage out there of Phil Holland's philmColor LUTs for IPP2, which is bonkers, because these are quite possibly the best looks out there for RED shooters. And without question, for RED filmmakers delivering HDR projects. When the LUTs are used in camera, you can monitor in SDR with the built-in... Continue Reading →
In this clip, we try out just a handful of the over 540 LUTs included in Phil Holland's philmColor R3 LUT pack. There is a link to the downloadable movie in the description for those who can't stand YouTube compression. https://youtu.be/Z53zdkSf1gQ
We picked up Phil Holland's philmColor R3 LUT pack the moment we learned it was discounted $75.00 for Black Friday. Will hopefully be able to share some results next weekend. Unlike some of the film emulation plugins we've used, these LUTs, just like the Sony Venice and RED IPP2 Creative LUTs (both developed by seasoned... Continue Reading →
https://youtu.be/uEcmBKzWbp4 Here's the workflow for those who are interested. https://daejeonchronicles.com/2022/11/14/josh-pines-sony-venice-lut-with-red-ipp2/
https://youtu.be/qUDhKYTAKlo Look 1, developed by Picture Shop Senior Colorist Jason Fabbro (Captain Marvel, Thor:Ragnorak, Ready Player One) was created using the Lo Con Base LUT and offers slightly more contrast and saturation, while the reds and highlights have been pulled down to look less digital. Download the original movie here. Four of the new custom... Continue Reading →
https://youtu.be/isTA4DB149s Sony has teamed up with some heavy hitters - Josh Pines (Titanic, Saving Private Ryan, The Revenant), Chris Kutcka (Kill Bill, Pirates of the Caribbean), Jason Fabbro (Captain Marvel, Thor: Ragnorak, Ready Player One) and Tony D’Amore (Fargo, Elementary, Daredevil, Mayans MC) - to create a series of custom LUTs for their flagship cinema... Continue Reading →
RED's website has a collection of 25 free creative LUTs developed by Phil Holland and Eric Weidt (Mindhunter) that contain no conversion of color space or linearity, meaning that they can be used in both SDR and HDR workflows. The LUTs may be copied to a CFast card and imported into the Komodo or imported... Continue Reading →
To the best of our knowledge, the brilliant Cullen Kelly is the only colorist who consistently addresses film emulation and the implications of HDR WCG. https://daejeonchronicles.com/2022/01/05/cullen-kelly-disentangles-pfe-befuddlement/
Note: The video should be watched in a pitch-dark room. HDR is supposed to be graded in an environment with ambient lighting at 5 nits, which might help to explain why so many complain about HDR being so dark. Unlike SDR, the PQ curve is absolute, meaning that, unlike SDR, the image can't be made... Continue Reading →
Grain is one of the key components of the film look but few things are more distracting than seeing clumps of film grain dancing around on the talent's face. One solution is to use the HSL qualifier to isolate skin tones and use the keyer to de-emphasize the grain. An even easier way is to... Continue Reading →
The viewer’s eye can be drawn to the subject in a number of ways. Two of the techniques employed here are color separation, achieved through split-toning, and obscuring the surroundings using a mask and reducing brightness. Another approach is to create textural depth by accentuating the texture in cooler, darker backgrounds while de-emphasizing grain in... Continue Reading →
Download the version with Dehancer grain added (HDR) here. https://youtu.be/X_b4y5ylmIE
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