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 →
Filmbox: More “HDR-ish” Images In Future Update?
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 were no longer able to recommend the plugin. When we mentioned this peculiar behavior over at the liftgammagain colorist forum, Greg Cotten, the developer of the film... Continue Reading →
Cullen Kelly Offering 50% Off Voyager LUT Pack
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 →
Free Fuji 3510 Film Emulation LUT
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!
FilmLight Looks
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 Releases New LUT Pack
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 →
Dehancer Pro 6.2.0 & HDR Project Settings
The long-awaited update now covers most products and contains new tools and improvements: Film Compression tool Print Toning in Color Head tool Histogram and Clipping Indication (iOS) Exposure Clipping in Monitor tool (OFX, FCP) Presets redesigned (Ps/LrC/C1/APh) Built-in Factory Presets (Ps/LrC/C1/APh) Multiple fixes and optimisations About the new tools Film Compression tool emulates the film-like compressed tonal range. It lets you adjust the redistribution of the highlights. The resulting image looks more... Continue Reading →
philmColor R3: More Sample Footage
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 →
It’s The Real Deal: Phil Holland’s philmColor R3 LUT Pack
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
philmColor R3 LUT Pack Black Friday Sale
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 →
Sony Venice 2 LUT + Komodo Extended Ver.
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/
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 →
Sony Releases New Custom LUTs for the VENICE 2
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 IPP2 Creative LUT Pack
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 →
Ravengrade Film Emulations, Looks & Tools Plugin
The list of HDR WCG compatible film emulation LUTs and plugins is steadily growing, the most notable recent entry being Ravengrade from Lowepost, a DaVinci Resolve plugin created by an impressive roster of color scientists and colorists, including Mitch Bogdanowicz, Juan I. Cabrera, John Daro, Douglas Delaney, Florian Utsi Martin, Mark Todd Osborne and Bianca... Continue Reading →
A Must-Listen: Cullen Kelly Talks About PFE
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/
Create Color Separation & Textural Depth in DR18
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 →
How to Modify Cullen Kelly’s Kodak 2383 PFE LUT
Cullen Kelly's Kodak 2383 PFE LUT works its magic no matter what footage you're working with, but it seems tailor-made for the RED Komodo. However, the look is pretty bold, particularly the contrast, so you might want to scale it back a smidgen. Fortunately for us, Cullen released a video demonstrating how to finesse color... Continue Reading →
Create Textural Depth with Depth Map
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 Daejeon Chronicles 