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HelsinkiZim

Deez Lutz!!!!

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I often hear the mantra that 'luts should only be used as a starting point' for a grade.

I kinda follow this rule but usually find I abandon the lut as I often prefer my own balancing in the end. But I do slap one on every now and then at the end and bring down the opacity to give a 'hint' of a look.

I just wanted to ask what your workflow is with luts.

Do you use them and how?

Thanks!

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
17 minutes ago, hyalinejim said:

I've started making my own. I'm so into it that I dream about colour patches...

Nice! Don't sell yourself short - make a 'casual' 'plug n play' promo vid and Sellfy your ass off!

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There are all sorts of luts and no rule how and when to apply them. 

Delog luts, camera matching luts, film emulation luts, calibration luts, creative luts, etc and any combination of those or even make custom ones like @hyalinejim. Usually the color correcting technical luts are applied at the beginning and the creative ones at the end. 

I am mostly use film emulation (like Fuji color profiles) and creative luts (the collection from @benymypony) . I also use the latter as the last step when grading photographs. 

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23 minutes ago, jonpais said:

Not written very well, sorry!

Quote

 

"An outstandingly entertaining, erudite trip through the history of color photography as technology and as art." - ArtNet, 'Stand-Out Art Essays from 2016'

Claire Lehmann is an artist and writer based in New York. She has contributed to such publications as Artforum, Parkett, and Triple Canopy, and to catalogues for the New Museum of Contemporary Art and the Museum of Modern Art. Formerly an editor at Cabinet magazine, she co-curated Ileana Sonnabend: Ambassador for the New at MoMA, and is coeditor and coauthor of a monograph on artist's books, forthcoming from Phaidon.

 

https://tisch.nyu.edu/photo/events/guest-lecture---claire-lehmann

If she's good enough for Parkett and Cabinet, she's good enough for me. Back to the article:

Quote

because most people consider themselves quite capable of judging the colors in photographs “taken by people other than themselves, of objects that they have never seen, at times when they were not present,” as the scientist R. W. G. Hunt puts it, the crucial industrial mandate in photographic color reproduction is accordance with memory, not reality.

I was surprised when I first calibrated my camera to a Colorchecker and didn't particularly like the colour. It's been often mentioned on the forums that accurate colour is not pleasing colour. The article explains this in relation to the development of Kodak products. But I think you could say the same about Canon.

Another example: I have Leeming Lut One for the GH5. It gives very accurate colour. If I use it, however, it's as a neutral base for further hue and saturation shifts.

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Art-world texts are always so try-hard.

There's a few interesting points in there, but they're drowned in post-modern word salad, obscurantism designed to hide the self-evident nature of most of the ideas being espoused behind a flurry of pointless syllables.

I know a few people who have been on art doctorate courses, and have been told to start using more invented words and obscuring their meaning more. Can you imagine? Make it more "exclusive". I suppose when acceptance onto a course is primarily down to whether you can pay the fee or not though, in the end you HAVE to do away with objectivity in order to give people a pass :grin: LOL

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Ironically, the publisher is well aware of your gripe, being the originator of this famous article:

https://www.canopycanopycanopy.com/contents/international_art_english

Anyway, this is off topic. If you don't like the text just look at the images - they're pretty revealing on their own merits.

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1 minute ago, hyalinejim said:

Ironically, the publisher is well aware of your gripe, being the originator of this famous article:

https://www.canopycanopycanopy.com/contents/international_art_english

Anyway, this is off topic. If you don't like the text just look at the images - they're pretty revealing on their own merits.

Haha! Brilliant. At least irony is alive in art!

 

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But yeah, back on topic!

I'm with a few of the others here. I think if you use a LUT at 100% right over your work it tends to be a bit cartoonish or derivative.

I've bought most LUT packs going, and I'll put them on to inspire an idea, or at a lower percentage over a whole piece to tie it together a bit.

Also I think it's always good to start by neutralising the footage (unless you're shooting baked in) so you're working from a middle ground outwards.

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I only use filmconvert, and almost only the kodak stocks.

I tried most lut and film emulations solutions, and in my opinion it s the best because it s camera/profile dependent. 

Most luts you will find will crush your highlight or your shadows so you need to make adjustment before the lut and it make the workflow very awkward .

Also using luts on 8bits footage, outside of the  rec709 conversions ones, never led to good results for me.

If you want film look, like orange/teal stuff, you need to learn to do it by hand, pre-made lut never work properly for that.

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3 hours ago, Laurier said:

Most luts you will find will crush your highlight or your shadows so you need to make adjustment before the lut and it make the workflow very awkward .

Man, this is so true. I don't want to have to fight a lut when I use it. I just want to set my white and black points before the lut, and maybe the midtones. If the lut is contrasty, I should be able to recover highlights and shadows and control overall contrast with these 3 simple clicks.

If the lut has colour shifts throughout the range that's fine, but it should preserve the colour temperature of the midtones.

I don't want a lut to have a hard clipping limit at either end of the waveform. I want to be able to go from 0 to 100 IRE.

It's difficult to decide which lut looks good when colour and luma goes all over the place when cycling through them

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