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Andrew Reid

Introducing the EOSHD Film LUT (for 5D Mark III raw and Resolve 10)

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Download the LUT now

For the full guide to the world of raw video on the 5D Mark III - order the EOSHD Shooter's Guide book by Andrew Reid

With the new version of Blackmagic DaVinci Resolve (10.0) you can grade and edit 5D Mark III raw footage.

EOSHD Film LUT is an instant cinema style which quickly and easily improves the look of 5D Mark III raw video in Resolve 10. No grading skills required.

This LUT gives you a more film-like image, a less harsh electronic look compared to the standard Rec.709 colour space and default settings. It gives you more detail in the highlights and a smoother more natural feel to colour.

Read the full article here

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony Cameras

So this is a 3D 'Look' LUT then if your saying add it to the end of the chain created with the Resolve dpx image? Rather than a Canon camera space to Log or rec709 3D transform created by using a target under controlled conditions and something like Argyll CMS to generate a high precision 3D LUT in numerous formats like eecolor, cube etc?

Your write up kind of blurs the line between the different purposes of a 3D LUT.

A 3D LUT is destructive but if a shaper LUT is used first that can be avoided.

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Andrew you are no doubt very talented with the video you shoot, showcasing the qualities of different cameras.
I mean no disrespect when I ask this question, but when is it time to just shoot a movie?
You have a blackmagic cinema. 14bit Raw 5Dmark3. A sony Fs100. Gh3. Gh2 and possibly a few other cameras.
I'm curious to see how you tackle scenes involving dialogue with people portraying characters under lighting setups.
It's almost unnecessary to wonder what Nikons doing with pro video. If your talents are badass with a t3i, your next project might find enough investment from backers to shoot on film/9k RED/Sony f55 etc...
You are very well written. Unless your goal is the blog, I'd say your talents are like Fight Club waiting to come out of the basement.

 

 

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I'm using this lut right now with Filmconvert in Resolve on bmcc raw footage and it's awesome. I've been a CaptainHook whore for quite a while, which is still a great lut, but so far this combo has more of a nod to Dynamic Range. Great job

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looks awesome..  you get rid of nasty redish contrasty look from canon in a sec ( only the shoot outside cloudy dayligth with ( +8000K ) looks with LUT more red)!! ...

 

I still didnt try but by the look from your video ...

 

 

I am tired of GH3 (i hope ill sell it this week to my friend, with all my stuff) and iam getting brand new CANON 5D mkIII for 2.690 eur (body only) then i will get cine lenses from samyang

 Samyang V-DSLR 14mm T3.1 ED AS IF UMC

Samyang V-DSLR 24mm T1.5 ED AS IF UMC
Samyang V-DSLR 35mm T1.5 AS AS UMC
Samyang V-DSLR 85mm T1.5 AS IF UMC

 

kit with case i get for arround 1550 eur

 

 and start shoot... Just i have one Q what is cheaper for me to shoot RAW with ?

 

Get canon 5D mk3 + atomos ninja + extra SSD 120gb --> Total cost 3.950 Eur  

 

or  Canon 5D with +  Blackmagic Design HpyerDeck Shuttle SSD Field recorder + 2 x SSD 120gbs + external EVF (used) ---> total cost 3600 Eur

 

I think those are onyl 2 options to get RAW from canon 5DmkIII or iam wrong ??

 

Thnx  

 

PS: ill buy EOSHD 5D guide book just to fill my paypal acc from my bank 

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The color of the 5D3 RAW footage after ACR processing looks spectacular.

post-16978-0-76669300-1384249761_thumb.j (9Kb file size limit?)

After WB is set so far everything's looking good with not too much tweaking.

 

In your Resolve example the color has shifted from too much green to too much magenta. Whites aren't white: they're green or magenta.

 

Adobe AE is indeed somewhat slow, however on a 12-core machine transcoding to ProRes or DNxHD runs 1/4 real-time. Resolve is much faster and now has improved de-Bayering (and now de-Bayer sharpening) however I suspect ACR might still do better initial color processing. Resolve Lite has no noise reduction. I de-Bayer+de-noise+sharpen in ACR+AE and transcode to DNxHD/ProRes: editing is real-time and file size is manageable.

 

Resolve is getting better; not quite up to ACR yet in quality (especially if comparing the Lite version with no NR).

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The color of the 5D3 RAW footage after ACR processing looks spectacular.

attachicon.gifk.jpg (9Kb file size limit?)

After WB is set so far everything's looking good with not too much tweaking.

 

In your Resolve example the color has shifted from too much green to too much magenta. Whites aren't white: they're green or magenta.

 

Adobe AE is indeed somewhat slow, however on a 12-core machine transcoding to ProRes or DNxHD runs 1/4 real-time. Resolve is much faster and now has improved de-Bayering (and now de-Bayer sharpening) however I suspect ACR might still do better initial color processing. Resolve Lite has no noise reduction. I de-Bayer+de-noise+sharpen in ACR+AE and transcode to DNxHD/ProRes: editing is real-time and file size is manageable.

 

Resolve is getting better; not quite up to ACR yet in quality (especially if comparing the Lite version with no NR).

 

I agree when you say that it gets too magenta, indeed the whites are not white, and the lut is really not perfect, but i guess combined which a small primary color correction you can get quite good results, and the time gained to bypass AE and transcode Resolve 10 the proxies is really something great.

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Besides this, don't forget to set the white balance to "as shot" in the camera raw menu is resolve10, cause it's not by default, and if you set your WB manually when shooting, it really gives best results than the WB set by resolve... i don't why resolve doesn't do that by default. Anuone noticed that too ?

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It's not really surprising highlights may appear magenta and shadows green( wrong black level and sensor saturation assumptions), Canon raw isn't supported in Resolve 10, like say ACR supports it, providing a profiled set of adobe coefficients for each Canon camera model, to the conversion from camera raw space to the color space used within ACR or Resolve or whatever.

 

Basic's of adding camera raw support into an app:

 

http://www.darktable.org/2012/10/whats-involved-with-adding-support-for-new-cameras/

 

http://www.darktable.org/2013/10/about-basecurves/

 

And the WB value metadata isn't written to the Magic Lantern DNG's for 'As Shot' or have things progressed more now.

 

btw all the talk of ACR being the 'best' raw conversion, which in it's self is subjective, compared to what? Resolve 9 and now 10? Any comparisons to say libraw DCB or Amaze demosaicing algo's.

 

http://www.libraw.org/docs/Samples-LibRaw-eng.html

 

Camera profiling ie: Process to help create a 3D LUT (Input) for camera space to working color space rather than a 3D 'Look' LUT as a .cube for Output from Resolve via the dpx provided by Black magic.

 

https://blog.pcode.nl/2010/06/28/darktable-camera-color-profiling/

 

http://ninedegreesbelow.com/photography/dcraw-undnged.html

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Yellow you're clearly very technical, but in danger of completely confusing people and overstating problems. Can we pick up more on the stuff that actually matters from now on? This isn't supposed to be an all out laboratory. There's no green shadows of magenta highlight problem with 5D Mark III raw DNG in Resolve 10.

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Sorry Andrew, I was just replying to prior comments on magenta / green, I too don't see them personally.

 

Well, it can be seen in the sample video attached to the article... look at the sky, it's green before (no lut) and magenta after (with lut), look at 00:50.

 

at 00:18 on the car show that quite well too.

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Andrew you are no doubt very talented with the video you shoot, showcasing the qualities of different cameras.
I mean no disrespect when I ask this question, but when is it time to just shoot a movie?
You have a blackmagic cinema. 14bit Raw 5Dmark3. A sony Fs100. Gh3. Gh2 and possibly a few other cameras.
I'm curious to see how you tackle scenes involving dialogue with people portraying characters under lighting setups.
It's almost unnecessary to wonder what Nikons doing with pro video. If your talents are badass with a t3i, your next project might find enough investment from backers to shoot on film/9k RED/Sony f55 etc...
You are very well written. Unless your goal is the blog, I'd say your talents are like Fight Club waiting to come out of the basement.

 

The first rule of Flight Club is that you don't talk about feature making on the EOSHD forum ;)

 

My future plans involve returning to shoot in Asia. But it won't be a feature, instead it will be pieces of cinematography, portraits of the place and people, with a message behind that. And I will try and make it as innovative as possible, through the visual techniques, the message and the audio. Berlin for me is like a base to refine and hone my technique. When I go back to Asia I'll be a better cinematographer and actually have something meaningful to film. That said, I am still working on music videos & trailers here in Berlin with a cast, and some more to come out in the winter. Here were the last 3:

 

 

 

 

The problem with making a feature is that it would be the end of EOSHD. I'd have to commit 100% of my time to the feature and they are years in the planning & making & promotion. A short narrative piece would be more doable.

 

I don't think people should see 'feature' as the main event anyway.

 

People tend to think of features as the ultimate goal of a filmmaker. Why? It's just one genre. Like pop is of music. An animated short is just as big of an achievement, and can take years to make. Cinematography on it's own is as much of an art form. A sensitivity to the material and personal take on the world has as much meaning as a fictional narrative from the best writers. Then there's the documentary area of filmmaking. For me those are the ultimate goal for me as a filmmaker. To make something like Koyanisquatsi which is basically a documentary told purely with images. A mixture of the art of photography and filmmmaking. Great sound track too, very important.

 

Feature film is just one sub-genre of filmmaking and no more of an achievement, often in fact much less of an achievement if you look at 99% of them!!!

 

Some of my shoots I enjoyed the most creatively and not just technically, were not actually tests although in the context of EOSHD they were presented that way...

 

This one is about the struggle of Taiwanese people to maintain independence from China...And it had a subtext about war...

 

https://vimeo.com/12472000

 

This one was about the disappearance of history from Chinese culture, with the new tower blocks looming over one of the last remaining temples in Shanghai...

 

 

This was a play on the themes in The Machine by Pink Floyd.... the people obsessing over mobiles, stuck behind a black mirror, trapped in a transport system, the drunk on the U-bahn, a study of Berlin....

 

https://vimeo.com/72605257

 

And this is about the modernisation of a small island in the Philippines (which thankfully survived the recent typhoon intact)...

 

https://vimeo.com/9853081

 

And this is about love lost... but living on in memories... That's what the padlocks represented for me, at that time in my life...

 

 

And my very earliest stuff, shot on the GH1 and 5D Mark II...

 

https://vimeo.com/14534844

 

https://vimeo.com/11349060

 

So if you have only followed my shootouts and tests, hopefully that puts it all in perspective a bit.

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Well, it can be seen in the sample video attached to the article... look at the sky, it's green before (no lut) and magenta after (with lut), look at 00:50.

 

at 00:18 on the highlights on the car show that quite well too.

 

That's just a user preference, with the tint setting. The split screen makes it look like magenta vs green as if you can't get rid of the tint. Nope. It's balanced, but with my LUT I take a different approach to grey. You can have greys which are more purple, more reddish in tint. For me they are more attractive.

 

By default, in rec.709 you get greys which are more green in hue, and I don't like those at all.

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The color of the 5D3 RAW footage after ACR processing looks spectacular.

attachicon.gifk.jpg (9Kb file size limit?)

After WB is set so far everything's looking good with not too much tweaking.

 

 

 

jcs

How do you scroll through the footage All I can get is the first frame to correct?

 

 

 

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The first rule of Flight Club is that you don't talk about feature making on the EOSHD forum ;)

 

My future plans involve returning to shoot in Asia. But it won't be a feature, instead it will be pieces of cinematography, portraits of the place and people, with a message behind that. And I will try and make it as innovative as possible, through the visual techniques, the message and the audio. Berlin for me is like a base to refine and hone my technique. When I go back to Asia I'll be a better cinematographer and actually have something meaningful to film. That said, I am still working on music videos & trailers here in Berlin with a cast, and some more to come out in the winter. Here were the last 3:

 

 

 

 

The problem with making a feature is that it would be the end of EOSHD. I'd have to commit 100% of my time to the feature and they are years in the planning & making & promotion. A short narrative piece would be more doable.

 

I don't think people should see 'feature' as the main event anyway.

 

People tend to think of features as the ultimate goal of a filmmaker. Why? It's just one genre. Like pop is of music. An animated short is just as big of an achievement, and can take years to make. Cinematography on it's own is as much of an art form. A sensitivity to the material and personal take on the world has as much meaning as a fictional narrative from the best writers. Then there's the documentary area of filmmaking. For me those are the ultimate goal for me as a filmmaker. To make something like Koyanisquatsi which is basically a documentary told purely with images. A mixture of the art of photography and filmmmaking. Great sound track too, very important.

 

Feature film is just one sub-genre of filmmaking and no more of an achievement, often in fact much less of an achievement if you look at 99% of them!!!

 

Some of my shoots I enjoyed the most creatively and not just technically, were not actually tests although in the context of EOSHD they were presented that way...

 

This one is about the struggle of Taiwanese people to maintain independence from China...And it had a subtext about war...

 

https://vimeo.com/12472000

 

This one was about the disappearance of history from Chinese culture, with the new tower blocks looming over one of the last remaining temples in Shanghai...

 

 

This was a play on the themes in The Machine by Pink Floyd.... the people obsessing over mobiles, stuck behind a black mirror, trapped in a transport system, the drunk on the U-bahn, a study of Berlin....

 

https://vimeo.com/72605257

 

And this is about the modernisation of a small island in the Philippines (which thankfully survived the recent typhoon intact)...

 

https://vimeo.com/9853081

 

And this is about love lost... but living on in memories... That's what the padlocks represented for me, at that time in my life...

 

 

And my very earliest stuff, shot on the GH1 and 5D Mark II...

 

https://vimeo.com/14534844

 

https://vimeo.com/11349060

 

So if you have only followed my shootouts and tests, hopefully that puts it all in perspective a bit.

Veeeery nice. I have plenty of my own words to digest now.
Never realized you're such an artist in this ilk of filmmaking. 100 percent agree about feature work being a subgenre, my post should of been a bit more diplomatic.
Again. Your work is great. I asked mostly because I just got over the technology bug and am trying not to relapse. I went full circle with owning so many dslrs that shooting and accomplishing goals took backseat to doing a plethora of test and voicing complaints about 8bit limitations. 


 

 



 

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jcs

How do you scroll through the footage All I can get is the first frame to correct?

 

 

 

 

 

If you want to correct based on a different frame than the first, you can open it with Camera Raw Sequence unchecked, correct it, Save Settings (in drop down right of Basic bar), then open the sequence with Camera Raw Sequence checked and Load Settings. You can do full color correction after de-Bayering.

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btw all the talk of ACR being the 'best' raw conversion, which in it's self is subjective, compared to what? Resolve 9 and now 10? Any comparisons to say libraw DCB or Amaze demosaicing algo's.

 

 

I checked out RAWTherapy which includes all the latest open source de-Bayer methods. DCB and Amaze are right up there with ACR, perhaps even better, however I'm not aware of an efficient workflow. Resolve 9 de-Bayer wasn't as good- Resolve 10 is much better, but again no NR for Lite, and not clear if NR is at the de-Bayer stage vs. after. Colors coming out of ACR look excellent. ACR's Achille's heel is it's slow unless run on monster hardware. I prefer to edit with de-Bayered footage vs. RAW DNG- always runs fast, no massive storage requirements. I think high bit-depth lightly compressed footage is the sweet spot for editing right now.

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If you want to correct based on a different frame than the first, you can open it with Camera Raw Sequence unchecked, correct it, Save Settings (in drop down right of Basic bar), then open the sequence with Camera Raw Sequence checked and Load Settings. You can do full color correction after de-Bayering.

 

I thought that might be the case! Thanks jcs

 

How do you debayer pocket camera raw footage that comes in at 1080p?

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