On the left (L) side, saturation is represented on the vertical axis. A high bit-depth gradient with hue represented on the horizontal axis. Two color wheels, one representing highly saturated hues and the other less saturated hues.
One side represents linear (video) and the other represents cineon film log. Let’s take a look at the test charts & clips that I’m currently using in my stress test timeline (all the images in this Insight can be clicked, for a larger version): TrueColor’s LUT Stress Test with no LUT applied. In my research on the subject, I found several unique test charts that when combined on a single timeline, make for a powerful “LUT Stress Test” and a great addition to any colorist’s toolkit. While evaluating on a greyscale ramp is certainly helpful, we can get even more granular. In previous Insights, Patrick demonstrated how we can use a greyscale ramp to visualize the effects of a LUT. Test charts & objectively stressing your LUTs Aside from applying the LUT to a huge library of test footage, is there a way we can evaluate the LUT more objectively? Yes, there is. Unfortunately, from a colorist perspective, it can be difficult to objectively judge the quality of the LUTs being provided, even when applied to a variety of real footage.Ĭould using the provided LUT during final color result in artifacts, banding, or noise that might not be present in the source? The LUT provided may be a generic transform LUT supplied by the camera manufacturer (great!), a custom LUT developed specifically for the production (even better!), or a random LUT that someone from the production found online in a forum (not so great). How well do you understand your LUT?Īs I’m sure many of you can attest, it has become common practice to provide the colorist \ finishing artist with the LUT used in-camera (while shooting) or for dailies color prior to beginning final color & finishing. a 3D LUT illustrated as a three-dimensional cube. This situation is exacerbated by the fact that LUTs are essentially “black boxes,” which obfuscate our ability to see whats going on “under the hood” of a LUT. Therefore, a golden rule to remember is that all LUTs are not created equal. The possibilities are so vast, that it’s potentially destructive. In a third workflow, a LUT might combine a technical transform with some creative adjustments, making a hybrid LUT that is both technical and creative. In another workflow, a LUT may be used to apply a creative look to footage that has already been normalized and balanced. In one workflow, a LUT may be used to technically transform the source image from the camera’s capture format (typically stored RAW or logarithmically) into a more visually pleasing Rec709 image.
I emphasize somewhat because the potential usage of a LUT has been stretched far beyond its original purpose, making creative discussions with clients difficult without clarification about WHY we are using a look-up table in a specific workflow.Īs LUTs can perform a wide range of color manipulations, they’re used for a huge variety of both technical and creative purposes.
Over the last few years, LUTs (or Look-Up Tables) went from being an esoteric technical tool, understood by only the most technically inclined, to a common tool that most Directors, DPs, and Producers are now somewhat familiar with. “A little knowledge is a dangerous thing” – Alexander Pope How do you know if your favorite LUT is destroying your images? Please join us in welcoming him to Mixing Light, in the Comments below! You can find out more about Jason (and all of our Contributors, on the About Us page) He kicks us off with a great article & video on an important subject. Team Mixing Light Note: We are pleased to welcome Jason Bowdach to our roster of Contributors, here on.
#Davinci resolve luts for underexposed shots series#
Tutorials / LUT Essentials / LUT Stress Testing / Evaluating LUTs with a Stress Test Series
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