by Tim Fok | 29th March 2015
Custom LUT workflows have become quite the talking point as of late. Whilst the concept is nothing new, accessibility to log shooting cameras and LUT viewable monitoring has increased and in-turn the workflow is now much more popular. In light of this, the Deluts package is perfectly timed; a collection of custom made LUTs by filmmaker James Miller designed from monitoring on set right through to the grade. A LUT (or Look Up Table) is simply a manipulation of your image. An alteration of colour and contrast to provide you with a non-destructive* view of how your image can look once adjustment is applied. This is ideal on set when working in a log (flat) profile and you simply want an easier image to exposure and focus with, or want to provide your client with a view of how the image may roughly look when completed. *Whilst the intention is usually non-destructive, (viewable, not recordable) it is possible to record an applied LUT should you prefer. The beauty of LUTs is consistency throughout the entire workflow; you can apply the same LUT to your monitor on set to your NLE editing system in the grade. This is especially useful if there are multiple people working on a project and you want the desired look of your piece to be translated right the way through the production. As an operator, one thing I’ve struggled with in the past is a good collection of LUTs. I’ve often made quick contrast adjustments directly on the Atomos Shogun, just to please the eye whilst shooting with the knowledge that it will look better once I’ve added a grade later on. I simply don’t have the time or grading experience to devote to constructing my own LUTs for different jobs. Filmmaker James Miller has just released a fantastic solution. Deluts is a package compromised of nearly 30 custom LUT profiles to use on set or in the edit/grade. Available in both .3DL and .cube Deluts is compatible with most NLE systems and LUT compatible cameras and monitors. I was out shooting yesterday, testing the new downscale function of the Atomos Shogun on the Sony a7S. I was testing whether or not the 1080 output of the 4K Shogun was any better than a direct 1080p feed from the a7S. Unfortunately it doesn’t, there’s no visible difference between the two, but I was left with some throw away footage to test out the Deluts package on. Loading LUTs in Premiere Pro CC is easy, simply create a new adjustment layer and add this on a video track over your footage. Apply Lumetri (in-built effect) effect to your adjustment layer and navigate through your finder window to the Delut of your choice. Filmmaker friend of mine Daniel Peters has put together a tutorial on adding LUTs in Premiere Pro CC and DaVinci Resolve: Tweaking your look can be done so by altering the opacity of your adjustment layer, or adding adjustments to your video layer as your would normally. Here are some examples of different Deluts looks I’ve put together quickly (as a Brit, I’m very much a fan of the England cities naming theme of the LUTs!). The footage is shot on the Sony a7S in 4K on the Atomos Shogun, scaled down to 1080 on the Premiere Pro CC timeline. I’ve simply added different LUTs on separate adjustment layers, reducing the opacity on just a couple with a tad sharpening. No other correction applied. The Deluts package is available for purchase now via deluts.com.Read more
by Tim Fok | 5th January 2015
It’s been proven that Vimeo now supports UltraHD streaming for new 4K content. Vimeo themselves have only disclosed support for 4K downloading for Pro users, but the sought after feature is available right now. 4K streaming has been available for a while on YouTube and it’s only been a matter of time as to when it would become available on Vimeo, some may consider it’s overdue. Filmmaker James Miller discovered a lovely little “easter egg” that proves 4K streaming is available on Vimeo right now. Those with a high resolution display such as a retina will instantly notice this hidden feature. For those that don’t, let me show you. When full screen mode is enabled, Vimeo has a button in the bottom right hand corner that toggles Native Resolution with Fit To Screen. I’m going to show you examples of what the native resolutions looks like on Vimeo including 1080 and 4K. These examples are kindly taken from James Miller’s tests, to view these video clips, check out his page here. Hitting full screen on any 1080p Vimeo file and selecting native resolution will give you the following on a 15″ retina: What you are seeing is a native 1920X1080 file in full screen mode. Here’s the same clip again by James Miller, but this time it’s a 3840X2160 file: The clip twice the size, filling the screen showing that Vimeo streams in 4K. Comparing a scaled 1080p video to native 4K, the difference is clear. here’s a crop of side by side: Vimeo also supports 2.5K, here’s what native 1440p looks like: Vimeo currently don’t advertise this feature, but the fact that it’s available and working suggests an imminent public release. Unfortunately this feature is only available for Pro Vimeo account users. I tested this on a Plus account, and it downscaled the file to 1080p. It also will not work on previous 4K uploads. These “old” videos are down converted to 1080p; only newly uploaded 4K videos via a Vimeo Pro account will work. We’ve re-uploaded a video in 4K to test it out – check out this review film of the Pansonic LX100 shot by our colleague Johnnie Behiri: Shot on the Panasonic LX100 – read the full review here.Read more
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