Do you work with a DJI Inspire 1? Then you probably know that the footage from the Inspire 1 camera is not so nice out of the box. Following the success of the Mastering Drone Footage tutorial series we’re giving away the LUT I used. Many people asked for the LUT I made as a help to grade their drone footage, so here it is. But first here are a few shots where you can see the LUT applied to DJI Inspire 1 footage. These shots have the look applied with a 100% intensity and no other modifications. DJI Inspire 1 LUT (right) applied to ungraded DJI Inspire 1 footage (left). Note that this LUT is optimized to boost green and blue colors and to neutralise clouds and sky magenta/yellow shift. It is not ideal for skin tones. I recommend grading in Adobe Premiere Pro CC if you are familiar with it. Import the LUT directly in the Lumetri Color Panel (Creative –> Look) and then adjust your settings for each shot as needed. For my film I usually applied the LUT with an intensity of about 50% and did the rest directly in the Lumetri Panel’s basic settings. This way you can get nice variants of intensity as desired. It will look great and filmic when saturation is lowered. To get my DJI Inspire 1 LUT we ask only that you subscribe to our newsletter and in turn you will get the download link sent to your e-mail. This is a double opt-in and will not work with fake e-mails. Your e-mail address stays with us. No spam or third parties and you can of course unsubscribe if you don’t like the weekly newsletter whenever you receive one. Please provide your name and email address for your free download.Read more
So what exactly is a LUT anyway? Of all the cryptic terminology and acronyms we throw around, the “LUT” is the most commonly misunderstood. The LUT or “Lookup Table” is in fact a very simple device used to transform RGB input values to different RGB output values. LUT’s are often used technically to transform image data from one color space to another. LUT’s are also used to describe and apply the customized color transforms we often refer to as “looks” when it comes to color grading. A custom LUT can be used on set to preview a desired “look” or grade directly on a live camera monitor. There are 1D and 3D LUTs, the difference being that a 1D LUT only applies to a single color channel whereas a 3D LUT is a cube like matrix covering transforms for all three color channels across any and all combinations. We’ll be referring to 3D LUTs from this point forward, as this is the most common type, and is most often what is meant when the term “LUT” is used. Before we go any further it’s important also to understand what is meant by color space. Color Spaces, Color Models and Mapping A color space is a specific organization of colors, often defined by the limitations of a particular device, such as a display device, or image acquisition device. It can be an industry standard defined by the capabilities and limitations of the image processing chain as a whole. What we commonly refer as a “color space” however is not just an arbitrary organization of colors like a pantone color chart or crayons with cute names; it refers to a particular color model and a mapping function referencing an absolute color space. The reference absolute color space includes the entire spectrum of visible colors against which a particular color model and mapping function will have a footprint, known as a “gamut”. The wider the gamut, the more possible colors of the visible spectrum can be represented in that color space. A LUT can be used to transform image data from one color space to another by re-assigning values from the source color space to the correct values in the destination color space. Mapping and Transforming RGB Values Whether dealing with LUTs or color spaces, hopefully you have noticed one thing in common in all of this so far; we’re essentially dealing with the same thing, and that is either mapping or transforming RGB values. A 3D LUT would contain a huge amount of data if it had corresponding input and output combinations for every single coordinate set, so instead it employs a fixed number of coordinate points, usually 17 x 17 x 17 with other points interpolated between. Essentially, a LUT is nothing more than a reference table that specifies an RGB output value for any given RGB input value. Of course if you dig deeper it gets more complicated but this basic understanding of its function will set you up to correctly use LUTs in your workflow, on set or in post.Read more
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
Shooting flat has huge advantages; it preserves maximum information for post production. However, shooting like this can make monitoring more difficult. It can be tricky to gauge color and exposure. It can be difficult for critical focus and focus aids such as peaking also, as there’s less contrast in the frame to work with. It can also be disconcerting for an on-site client; having to constantly explain “it won’t look like this in post, honest”. There’s a solution for this, LUT (look up tables). These are pre-defined profiles that are applied to the monitoring of a camera to give a representation of a corrected image or an image with a specific gamma curve. Creating a custom LUT is a step further; it can be an on-set tool providing with a representation of your final image.Read more
German based company Pomfort today released the beta of their long named “free DSLRLog2Video FxPlug plug-in for Final Cut Pro”. The plug-in lets you preview footage recorded with the Technicolor CineStyle picturestyle in realtime without the manual handling of an LUT (LookUpTable). Download the plugin here. And see our article and explanation of the CIneStlye and LUTs here.Read more
We only send updates about our most relevant articles. No spam, guaranteed! And if you don't like our newsletter, you can unsubscribe with a single click. Read our full opt-out policy here.