Personal, Commercial, Extended
Hi! I’m a professional colorist and I’ve been creating on-set and post-production look LUTs for Netflix TV series Get Even. I put everything I know about color into these LUTs, and after months of development and testing, I’m very proud of the result! These LUTs should be more than enough for most tasks you encounter as a colorist. Of course, these are not the ones I made for Netflix. But they are made at the same professional level and can be used in the most demanding projects.
With the recent update the LUTs now support Rec709 and DCI-P3 delivery.
You will get 2 looks. Amaryllis and Middlemist. Each of them has additional Lifted version.
Modern teal orange look. Use it if you want to make neutral colors slightly bluish. This is not an extreme teal orange LUT that looks good with just a few shots but brings a lot of artifacts to others. This LUT carefully adds a bit of color separation. But you can easily increase it by toning your shot to cyan using color wheels and adding saturation before the LUT (see the “Why only 2 LUTs?” section).
Common film look. More saturated colors (especially reds and skin tones) are darker. Blue colors are shifted towards the teal. Greenery is separated into sunny yellowish green and into colder deep green colors. Also, the LUT brings cold shadows and warm highlights with greenish cyan brightest whites. True blacks stay neutral. It’s up to you to tint them or not.
The LUTs come in versions for all popular camera profiles:
Each of these LUTs comes in .cube LUTs in 65x65x65 and 17x17x17 sizes. With the latest updated update I also added versions for DCI-P3 delivery, .aml files for ARRI cameras and excluded .3dl LUTs and 33x33x33 and 25x25x25 sizes. Otherwise you would get about 1500 LUTs. But if you need different sizes or formats you can use free (at least for now) software GrossGrade for LUTs batch conversion.
Since the LUTs come in 65x65x65 and 17x17x17 sizes, this allows them to be used in field monitors. I have not tested them with a large number of field monitors, therefore I can’t guarantee that they are fully supported by your specific monitor. So this is just a free product bonus.
The LUTs have additional Lifted version. Lifted LUTs have lifted shadows and slightly compressed highlights. Just a little more stylized and vintage look, nothing special. If you use DaVinci Resolve, you probably can ignore Lifted LUTs, as you can get similar (but not identical) results using Soft Clip controls after the LUTs.
Canon RAW sometimes doesn’t match its own CanonCinemaGamut primaries. For example colorchecker blue patch can look a little bit magenta. If you know why, please let me know. This is why I decided to added versions based on ACES IDT (+ out-of-gamut colors remapping) for Canon C300mkII, C500 and C700 cameras in addition to regular CanonCinemaGamut primaries based versions. Just be sure you select the right version of the LUTs for your footage.
Basic approach to using any look LUTs is the same. A look LUT should be in the end of the processing chain. If you use DaVinci Resolve, it should be placed either into a timeline node tree or into a group node tree, if any. In Premiere Pro, you should use Lumetri Color effect with a look LUT applied, with an adjustment layer. Thus, the entire project will (and usually should) have the same look. Then you should use any primary correction tools you prefer to adjust the exposure (brightness / contrast / lift-gamma-gain / slope-offset-power) and color balance (white balance / color wheels / printer lights) of each individual clip, as you like, by viewing the footage through a look LUT that comes after that individual per shot corrections. Even subtle changes in the color balance will completely change the look.
A look of almost any feature film / tv show is RGB curves for toning + saturation + individual color adjustments. Color wheels are actually RGB curves that work in a specific way. And individual color adjustments are often made by a LUT, hue vs hue/sat/lum curves or by qualifying and adjusting different colors.
What makes all movies look so different is the first 2 parts of a look. So, what should you do to get a completely different look? Load a look LUT into a timeline node or into Lumetri Color in adjustment layer. Then adjust the exposure and color balance of a good looking mid or wide shot to get nice looking neutral look. This is your hero shot.
Then, if you need a more pronounced look, add a node before a look LUT (or another instance of Lumetri Color before the one with the LUT. Here is where creating part of a color grading starts. Use color wheels and saturation to add mood to your project. Should it be warm or cold? More or less saturated? Maybe make it yellow? Blue shadows and warm highlights? All these things should be done at this point. Keep in mind that all these creative decisions should and will be applied to all the clips. After that, when you get the look you want, you begin to adjust the exposure and color balance of all the clips individually, matching all of them to your hero shot. Of course, you can entirely skip this step, as the LUTs already have toning curves and all the other things, colorist usually do while creating a look.
If you need stylized looks like 2-strip or something like that, check out my another LUTs pack containing 10 creative LUTs and 8 Utility LUTs (Creative LUTs come with versions for all popular camera profiles).
I spent about a week trying to find a name for these LUTs. Everything I could find is already taken. So I gave up and called them just MEOW
Videvo.net, Kiril Dobrev
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