A few people have said the audio is really low in this video. If you could let me know how the audio is for you and how you're watching, phone, desktop etc that would be most helpful. Thanks Chris👍
I say, "Don't buy any transformation LUTs. Just use CST - Color Space Transform and transform Gen5 to LogC, if you feel the need to. Then, start grading. LogC is not a 'look.' I find it strange that people say, 'Oh, the greens on an ARRI look like this or that.' Steve Yedlin and others have already matched several cameras' 'looks.' I suggest it's better to stay in the Log space that the camera provides you with. Don't convert it to any other color space unless you have to match cameras. Instead, learn how to grade footage correctly. There is no need to transition from Gen5 to LogC. You won't get more dynamic range or anything. The colors just match better... but you can do this much cleaner and non-destructively with CST. Those guys selling 'to ARRI LogC' LUTs are simply selling 'dreams' to people.
I use these luts a lot and can say they work great for different situations! If you want an art look without spending a lot of time on color grading, then this is your option! The fact that BMPCC doesn't give such a sharp picture as classic mirrorless cameras, but a more cinematic picture, this allows you to bring your shots as close as possible to something professional. In any case, an inexperienced viewer will not see the difference.
Juan Melara has some superb LUTs for the Alexa 'look'. He supports the Pocket 4K/6K as well. The Blackmagic cameras do offer a beautiful look in their own right, but Alexa's magic goes beyond the LUT and into the realms of the sensor etc etc. I loved the original Ursa's color rendition, and the Ursa Mini Pro G2 can probably get you closer to the Alexa ballpark since its sensor is very versatile and much more malleable in the highlight rolloff (and as bad as the older Super 35 Arris if you really push the ISO)
Yeah, a few people are mentioning Juan Melara has LUTs. I've used some of this film power grades but didn't know he had Alexa LUTs until now. Do you use just his Alexa LUTS or his Alexa power grades, too?
@@ChristopherMichaelLaw Just the GHAlex / S1Alex LUTs (since I have the Panasonic systems). I didn't notice Powergrade options on his site. Will check those out :)
What a fantastic video, first time viewer here. I’m absolutely amazed by the effort you put into your videos, great humour, great content, and great visuals. Just subscribed can’t wait for more!
as a sidenote, the new "gyro" stab BM releases as firmware almost completely removed any rolling shutter on my BMPCC6k, ive not seen anyone talk much about this and its a massive game changer. RS was my biggest gripe for handheld and I cant believe how well "gyro" removes it. Onto the video, best thing you can do is learn to grade properly, its important to know "why" before you dive in if youre serious about it. shame so many just dont understand their color management. example: ive seen hundreds of videos of people trying the "film look" LUTS in resolve and have no idea they need CST into cineon. they just complain it "garbage" because it makes their REC709 look so dark. color management in resolve is the key. too many people just using LUTS as a filter and thats really missing the big picture here. thanks for sharing and happy shooting.
Did you leave this exact comment on someone else's video? I'm getting major deja vu reading it. I could just be going mad, though. I agree the worst thing about the 6K is the rolling shutter - are you just using the gyro to fix it or are you also using a higher shutter speed?
@@ChristopherMichaelLaw sorry hit reply before I finished. yeah im using a higher shutter speed to nullify the motion blur artifacts. but its crazy because unlike the other stab settings in resolve, the gyro really works well, but the rolling shutter removal is totally new and works like a charm. for the shutter I just bring it into fusion and run the optical flow and vector motion blur. I try to never use any stabilizations at all but to remove the RS its a godsend. Just make sure if its a zoom you input the lens data, otherwise the camera doesnt know. shoot BRAW and dont use Is on the lens itself if it has it. the best thing is you can use the gyro stab at the lowest setting and it still pulls the RS. you dont have to crank it to max. go experiment, youll love it
@@flipnap2112 Yeah, I've seen videos of people talking about reducing rolling shutter by shooting with a faster shutter speed before the gyro stabilisation even came out. I'll have to test it again.
@@ChristopherMichaelLaw honestly that never worked, it just helped minimize motion blur artifacts when you stabilize in resolve. the gyro is actually writing data directly to the BRAW file that tracks the cameras movement, how it eliminated RS I dont know because thats a horizontal scanning problem within each frame. but ill be damned if it doesnt pull almost 99 percent out. and no jelly effect.almost looks like global shutter.. just make sure you shoot BRAW and dont use IS lenses or a gimble. youll flip out, its so good. U cant shoot prorez though, and speed boosters wont work. has to be 1:1 with the lens to camera. make sure if youre using a zoom you manual enter the focal length youre dialed into. prime lenses pick up the info from the sensors so no need to manually do it. just go hand held for a few sample shots and the "gyro" setting will be in resolve if you've updated. good luck
Nice to see how the Wirral would look if they made a proper movie here! PMSL at the cardboard ARRI. I have a BMP 6K Pro and will give these LUTs a whirl. Thanks Christopher
Glad you liked it. A few proper movies have, at least partly, be shot on the Wirral. The Keira Knightley, Ralph Fiennes film Official Secrets had parts filmed on the beach down at Thurstaston -- but they used a Sony Venice, so....
In my opinion there definitely is an Arri look. I can only speak from my perspective as a director, so some DOPs might disagree with me, but there is just a special feeling that you achieve with arri cameras. And even when it’s graded it still leaves it’s very special own note in the footage. We shot a commercial in January on the Venice. No doubt it’s a great camera, but in my honest opinion there’s something missing in the pictures it produces that arri just gives you. But as I‘ve said: I’m not even close to being an expert and all I have is my very subjective opinion. And in the end it’s just another tool. A good story, framing, lighting and staging will always be more important :)
I think I feel the same way. But I’m not sure if I’m tricking myself. It’s one thing to see a difference when you’re shooting with a camera but can you tell what camera someone else was using by just looking that their footage? Can you look at an advert and say Alexa, Red, Sony or whatever? I don’t know if I can, I’ve never tried. Rodger Deakins said he can’t tell what films are shot on film vs digital and has to look it up on IMDb - what hope do I have? But then, as I said, I feel there is something about the Arri look. 🤷♂️
@@ChristopherMichaelLaw Well, I guess it’s enough that you see it😁 some see it, others don’t and so it comes that there are many options to go with. That’s a nice thing if you ask me. In the end Arri cameras are mainly used that much because they simply work. At least that is what most DOPs I‘ve met told me. None of them would choose f.e. A RED over an Arri normally. Maybe that’s because RED isn’t really used in Germany since we build Arri cameras here, but also in Hollywood they’re not used that often. The usability, reliability, quality and color science is what makes Arri camera to the legends they are. At least in my opinion.
Hi Christopher, great video and lots of great visual examples to compare different looks. Anyway, I gave up messing around with LUTs for one major reason: Regardless of how well these have been developed, it's still a lookup table (compared to curves and wheels in your NLE), and the LUTs are all in Rec709 which is a pretty small color space, quickly coming to its limitation when doing intensive grading. Instead, I set my whole workflow in DR to the Arri Log-C color space and transform every footage into Arri Log-C at the very beginning of the node tree, regardless of the camera used. This comes with 2 major benefits: all color grading is done in lovely Arri Log-C color space, and even 8-bit footage does not break apart as fast as when grading in Rec709. Yes, there is a massive downside: rendering takes far longer because the node tree is about computing the colors rather than looking them up in a table (the lookup table). So, for quick review purpose, I created a few LUTs as export from my favourite grades and throw one onto my footage (as you recommend for the purchased LUTs) to get very fast render times. But when it comes to final delivery, I always let DR calculate the colors from scratch to get the utmost quality.
Interesting. I'll give you technique a try and see what I think. Are you changing the timeline in the settings? What Arri log are you using log3 or log4?
@@ChristopherMichaelLaw I am using the older Log3, but it should also work with the log4. I am changing the whole project settings to - Color Management: Davinci YRGB - Timeline Color Space: Arri Log-C3 - Output Color Space: Rec 709 Gamma 2.4 The Nodes are: - NR - Motion Blur (if no ND used) - Light - CST (from whatever to Arri Log C3) - Light - Luma control - Halation (most often switched off) - WB - Film Matrix - Colors - Film Curve - Contrast (to lower it if desired) - Mid tone details by freq. separation - Saturation, feeding into ... - ... subtractive color mixing - Sharpen (using B&W and mixer) - CST Out (from ARRI Log C3 into a) Color space = Rec 709 and b) output gamma = Arri LogC3) as input for ... - ... Kodak 2383 Film Print emulation Done! Results can be as sweet as: ua-cam.com/video/_pYl2Ep6qb4/v-deo.html The CST at the beginning can also be done with CineMatch, which is the only CST-option for iPhone and Filmic Pro V2. Hope this helps!
to answer the question: there definitely is an "Alexa look". having used Alexas before in film school, they definitely have their own unique look. But colour grading is always a necessary part of filmmaking so unless you've used one, or seen Arri RAW, you wont ever see it.
I have met a few cinematrographers and photographers who have visited my fair land, Australia. I ask them "What about the light"? They all agreed about the wide open spaces, the harsh dry landscapes and the need for neutral density filters. I suppose every country can have a suite of assets for each locale.
Shooters could easily get a vintage film look from the BMPCC OG/BMCC 2.5K with modern lenses due to their sensor characteristics and lower resolution with minimal grading. Getting similar results from the current crop of Blackmagic cameras requires a greater focus on lens selection, lighting, LUTs and grading.
I do like what Phantom luts are doing to the footage but imho emotive color seems to be a much closer match to what we call a Alexa look. I do think either of these will work fine as a base correction on which you can build your final grade. Emotive Color LUTS is clearly much better than CST transforms visually, speaking from hands on experience.
These are my GO TO Luts with my Canon EOSM & ML & FUJIFILM X-H1. My personal favorite lut is Utopia and for the other normal shots I use the Neutral lut.
Oh cool! yeah i'm going to check these out! i've come to a completely non-scientific opinion is that one way to get that arri alexa "look" in the BMPCC world is with the OG, with its Fairchild censor. I'm not sure if the colors are in the same ball park (i'm pretty sure they aren't), but how that OG censor produces an image with its amazing highlight roll off and just how buttery smooth those images are. I have the 4k and 6k G2 but when i just want to go out and shoot while on a walk? i'm 100% of the time bringing the OG.
@@ChristopherMichaelLaw yeah definitely! i just use a small NPF battery tray which with one small NPF battery which translates to an entire day of shooting!
If you bought the ones designed for the FS7 then I’d imagine they will work the same as how the Blackmagic ones do. Try the read me included in the download.
Hello Christopher. This video was amazing and helped me quite a lot. I am more of a narrative film maker and in the market for a new camera (my first camera ever). My main purpose is video. I just want to know if they can be used on Sony a74 and can the video from a74 look like arri if I use these luts? And thank you again. I have subscribed to you amazing channel.
Yes, there are versions of these LUTs for the A7 mark 4. Follow the link in the description and instead of clicking the BMPCC 4K/6K LUTs click the Sony ones! It will then give you a list of Sony cameras. Pick the A7 IV. The LUTs are calibrated for the Sony sensor. It's important to get the right ones, you can't used the Blackmagic ones on the Sony and vice versa.
The magic of Alexa images is just the proper hands of DoPs who uses it. Almost any examples of Alexa supremacy is taken from movies shot by the talented DoPs, if they shot these shots with BM Pocket almost nothing in the images will be changed. Proper lighting, location, time of day, composition, shooting direction, makeup, lenses, filters, camera movement, and so on has a general impact on the image. Saying as a DoP who shot a lot of short films and one feature film.
No doubt everything you said is important in crafting the image. I'd also include production design as having a huge impact on how the film looks. It's interesting that there is such a difference of opinion even among professionals about this. What did you shoot your movie on?
I don't know. I do like the look of the buttery LUTs but as far as I know they only claim to be "inspired by the industry standard Arri Rec709" rather that trying to accurately recreate it. They will probably be the next LUTs I check out.
If I apply these on the BMPCC 6K whilst shooting in BRAW will I be able to get this look from them so I have a better idea of how it'll look in post? I only just ordered one so haven't tried.
Yes. That is exactly how to use them. Load them onto the camera so you can use them to monitor your image - what you see is what you get - when you use the LUT in post.
@@ChristopherMichaelLaw Brilliant! I’ve just bought some really cheap vintage lenses for a few weeks til I can save and get a few Sigma Art Lenses so I’ll wait til then before purchasing! Thank you!
No matter what you shoot with the BM camera. It`s not the colour range, not the bit depth and not the highlight roloff or dynamic range of an Alexa. So what is this all about? Of course you can get good results with a BM Camera, too. I´ld really prefer to stay in the native colour space of the camera I´m shooting with. Grading is a very seperate thing, also comparing LUTs. For analog Filmlook, I use "Filmconvert" for many years now. For me still the best tool for "developing" digital film.
Its about manipulating the tones of BM camera to ones preference. In this case closer to another camera that one shoots with. Beyond native bit depth, native highlight roll off, native dynamic range, Every camera interprets color abd light differently. There is a bias. Anyone who has had to match cameras should know this. When trying to color match cameras, Staying in the color space of each of the cameras is not the objective its besides the point so maybe thats why your missing it.
They are not design with the URSA in mind. I can see why they wouldn't work but you're probably best emailing Joel about it. www.joelfamularo.com/contact
Nice Vidéo I get the best result with filmconvert... Imho best tools specially the integration in da Vinci is great...and the control is really good...I can match easy GH5,4,5s,S5 BMPCC6K 4K to any analogue film true celuloid film...
"If i needed a certain paint brush to paint a picture then i'm not an artist". This is what my girlfriend told me when she watched a few comparison videos with me about the "ARRI" hype. She's an artist - tattoo artist. I'm a musician who and watching these types of videos makes me think about Jimmy Hendrix who played a cheap Squier electric guitar. I think you get my point. Just grade the footage in your own way and stop thinking that if you dont use a certain high-end guitar or fancy paint brush then you cant make art. There is no such thing as bad art and if you think there is then you are not an artist but rather a copy-cat.
I don't think anyone is saying you can't make art without high-end equipment. Quit the opposite. How you get to the end result is irrelevant in terms of the art. Expensive or cheap equipment are both legitimate. But filmmaking isn't just art, it's also craftsmanship. If you're getting paid to bring somebody else's artistic vision to reality then you will need to know what tools will archive it. But if your'e just making art for yourself, then yeah 100% agree.
I don't really know. If you can change or convert the braw file to the GEN5 log colour space with a color transform node in resolve, then i think it would work. Maybe email Joel, he'd probably know more.
Are there any women out there making LUTs? I can't find any. Women have provably better colour vision than men. A 2010 study suggested that nearly 12 percent of women may even have a fourth colour perception channel. Look up Tetrachromacy for details.
Off the top of my head, the only one I can think of is Lizzie Peirce. Don't know if she has a fourth colour perception channel, thought. I was thinking the other day, how do we know if any of us see colour the same way, male or female. Maybe how I see blue is different to how you see blue, particularly as so much of vision is to do with the brain.
Emotive color's transform luts are better, his methodology for creating them is exacting and the highlight roll-off he incorporates can't really be achieved in an NLE. Juan Melaras are also great. To me the differences will be more apparent in harsher conditions. Cloudy days most cameras will look very similar. Skin tones are a pretty necessary part when testing these luts though. IMO the Alexa's skintone reproduction is why it's favored for narrative 99% of the time.
You should not use LUTS as starting point, but non-destructive processes to correct the color. The colors are nice, but you can get close with a few non-destructive tweaks in Resolve. Better save those grades for future edits.
I'm not fully sure what you're saying but I think it's fine to use a LUT as a starting point. Just put any changes in the nodes before the LUT so you don't lose any information.
@@ChristopherMichaelLaw You can adjust an image to fit the lut so you do not blow the highlights, but any details loss you may not notice when editing will remain there. This can also apply to the saturation curve, for example, or for shadows details. To add to the problem, it is also the internal math when luts are applied that can create artefacts when interpolation errors occur. Any LUT can be recreated with HSL curves.
The base Arri acquisition has a green bias. But when we speak about the "Arri look" and then show shots of highly coordinated set, wardrobe, location lighting and grading what we're really talking about isn't the Arri, or a camera at all, rather noticing what a large budget paying a highly skilled and experienced crew/set affords your image as a cinematographer. The reality is large budget films hire the Alexa more for the solid build, legacy and workflow that a large crew requires, over the IQ it produces. In fact in terms of IQ hiring an Alexa is diminishing returns. They rent them because they can depend on them. Going over schedule is literally costing thousands of extra dollars, which pissess off investors quickly. You stick an iPhone on that same type of big budget set you're going to get a great looking frame. Its not about the camera. Its about the craft. Working DPs know this or learn this. Unfortunately, UA-camrs, not so much, especially the sponsored channels who are incentived to sell you an experience that doesn't actually exist.
I totally agree that talent is the most important thing and that it's hard to make any comparison about an "Alexa look" when watching finished Hollywood movies. And yet, pick up any copy of British Cinematographer and in nearly every article an established DP will be talking about how they picked the Alexa because of its special look. But then Steve Yedlin talks about how you can pretty much match any camera with another. I don't know who to believe and who is right and who is wrong.
@ChristopherMichaelLaw Lol. Common sentiment. There's a lot of opposing information and experience out there. I mean, every DP is an individual at the end of the day, with their own perception of how things should work based on nomenclature and their own experiences. Yes, some DPs will remark that they choose the Alexa for it's look. I'm not sure how crucial that opinion is when that "look" is altered by person/s holding the final distribution process in their hands, since they're going to alter, often times drastically the Alexa's native acquisition image. There's a lot of legacy/known workflow tied around the Arri brand. They've been active within the scene forever and a day. They have a very established reputation. Arriflex focuses on their IP in mainly serving the big budget players, and it's easy to surmise that a lot of the hype around their cameras is the level of focused support and aggressive marketing they offer big budget sets. I don't think that nessecarily translates to a price:quality ratio. The high pricing is simply because they can charge their demographoc more, then say they could wiith low budget/prosumer level. Again, at the Hollywood level, inage quality is actually a diminished return. A lot of cameras can produce an "Alexa look" when you hire the right colorist if you understand the concept of crafting the image outside any given camera, which many a-list Hollywood DPs do, or eventually figure out. I'm not saying the Alexa isn't a great camera. I am saying there's a lot of great cameras out there, too. I am saying that they're all an acquisition box if the final distribution looks considerably different than the respective camera's acquisition, which constitutes 99.9999% of big budget films spanning across multiple genres. The Alexa actually presents most of its return around mid-budget sets in which the hired DP owns one and can charge back the cost to the film's producers, who would otherwise have to rent one anyway. Chances are the film doesn't have a lot of funds to spend on a professional Hollywood level colorist, so chances are good that the distribution will heavily retain Alexa's aquisition color science in the final distribution. Generally, in the UA-cam world, the argument of image quality, color science, is a bit overstated. If you pit a comparison between an Alexa against most cinema cameras, including BMD on a very mundane, poorly crafted, innocuous scene, the differences are going to be very minimal, if not negligible to the eyes of a general audience. Yes, you'll see color shifts and differences in roll off, but it won't be a $70k difference. But when you're a big budget production, $70k is a drop in the bucket. Shit, that's likely the weekly charge for craft services. 😀 $70k is worth the reliability Arri has built into the Alexa line. Conversely, BMD doesn't make a strong reliability claim, nor are they deeply rooted and entrenced with their clients and within the industry as a whole, at least on the camera side of their business, correct? Don't get me wrong. I own 3 BMD cameras. For my level of filming/distribution, they make complete financial sense. Sometimes, I'm able to cost them back depending on the scope of a particular project, rather than the producer having to rent them from a rental house. I've never had a single client complain about the final image, quite the opposite. But I relate this more to my coloring skills than my camera's "skill".
@@ChristopherMichaelLaw you should while I have tested both on my BRAW and notice difference, if you want a cinematic look, go for colorcove and documentry/interview look go with phantom
@@ChristopherMichaelLaw Maybe they listen on ear buds im on a iMac. It sounded really low here had to turn up quite a bit. If no one else thinks so, then its on me! Thanks for responding!
These don’t make any sense and you kind of explained my reasoning. Any Arri footage is going to be graded so they will never look like this. I don’t understand the point of starting with a palette that is not going to be used just so you can say it looks like Arri. It might make sense if you’re shooting with an Arri and something else but even then you’d likely convert both to 709 or 2020.
I get what you’re saying. If you’re going to heavily grade the footage then it’s probably not as useful. But If you’re trying to copy a movies grade that was shot on Alexa then it would be useful to have the same starting point as the filmmakers. Some movies have strong grades others have simple grades. Rec709 or 2020 are colour spaces relating to how much of the visible colour spectrum can be displayed but they won’t make cameras look the same. Many of the characteristics of how the camera reproduces colours will carry over.
People neeed to stop believing this crap, alexa are $60,000 cameras, you can not turn a blackmagic camera into a alexa or red with luts. When people say this it's funny. You can't turn a Honda into a Lamborghini so no this will not make blackmagic to an alexa.
I think you maybe misread the title. I left myself the wiggle room of adding "kind of" to the title. Obviously it can't match dynamic range, etc but the LUT's are about bringing the colour sciences closer together.
A few people have said the audio is really low in this video. If you could let me know how the audio is for you and how you're watching, phone, desktop etc that would be most helpful. Thanks Chris👍
Audio is good for me, on a laptop with airpods.
@@DirectedbyEirik Cheers
little low on desktop pc
Seems quite, also the stereo on the audio is a bit distracting for me
FYI, on computer with headphones
I say, "Don't buy any transformation LUTs. Just use CST - Color Space Transform and transform Gen5 to LogC, if you feel the need to. Then, start grading. LogC is not a 'look.' I find it strange that people say, 'Oh, the greens on an ARRI look like this or that.' Steve Yedlin and others have already matched several cameras' 'looks.' I suggest it's better to stay in the Log space that the camera provides you with. Don't convert it to any other color space unless you have to match cameras. Instead, learn how to grade footage correctly. There is no need to transition from Gen5 to LogC. You won't get more dynamic range or anything. The colors just match better... but you can do this much cleaner and non-destructively with CST. Those guys selling 'to ARRI LogC' LUTs are simply selling 'dreams' to people.
How and where to learn grading correctly?
Or just color manage. Saves you hussle.
@@amathma TAC Resolve training, Lowepost, Cullen Kelly, demsytify-color, and so on.
@@allenpayne9182 I'll have a look thanks !
^ This.
I use these luts a lot and can say they work great for different situations! If you want an art look without spending a lot of time on color grading, then this is your option! The fact that BMPCC doesn't give such a sharp picture as classic mirrorless cameras, but a more cinematic picture, this allows you to bring your shots as close as possible to something professional. In any case, an inexperienced viewer will not see the difference.
You're right. Differences can be hard to see and are very subtle but they make a big difference.
Juan Melara has some superb LUTs for the Alexa 'look'. He supports the Pocket 4K/6K as well. The Blackmagic cameras do offer a beautiful look in their own right, but Alexa's magic goes beyond the LUT and into the realms of the sensor etc etc. I loved the original Ursa's color rendition, and the Ursa Mini Pro G2 can probably get you closer to the Alexa ballpark since its sensor is very versatile and much more malleable in the highlight rolloff (and as bad as the older Super 35 Arris if you really push the ISO)
I also use Juan’s LUTs and they are just superb. Great skin tone, bar none.
Yeah, a few people are mentioning Juan Melara has LUTs. I've used some of this film power grades but didn't know he had Alexa LUTs until now. Do you use just his Alexa LUTS or his Alexa power grades, too?
@@ChristopherMichaelLaw Just the GHAlex / S1Alex LUTs (since I have the Panasonic systems). I didn't notice Powergrade options on his site. Will check those out :)
@@vaidehiarts thanks
What a fantastic video, first time viewer here. I’m absolutely amazed by the effort you put into your videos, great humour, great content, and great visuals. Just subscribed can’t wait for more!
Wow, thank you! that's great to hear.
as a sidenote, the new "gyro" stab BM releases as firmware almost completely removed any rolling shutter on my BMPCC6k, ive not seen anyone talk much about this and its a massive game changer. RS was my biggest gripe for handheld and I cant believe how well "gyro" removes it. Onto the video, best thing you can do is learn to grade properly, its important to know "why" before you dive in if youre serious about it. shame so many just dont understand their color management. example: ive seen hundreds of videos of people trying the "film look" LUTS in resolve and have no idea they need CST into cineon. they just complain it "garbage" because it makes their REC709 look so dark. color management in resolve is the key. too many people just using LUTS as a filter and thats really missing the big picture here. thanks for sharing and happy shooting.
Did you leave this exact comment on someone else's video? I'm getting major deja vu reading it. I could just be going mad, though. I agree the worst thing about the 6K is the rolling shutter - are you just using the gyro to fix it or are you also using a higher shutter speed?
@@ChristopherMichaelLaw it might've been you ha ha
@@ChristopherMichaelLaw sorry hit reply before I finished. yeah im using a higher shutter speed to nullify the motion blur artifacts. but its crazy because unlike the other stab settings in resolve, the gyro really works well, but the rolling shutter removal is totally new and works like a charm. for the shutter I just bring it into fusion and run the optical flow and vector motion blur. I try to never use any stabilizations at all but to remove the RS its a godsend. Just make sure if its a zoom you input the lens data, otherwise the camera doesnt know. shoot BRAW and dont use Is on the lens itself if it has it. the best thing is you can use the gyro stab at the lowest setting and it still pulls the RS. you dont have to crank it to max. go experiment, youll love it
@@flipnap2112 Yeah, I've seen videos of people talking about reducing rolling shutter by shooting with a faster shutter speed before the gyro stabilisation even came out. I'll have to test it again.
@@ChristopherMichaelLaw honestly that never worked, it just helped minimize motion blur artifacts when you stabilize in resolve. the gyro is actually writing data directly to the BRAW file that tracks the cameras movement, how it eliminated RS I dont know because thats a horizontal scanning problem within each frame. but ill be damned if it doesnt pull almost 99 percent out. and no jelly effect.almost looks like global shutter.. just make sure you shoot BRAW and dont use IS lenses or a gimble. youll flip out, its so good. U cant shoot prorez though, and speed boosters wont work. has to be 1:1 with the lens to camera. make sure if youre using a zoom you manual enter the focal length youre dialed into. prime lenses pick up the info from the sensors so no need to manually do it. just go hand held for a few sample shots and the "gyro" setting will be in resolve if you've updated. good luck
I love them all! Thank you for sharing your thoughts!
You are so welcome!
Nice to see how the Wirral would look if they made a proper movie here! PMSL at the cardboard ARRI. I have a BMP 6K Pro and will give these LUTs a whirl. Thanks Christopher
Glad you liked it. A few proper movies have, at least partly, be shot on the Wirral. The Keira Knightley, Ralph Fiennes film Official Secrets had parts filmed on the beach down at Thurstaston -- but they used a Sony Venice, so....
@@ChristopherMichaelLaw Sony Venice does demand a bit of respect. Fantastic range of cinema cameras - but pales against your bit of cardboard lol.
In my opinion there definitely is an Arri look. I can only speak from my perspective as a director, so some DOPs might disagree with me, but there is just a special feeling that you achieve with arri cameras. And even when it’s graded it still leaves it’s very special own note in the footage.
We shot a commercial in January on the Venice. No doubt it’s a great camera, but in my honest opinion there’s something missing in the pictures it produces that arri just gives you. But as I‘ve said: I’m not even close to being an expert and all I have is my very subjective opinion.
And in the end it’s just another tool. A good story, framing, lighting and staging will always be more important :)
I think I feel the same way. But I’m not sure if I’m tricking myself. It’s one thing to see a difference when you’re shooting with a camera but can you tell what camera someone else was using by just looking that their footage? Can you look at an advert and say Alexa, Red, Sony or whatever? I don’t know if I can, I’ve never tried. Rodger Deakins said he can’t tell what films are shot on film vs digital and has to look it up on IMDb - what hope do I have? But then, as I said, I feel there is something about the Arri look. 🤷♂️
@@ChristopherMichaelLaw Well, I guess it’s enough that you see it😁 some see it, others don’t and so it comes that there are many options to go with. That’s a nice thing if you ask me.
In the end Arri cameras are mainly used that much because they simply work. At least that is what most DOPs I‘ve met told me. None of them would choose f.e. A RED over an Arri normally. Maybe that’s because RED isn’t really used in Germany since we build Arri cameras here, but also in Hollywood they’re not used that often. The usability, reliability, quality and color science is what makes Arri camera to the legends they are. At least in my opinion.
Hi Christopher, great video and lots of great visual examples to compare different looks.
Anyway, I gave up messing around with LUTs for one major reason: Regardless of how well these have been developed, it's still a lookup table (compared to curves and wheels in your NLE), and the LUTs are all in Rec709 which is a pretty small color space, quickly coming to its limitation when doing intensive grading.
Instead, I set my whole workflow in DR to the Arri Log-C color space and transform every footage into Arri Log-C at the very beginning of the node tree, regardless of the camera used. This comes with 2 major benefits: all color grading is done in lovely Arri Log-C color space, and even 8-bit footage does not break apart as fast as when grading in Rec709.
Yes, there is a massive downside: rendering takes far longer because the node tree is about computing the colors rather than looking them up in a table (the lookup table).
So, for quick review purpose, I created a few LUTs as export from my favourite grades and throw one onto my footage (as you recommend for the purchased LUTs) to get very fast render times. But when it comes to final delivery, I always let DR calculate the colors from scratch to get the utmost quality.
Interesting. I'll give you technique a try and see what I think. Are you changing the timeline in the settings? What Arri log are you using log3 or log4?
@@ChristopherMichaelLaw I am using the older Log3, but it should also work with the log4.
I am changing the whole project settings to
- Color Management: Davinci YRGB
- Timeline Color Space: Arri Log-C3
- Output Color Space: Rec 709 Gamma 2.4
The Nodes are:
- NR
- Motion Blur (if no ND used)
- Light
- CST (from whatever to Arri Log C3)
- Light
- Luma control
- Halation (most often switched off)
- WB
- Film Matrix
- Colors
- Film Curve
- Contrast (to lower it if desired)
- Mid tone details by freq. separation
- Saturation, feeding into ...
- ... subtractive color mixing
- Sharpen (using B&W and mixer)
- CST Out (from ARRI Log C3 into a) Color space = Rec 709 and b) output gamma = Arri LogC3) as input for ...
- ... Kodak 2383 Film Print emulation
Done!
Results can be as sweet as: ua-cam.com/video/_pYl2Ep6qb4/v-deo.html
The CST at the beginning can also be done with CineMatch, which is the only CST-option for iPhone and Filmic Pro V2.
Hope this helps!
@@joyoffilming9500 Yeah man. Cheers for the detailed answer. I'll test that out for sure. 👍
to answer the question: there definitely is an "Alexa look". having used Alexas before in film school, they definitely have their own unique look. But colour grading is always a necessary part of filmmaking so unless you've used one, or seen Arri RAW, you wont ever see it.
Would you say colour grading removes the Alexa look some what?
I have met a few cinematrographers and photographers who have visited my fair land, Australia. I ask them "What about the light"? They all agreed about the wide open spaces, the harsh dry landscapes and the need for neutral density filters. I suppose every country can have a suite of assets for each locale.
Man I absolutely love you as King Viserys Targaryen!
Thank you, it was the role of a lifetime.
Shooters could easily get a vintage film look from the BMPCC OG/BMCC 2.5K with modern lenses due to their sensor characteristics and lower resolution with minimal grading. Getting similar results from the current crop of Blackmagic cameras requires a greater focus on lens selection, lighting, LUTs and grading.
I do like what Phantom luts are doing to the footage but imho emotive color seems to be a much closer match to what we call a Alexa look. I do think either of these will work fine as a base correction on which you can build your final grade. Emotive Color LUTS is clearly much better than CST transforms visually, speaking from hands on experience.
I've never heard of them before. I'll look into them.
These are my GO TO Luts with my Canon EOSM & ML & FUJIFILM X-H1.
My personal favorite lut is Utopia and for the other normal shots I use the Neutral lut.
Oh yeah BTW, FUJIFILM’s Classic Chrome film simulation looks very similar to the Utopia look. FYI
Yeah, they are probably my two favourites.
Oh cool! yeah i'm going to check these out! i've come to a completely non-scientific opinion is that one way to get that arri alexa "look" in the BMPCC world is with the OG, with its Fairchild censor. I'm not sure if the colors are in the same ball park (i'm pretty sure they aren't), but how that OG censor produces an image with its amazing highlight roll off and just how buttery smooth those images are. I have the 4k and 6k G2 but when i just want to go out and shoot while on a walk? i'm 100% of the time bringing the OG.
I've always fancied an OG pocket. The image was beautiful. The battery life has scared me off.
@@ChristopherMichaelLaw yeah definitely! i just use a small NPF battery tray which with one small NPF battery which translates to an entire day of shooting!
Awesome, I might look at picking one up because that image is great
I'm gonna check out these luts, thank you!
no problem
I think this lut is great for my work flow
Cool
I just bought the LUT ..I am using fs7 ..how it will work ?
If you bought the ones designed for the FS7 then I’d imagine they will work the same as how the Blackmagic ones do. Try the read me included in the download.
Lovely footage.
Many thanks!
Can we use this on bmpcc OG ?
I don't really know. If you can change or convert the braw file to the GEN5 colour space then i think it would work.
Please put a chance here to get that camera and film making equipment
Sorry, I don't understand?
@@ChristopherMichaelLaw i ask about photographer competition
Thanks so much for sharing this info!
No problem, mate👍
Hello Christopher. This video was amazing and helped me quite a lot. I am more of a narrative film maker and in the market for a new camera (my first camera ever). My main purpose is video.
I just want to know if they can be used on Sony a74 and can the video from a74 look like arri if I use these luts?
And thank you again. I have subscribed to you amazing channel.
Yes, there are versions of these LUTs for the A7 mark 4. Follow the link in the description and instead of clicking the BMPCC 4K/6K LUTs click the Sony ones! It will then give you a list of Sony cameras. Pick the A7 IV. The LUTs are calibrated for the Sony sensor. It's important to get the right ones, you can't used the Blackmagic ones on the Sony and vice versa.
Hello!! whats is a legacy ¿More dark? or another versión
They are the older versions of the same LUTs. They are a bit darker and contrasty. Not a great deal of difference.
@@ChristopherMichaelLaw Thank u
$50 is a drop in the bucket of an investment.
Aye!
The magic of Alexa images is just the proper hands of DoPs who uses it. Almost any examples of Alexa supremacy is taken from movies shot by the talented DoPs, if they shot these shots with BM Pocket almost nothing in the images will be changed.
Proper lighting, location, time of day, composition, shooting direction, makeup, lenses, filters, camera movement, and so on has a general impact on the image.
Saying as a DoP who shot a lot of short films and one feature film.
No doubt everything you said is important in crafting the image. I'd also include production design as having a huge impact on how the film looks. It's interesting that there is such a difference of opinion even among professionals about this. What did you shoot your movie on?
@@ChristopherMichaelLaw check my message in spam, it's gone
I appreciate attention to detail too. Do you have an Amazon link for wide devil lenses?
Well spotted, Douglas! That was obviously in there to see who is paying full attention. You've passed the test ; )
was all the footage from the 6k or 4k?
A combo of both.
How do the phantom luts compare to the buttery luts?
I don't know. I do like the look of the buttery LUTs but as far as I know they only claim to be "inspired by the industry standard Arri Rec709" rather that trying to accurately recreate it.
They will probably be the next LUTs I check out.
Great video!
Thanks!
If I apply these on the BMPCC 6K whilst shooting in BRAW will I be able to get this look from them so I have a better idea of how it'll look in post? I only just ordered one so haven't tried.
Yes. That is exactly how to use them. Load them onto the camera so you can use them to monitor your image - what you see is what you get - when you use the LUT in post.
@@ChristopherMichaelLaw Brilliant! I’ve just bought some really cheap vintage lenses for a few weeks til I can save and get a few Sigma Art Lenses so I’ll wait til then before purchasing! Thank you!
No matter what you shoot with the BM camera. It`s not the colour range, not the bit depth and not the highlight roloff or dynamic range of an Alexa. So what is this all about? Of course you can get good results with a BM Camera, too. I´ld really prefer to stay in the native colour space of the camera I´m shooting with. Grading is a very seperate thing, also comparing LUTs. For analog Filmlook, I use "Filmconvert" for many years now. For me still the best tool for "developing" digital film.
Its about manipulating the tones of BM camera to ones preference. In this case closer to another camera that one shoots with.
Beyond native bit depth, native highlight roll off, native dynamic range, Every camera interprets color abd light differently. There is a bias.
Anyone who has had to match cameras should know this.
When trying to color match cameras, Staying in the color space of each of the cameras is not the objective its besides the point so maybe thats why your missing it.
This UA-cam video looks like it was shot on real Alexa.
Solid job
Cheers!
Can these work with URSA Mini 4.6K Pro footage?
They are not design with the URSA in mind. I can see why they wouldn't work but you're probably best emailing Joel about it. www.joelfamularo.com/contact
Thank for your video but the sound is not audible
Can you explain what is wrong with it? No audio at all?
@@ChristopherMichaelLaw It actually sounds perfect to me. Nice comparison video too. 👍
@@ChristopherMichaelLaw the sound is too low to me.
Nice Vidéo
I get the best result with filmconvert...
Imho best tools specially the integration in da Vinci is great...and the control is really good...I can match easy GH5,4,5s,S5 BMPCC6K 4K to any analogue film true celuloid film...
Thanks for sharing!
"If i needed a certain paint brush to paint a picture then i'm not an artist". This is what my girlfriend told me when she watched a few comparison videos with me about the "ARRI" hype. She's an artist - tattoo artist. I'm a musician who and watching these types of videos makes me think about Jimmy Hendrix who played a cheap Squier electric guitar. I think you get my point. Just grade the footage in your own way and stop thinking that if you dont use a certain high-end guitar or fancy paint brush then you cant make art. There is no such thing as bad art and if you think there is then you are not an artist but rather a copy-cat.
I don't think anyone is saying you can't make art without high-end equipment. Quit the opposite. How you get to the end result is irrelevant in terms of the art. Expensive or cheap equipment are both legitimate. But filmmaking isn't just art, it's also craftsmanship. If you're getting paid to bring somebody else's artistic vision to reality then you will need to know what tools will archive it. But if your'e just making art for yourself, then yeah 100% agree.
what about the BMPCC OG ....
I don't really know. If you can change or convert the braw file to the GEN5 log colour space with a color transform node in resolve, then i think it would work. Maybe email Joel, he'd probably know more.
Are there any women out there making LUTs? I can't find any. Women have provably better colour vision than men. A 2010 study suggested that nearly 12 percent of women may even have a fourth colour perception channel. Look up Tetrachromacy for details.
I know many professional colorists who chose the female gender.
Off the top of my head, the only one I can think of is Lizzie Peirce. Don't know if she has a fourth colour perception channel, thought. I was thinking the other day, how do we know if any of us see colour the same way, male or female. Maybe how I see blue is different to how you see blue, particularly as so much of vision is to do with the brain.
Emotive color's transform luts are better, his methodology for creating them is exacting and the highlight roll-off he incorporates can't really be achieved in an NLE.
Juan Melaras are also great.
To me the differences will be more apparent in harsher conditions. Cloudy days most cameras will look very similar. Skin tones are a pretty necessary part when testing these luts though. IMO the Alexa's skintone reproduction is why it's favored for narrative 99% of the time.
You should not use LUTS as starting point, but non-destructive processes to correct the color. The colors are nice, but you can get close with a few non-destructive tweaks in Resolve. Better save those grades for future edits.
I'm not fully sure what you're saying but I think it's fine to use a LUT as a starting point. Just put any changes in the nodes before the LUT so you don't lose any information.
@@ChristopherMichaelLaw You can adjust an image to fit the lut so you do not blow the highlights, but any details loss you may not notice when editing will remain there. This can also apply to the saturation curve, for example, or for shadows details. To add to the problem, it is also the internal math when luts are applied that can create artefacts when interpolation errors occur. Any LUT can be recreated with HSL curves.
You can buy an Alexa classic and Amira for like $5k now
I have seen some Alexa classics around the $5-6k mark but Amira seems to hold its price better. The cheapest I’ve seen is about $19k.
Dream on )))))
The base Arri acquisition has a green bias.
But when we speak about the "Arri look" and then show shots of highly coordinated set, wardrobe, location lighting and grading what we're really talking about isn't the Arri, or a camera at all, rather noticing what a large budget paying a highly skilled and experienced crew/set affords your image as a cinematographer.
The reality is large budget films hire the Alexa more for the solid build, legacy and workflow that a large crew requires, over the IQ it produces. In fact in terms of IQ hiring an Alexa is diminishing returns. They rent them because they can depend on them. Going over schedule is literally costing thousands of extra dollars, which pissess off investors quickly.
You stick an iPhone on that same type of big budget set you're going to get a great looking frame.
Its not about the camera. Its about the craft. Working DPs know this or learn this. Unfortunately, UA-camrs, not so much, especially the sponsored channels who are incentived to sell you an experience that doesn't actually exist.
I totally agree that talent is the most important thing and that it's hard to make any comparison about an "Alexa look" when watching finished Hollywood movies. And yet, pick up any copy of British Cinematographer and in nearly every article an established DP will be talking about how they picked the Alexa because of its special look. But then Steve Yedlin talks about how you can pretty much match any camera with another. I don't know who to believe and who is right and who is wrong.
@ChristopherMichaelLaw
Lol. Common sentiment. There's a lot of opposing information and experience out there. I mean, every DP is an individual at the end of the day, with their own perception of how things should work based on nomenclature and their own experiences.
Yes, some DPs will remark that they choose the Alexa for it's look. I'm not sure how crucial that opinion is when that "look" is altered by person/s holding the final distribution process in their hands, since they're going to alter, often times drastically the Alexa's native acquisition image.
There's a lot of legacy/known workflow tied around the Arri brand. They've been active within the scene forever and a day. They have a very established reputation.
Arriflex focuses on their IP in mainly serving the big budget players, and it's easy to surmise that a lot of the hype around their cameras is the level of focused support and aggressive marketing they offer big budget sets. I don't think that nessecarily translates to a price:quality ratio. The high pricing is simply because they can charge their demographoc more, then say they could wiith low budget/prosumer level.
Again, at the Hollywood level, inage quality is actually a diminished return. A lot of cameras can produce an "Alexa look" when you hire the right colorist if you understand the concept of crafting the image outside any given camera, which many a-list Hollywood DPs do, or eventually figure out.
I'm not saying the Alexa isn't a great camera. I am saying there's a lot of great cameras out there, too. I am saying that they're all an acquisition box if the final distribution looks considerably different than the respective camera's acquisition, which constitutes 99.9999% of big budget films spanning across multiple genres.
The Alexa actually presents most of its return around mid-budget sets in which the hired DP owns one and can charge back the cost to the film's producers, who would otherwise have to rent one anyway. Chances are the film doesn't have a lot of funds to spend on a professional Hollywood level colorist, so chances are good that the distribution will heavily retain Alexa's aquisition color science in the final distribution.
Generally, in the UA-cam world, the argument of image quality, color science, is a bit overstated. If you pit a comparison between an Alexa against most cinema cameras, including BMD on a very mundane, poorly crafted, innocuous scene, the differences are going to be very minimal, if not negligible to the eyes of a general audience. Yes, you'll see color shifts and differences in roll off, but it won't be a $70k difference. But when you're a big budget production, $70k is a drop in the bucket. Shit, that's likely the weekly charge for craft services. 😀 $70k is worth the reliability Arri has built into the Alexa line.
Conversely, BMD doesn't make a strong reliability claim, nor are they deeply rooted and entrenced with their clients and within the industry as a whole, at least on the camera side of their business, correct?
Don't get me wrong. I own 3 BMD cameras. For my level of filming/distribution, they make complete financial sense. Sometimes, I'm able to cost them back depending on the scope of a particular project, rather than the producer having to rent them from a rental house. I've never had a single client complain about the final image, quite the opposite. But I relate this more to my coloring skills than my camera's "skill".
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no body is talking about colorcove LUTs, are the best
I've never heard of them but I'll check em out. Thanks
@@ChristopherMichaelLaw you should while I have tested both on my BRAW and notice difference, if you want a cinematic look, go for colorcove and documentry/interview look go with phantom
영어를 몰라서 아쉽다 ㅠㅠ
Wrong!
Your volume is super low.
Is it, no one else has mentioned it? When I play it back it seems fine.
@@ChristopherMichaelLaw Maybe they listen on ear buds im on a iMac. It sounded really low here had to turn up quite a bit. If no one else thinks so, then its on me! Thanks for responding!
@@funfilm77 Yeah, no problem. Thanks for letting me know.
These don’t make any sense and you kind of explained my reasoning. Any Arri footage is going to be graded so they will never look like this. I don’t understand the point of starting with a palette that is not going to be used just so you can say it looks like Arri. It might make sense if you’re shooting with an Arri and something else but even then you’d likely convert both to 709 or 2020.
I get what you’re saying. If you’re going to heavily grade the footage then it’s probably not as useful. But If you’re trying to copy a movies grade that was shot on Alexa then it would be useful to have the same starting point as the filmmakers. Some movies have strong grades others have simple grades. Rec709 or 2020 are colour spaces relating to how much of the visible colour spectrum can be displayed but they won’t make cameras look the same. Many of the characteristics of how the camera reproduces colours will carry over.
People neeed to stop believing this crap, alexa are $60,000 cameras, you can not turn a blackmagic camera into a alexa or red with luts. When people say this it's funny. You can't turn a Honda into a Lamborghini so no this will not make blackmagic to an alexa.
I think you maybe misread the title. I left myself the wiggle room of adding "kind of" to the title. Obviously it can't match dynamic range, etc but the LUT's are about bringing the colour sciences closer together.