Been using these LUTS for everything as well. Very good but It would be awesome if they was available in Davinci Wide Gamut as well without having to convert them inside Resolve
Will the new Arri Look LUT be sold separately from the original 5 pack? Or if it will be added to the 5 Pack and the price stays the same, will those who purchased it before the new addition be able to get the new one for free?
These LUTs are a perfect example of someone making something for all the right reasons..from a place of pure love for the craft. That's why these are so great and work so well. Most LUT packs are garbage because it's a turn-and-burn operation. Thanks Joel for being obsessive!
Amazing interview, I been using Phantom Luts for 3+ years myself & never had an issue with them. Love how he listens to the requests of people & keeps making his luts for different camera systems. An amazing individual to support!
The interview was very interesting and the atmosphere was pleasant, relaxed and honest. I bought the luts and it really is by far the best I know of. I've made my own luts but after Phantom, there's little to do except go from there to get moods on a solid foundation. I have recommended them to everyone I know and they are delighted. I have also combined with other resources and the results are much better than starting with other fixes. Thanks for the video.
As a photographer getting into more video stuff, the Arri LUTs have been an UNBELIEVABLE help in getting good colors out of my Sony cameras. I obviously know the tools that are used for color grading, but that doesn’t mean I have the skills to get the results I want. Just like Lightroom presets, Phantom LUTs will never be a one click solution, but MAN... those beautiful colors and highlight rolloff get me excited to do the rest of the work so I can get the most out of each shot.
Awesome interview! The combo of the updated Sony color science, new sensor, having 10-bit color, and access to the Phantom LUTs gave me confidence that I could get a look that I wanted. Joel’s work with his LUTs sold me on the Sony system and jumping in with the A7SIII and have completely bought into the ecosystem.
Honestly, I've been using only Phantom luts without further color adjustment(maybe double check the skin tones). I shoot talking head-style stuff 90% of the time, and I'm just not bothered to spend more time on any of my projects; plus, the clients are always super happy. Great interview!
Phantom Luts are the best! I first found them while shooting Sony because one of my editing clients wanted me to use them on their work. But then I found myself using them on many of my own projects and realized, “dang I need to buy these for myself!” Now I’ve got them for my C70 and Mavic, and am looking forward to getting the Fuji ones when they come out. Stunning colors, and simple workflow so I always encourage people to pick them up. Plus, Joel is just an awesome dude, so it’s wins all around.
I can't thank Joel enough for creating the best and easy to use lut packs I've ever owned. I use it on almost every project till this day. Great interview Anthony, keep up with the great work
Just used your code for them. Recently picked up the Sony ZV-E1. Thank you for the recommendation, and thank you for showcasing how amazing these LUTs look!
Anthony... great discussion with Joel. I bought it because I'm just getting into filming /editing and decided I don't want to "F" around with attempting to duplicate. The Luts and Filmlooks are phenomenal. Was debating Dehancer but I moved to Japan and I'm so focused on learning Japanese, I don't have any mental bandwidth to learn anything else! I saw a couple of videos with Joel and appreciate his passion and skill set. Great value! Thanks for the video.
I remember loving these for my Komodo and for my XH2s. Did not realize they were also available for my S5iix. Just picked them up using your discount code. Thanks!
thank you so much for this video and the chat between you guys,.. ive watched a few videos but pulled the trigger after watching this one,.. just used your code btw, so I hope it works out on your end, cheers.
Thank you for the video. Quick question. When using SLOG3 and Phantom Luts do I need to convert the footage to Rec 709 first and then drop a phantom LUT on or can I just slap one directly onto the SLOG3 footage? Thank you I shoot on Sony A7IV and use Divinci Resolve 18
Hi there, can I use the Phantom Lut for F-Log (Not FLog2)? I saw that there is one for Fuji, but it particularly stated “XH2S”. I have XS10 with me… Was wondering if the lut is still applicable for camera below XH2S? Thank you!
Honestly, not too sure… I don’t use Fuji cameras so I could tell you, sorry! I do know that they all basically have the same sensor so you should be fine! I wouldn’t take my word for it though 😏
So glad I watched your video. Amazing Interview! I'm a new user of both the Panni + Phantom and phew I'm blown away. Keep up the great work on your channel. Would love to see more interviews like this and workflow / data management videos in the future. #RealTimeLut
Hi, Anthony, do you know if any of the existing Phantom LUTs will look good with files from the Nikon Z-series, or, if LUTs specific the Z-series are on their way from Joel?
I wish someone would do a more in depth video, like how to use the monitor videos and examples of the best white balance etc etc etc... Never seen any good videos on using the Monitor LUT's in a Monitor and real world situation
Hmmm not sure how a video would even be beneficial for that tbh. As monitoring LUTS you just expose by eye most of the time or use exposure tools and white balance is not specific to the LUT, that’s based on each and every scene… I may be misunderstanding
Such a great video!! I bought the Lut a few weeks ago but I still figuring out whether I need to color manage my log profile prior to putting the LUT or if should I just directly put the LUT? Because to be honest either of the two works in some situations. But would definitely know what is the right way. Thank you
Hi. can i set up phantom luts directly to the sony camera and film without adding the luts to any editing app like adobe premier or davinci resolve to get the same results?
Honestly not too sure about Sony cameras and in camera luts. Remember baking in a LUT for video is usually not a good move as you lose ALOT of flexibility in post production
I have tried the luts on slog 3 they looks good with a little to no work but applying to V log it’s a night mare. It takes so much time to correct the colors, I wouldn’t recommend it for Vlog unless the creator fixes it.
Neutral Lut is significantly better than the classic conversion lut from Panasonic. Love it. But it's a shame that the package doesn't include a .vlt version for monitoring in S5. Any advice on how to convert .cube to .vlt correctly? Thanks a lot
@@AnthonyRodriguezz I mean V-Log Assist in the camera. So that I can send the LUT to the monitor from the camera via HDMI or see it without it directly in the camera. To do this, I need a .vlt conversion, because the S5, unlike the S5II, can't read .CUBE :)
Hello thanks for the Video I have a canon M50 8 bit camera I managed to download CLOG on the camera from EOSHD instead of the cenistyle will the luts work on it.
Would anyone know if these LUTs work well applied to a Cinema DNG file, converted from ProResRaw on to my Ninja V from Sony A7s3 S-log footage? Could I apply same workflow, but using the camera raw sliders to make adjustments?
Are they noticeably better than just doing a Davinci colour managed workflow / a colour transform from slog3 to rec709? Or even from slog3 to arrilog to rec709
These aren’t merely Rec 709 conversions. If that were the case I’d just use a CST in davinci, which costs me nothing. It doesn’t put your camera into a different “color space” but it does match your cameras color to an Arri Amira and it does it exceptionally well!
@@AnthonyRodriguezz Thanks a lot for the answer. My gripe with that is that I can't control how much of the LUT I want in my picture, because it does the rec709 conversion. So if I go say 50% key on the LUT, I lose 50% rec709 conversion.
@@apocryphal_man it’s not a heavy grade so I’d be confident telling you to just use it at 100% and grade on top of it. Not too contrasty and for sure not over saturated
@@AnthonyRodriguezz the problem is they convert directly to 709 and you can't work in DaVinci Wide Gamut colorspace. This instantly becomes a problem the moment you want to grade something for HDR.
Did you just throw these different base LUTS on without any adjustment (around the 15 minute mark) or did you grade each LUT to your taste? I ask because each LUT example you showed was waaaaay more "subtle" than when I put them on my Canon R6ii footage.
Each camera reacts differently to the LUTs, especially the canon ones as they weren’t made specifically for each different sensor! Make sure you’re using the right LUT for the right log profile you’re shooting in and do your adjustments from there. The r6 mark ii would be clog3 Also, yes I do plenty of adjustment and grading. I use the LUTs as a starting point that gets me 80% of the way there for the look I’m going for 💪🏼
Awesome video. The LUTs look great. I'm a newbie, so sorry if this is a dumb question, but would these LUTs work in a color-managed workflow, DWG to DWG? Thanks.
@prasad chundi I will be making a color grading tutorial separately. That was not the purpose of this video! I will say though, you probably do not need to stress out about your color management settings in davinci and just use the default if.
I’m struggling to wrap my head around these LUTS - just bought an S5iiX, are these simply conversion based LUTs? Could I apply other grades on top of this? E.g Serr’s FilmVision PowerGrade or Gamut’s LUT packs?
@@AnthonyRodriguezz thank you! Look forward to it. There are so many LUTs out there and they often don’t come cheap, trying to work out which is the best
The s5ii and s5iix are basically the exact same camera minus a few extra features. Sensors/colors are not different so the LUTs should work perfectly with the s5ii as well. 👌🏼
Interesting!! I haven’t used them but I get curious when I see this. Do you use them within color space, transform and then add the film luts within that pipeline? Is that the way to work with these luts?
@@edielayland8211 probably because he doesn’t own the camera or plan to own it. Also, it’s a lot of work and might not be worth the ROI with the small Nikon filmmaking community
It should have somewhat of a close effect! What you can try doing is use a Color space transform in davinci and transform the Nikon footage to BMPCC color space and log curve
Color correction, contrast all of that! This is with any LUT that you use. I’ll be making a video on that at some point! I also do personal 1 on 1 color grading consultations as well where I look at your footage and walk you through what could improve and share personal tips!
Honestly, I can’t speak into the color fidelity because I haven’t used cinematch as much. But I do know cinematch takes a lot more processing power and takes much more time. The pros regarding cinematch is definitely that you have much versatility when it comes to cameras brand but also you’re stuck with one look instead of 11 with the phantom LUTs. I own both and prefer the phantom LUTs for 95% of my projects where I’m using different camera systems
@@AnthonyRodriguezz Cinematch converts from one log to another so you can still add one of Joel's luts following. This is how I use the Phantom FX6 Lut on footage from my drone and it looks great
@@andrewtaylor5103 so if I’m already using cinematch to convert my log footage to arri then the 709 conversion so do these luts take a log of a different camera to a arri 709 or stylized color space or if I have arri log footage could transform that to a 709 color space or stylized look
@@AnthonyRodriguezz finnicky? Not at all. I have a preset saved which converts from D Log to S Log 3 which gets dropped on the clip, then add Phantom FX6 lut after it (either on the clip or an adjustment layer). Then I use Cinematch's exposure and WB controls to get it in the right place
There is no specific LUT to get a moody dark look, sorry! I would stray away from those as it’s pulling down a lot of your exposure with a LUT. I’d just to it manually
@@AnthonyRodriguezz they aren't useable in DaVinci Wide Gamut. They covert from scene referred colorspace directly to display colorspace (709). This becomes problematic if you have to match cameras together then have to match a look.
Idk if I agree with you on that. That’s like saying everyone with an Arri camera(more than half of Hollywood) will have the same looking image. Or everyone shooting on Eastman film stock will have the same exact look.
Thanks for a great chat and review Anthony!
I'm flattered they're the best LUTs you've ever used :)
Means a lot.
It was a pleasure Joel! 🙌🏼
Been using these LUTS for everything as well. Very good but It would be awesome if they was available in Davinci Wide Gamut as well without having to convert them inside Resolve
Any chance of getting ACES and DWG versions of your film looks for HDR delivery?
Will the new Arri Look LUT be sold separately from the original 5 pack? Or if it will be added to the 5 Pack and the price stays the same, will those who purchased it before the new addition be able to get the new one for free?
These LUTs are a perfect example of someone making something for all the right reasons..from a place of pure love for the craft. That's why these are so great and work so well. Most LUT packs are garbage because it's a turn-and-burn operation. Thanks Joel for being obsessive!
Amazing interview, I been using Phantom Luts for 3+ years myself & never had an issue with them. Love how he listens to the requests of people & keeps making his luts for different camera systems. An amazing individual to support!
I agree!
The interview was very interesting and the atmosphere was pleasant, relaxed and honest. I bought the luts and it really is by far the best I know of. I've made my own luts but after Phantom, there's little to do except go from there to get moods on a solid foundation. I have recommended them to everyone I know and they are delighted. I have also combined with other resources and the results are much better than starting with other fixes. Thanks for the video.
Thank you! I appreciate the thorough feedback 🙌🏼
What a great guy Joel is. Just starting to play with the phantom luts and I’m so impressed and inspired.
I don't always use Luts, but when I do I use Phantom Luts. Stay neutral my friends.
Hahahaha!
Dos Equis 😎
As a photographer getting into more video stuff, the Arri LUTs have been an UNBELIEVABLE help in getting good colors out of my Sony cameras. I obviously know the tools that are used for color grading, but that doesn’t mean I have the skills to get the results I want. Just like Lightroom presets, Phantom LUTs will never be a one click solution, but MAN... those beautiful colors and highlight rolloff get me excited to do the rest of the work so I can get the most out of each shot.
They’re so good! Makes my workflow much easier
Amazing video ! These LUTs and the Osmo Pocket 3 plus DaVinci gave me the desire to start filming, before I was just a photographer.
Awesome interview! The combo of the updated Sony color science, new sensor, having 10-bit color, and access to the Phantom LUTs gave me confidence that I could get a look that I wanted. Joel’s work with his LUTs sold me on the Sony system and jumping in with the A7SIII and have completely bought into the ecosystem.
It’s crazy to think that a LUT could do that… 😳
I love Phantom Luts... I bought the Sony version about 2 years ago and the Red version a while back. They make any video look amazing!
I 100% agree
Honestly, I've been using only Phantom luts without further color adjustment(maybe double check the skin tones). I shoot talking head-style stuff 90% of the time, and I'm just not bothered to spend more time on any of my projects; plus, the clients are always super happy.
Great interview!
Good to hear!
I’m wayyyy too nitpicky and I’ve been learning to know when not to be with client work…
Phantom Luts are the best! I first found them while shooting Sony because one of my editing clients wanted me to use them on their work. But then I found myself using them on many of my own projects and realized, “dang I need to buy these for myself!” Now I’ve got them for my C70 and Mavic, and am looking forward to getting the Fuji ones when they come out. Stunning colors, and simple workflow so I always encourage people to pick them up. Plus, Joel is just an awesome dude, so it’s wins all around.
Love to hear it!
I can't thank Joel enough for creating the best and easy to use lut packs I've ever owned. I use it on almost every project till this day. Great interview Anthony, keep up with the great work
🙌🏼🙌🏼
Just used your code for them. Recently picked up the Sony ZV-E1. Thank you for the recommendation, and thank you for showcasing how amazing these LUTs look!
Sweet! Thank you for supporting the channel my guy 💪🏼
Anthony... great discussion with Joel. I bought it because I'm just getting into filming /editing and decided I don't want to "F" around with attempting to duplicate. The Luts and Filmlooks are phenomenal. Was debating Dehancer but I moved to Japan and I'm so focused on learning Japanese, I don't have any mental bandwidth to learn anything else! I saw a couple of videos with Joel and appreciate his passion and skill set. Great value! Thanks for the video.
Thanks for the feedback! I’m glad they were a plug and play solution for you 💪🏼
Great video! Cannot wait for the full tutorial on how you use them! Can't wait to get them when I get my s5ii :)
Thanks brother!
Eastman Kodak 5247 was used for some of the best films ever made, and some of the best looking...
Bingo!
I remember loving these for my Komodo and for my XH2s. Did not realize they were also available for my S5iix. Just picked them up using your discount code. Thanks!
Thanks man!
They’re super solid
the color on this video looks amazing
Thank you!
thank you so much for this video and the chat between you guys,.. ive watched a few videos but pulled the trigger after watching this one,.. just used your code btw, so I hope it works out on your end, cheers.
Thank you brother!
Thank you for the video. Quick question. When using SLOG3 and Phantom Luts do I need to convert the footage to Rec 709 first and then drop a phantom LUT on or can I just slap one directly onto the SLOG3 footage? Thank you
I shoot on Sony A7IV and use Divinci Resolve 18
You slap it directly onto slog3 footage. It’s a conversion LUT
I was about to comment the same question.. 😅 thnx..
@@nirvana4698 great minds haha
@@AnthonyRodriguezz thank you!
Hi there, can I use the Phantom Lut for F-Log (Not FLog2)?
I saw that there is one for Fuji, but it particularly stated “XH2S”. I have XS10 with me… Was wondering if the lut is still applicable for camera below XH2S?
Thank you!
Honestly, not too sure…
I don’t use Fuji cameras so I could tell you, sorry!
I do know that they all basically have the same sensor so you should be fine! I wouldn’t take my word for it though 😏
So glad I watched your video. Amazing Interview! I'm a new user of both the Panni + Phantom and phew I'm blown away. Keep up the great work on your channel. Would love to see more interviews like this and workflow / data management videos in the future. #RealTimeLut
Appreciate the support!
A color grading tutorial is coming soon!
These Sony luts work for Sony a7iv
Yes they do
Hi, Anthony, do you know if any of the existing Phantom LUTs will look good with files from the Nikon Z-series, or, if LUTs specific the Z-series are on their way from Joel?
He hasn’t made them for Nikon yet I don’t think
Nice interview and review! Just ordered using your discount code.
Thanks brother! 🙌🏼
Great video Anthony 👍🏼
Thanks!
I wish someone would do a more in depth video, like how to use the monitor videos and examples of the best white balance etc etc etc... Never seen any good videos on using the Monitor LUT's in a Monitor and real world situation
Hmmm not sure how a video would even be beneficial for that tbh.
As monitoring LUTS you just expose by eye most of the time or use exposure tools and white balance is not specific to the LUT, that’s based on each and every scene… I may be misunderstanding
Such a great video!! I bought the Lut a few weeks ago but I still figuring out whether I need to color manage my log profile prior to putting the LUT or if should I just directly put the LUT? Because to be honest either of the two works in some situations. But would definitely know what is the right way. Thank you
Thanks!
It’s a conversion LUT! So put it directly onto the log footage 👌🏼
@@AnthonyRodriguezz Thanks a LUT 😂! I really appreciate it a lot!
Hi. can i set up phantom luts directly to the sony camera and film without adding the luts to any editing app like adobe premier or davinci resolve to get the same results?
Honestly not too sure about Sony cameras and in camera luts.
Remember baking in a LUT for video is usually not a good move as you lose ALOT of flexibility in post production
Love these luts. Love this video.
🙌🏼 appreciate it!
They’re pretty great!
I have tried the luts on slog 3 they looks good with a little to no work but applying to V log it’s a night mare. It takes so much time to correct the colors, I wouldn’t recommend it for Vlog unless the creator fixes it.
You got the dedicated V-Log LUTs?
@@AnthonyRodriguezz yes the ones for Vlog from phantom website
Neutral Lut is significantly better than the classic conversion lut from Panasonic. Love it. But it's a shame that the package doesn't include a .vlt version for monitoring in S5. Any advice on how to convert .cube to .vlt correctly? Thanks a lot
You mean, yo monitor with an external monitor?
@@AnthonyRodriguezz I mean V-Log Assist in the camera. So that I can send the LUT to the monitor from the camera via HDMI or see it without it directly in the camera. To do this, I need a .vlt conversion, because the S5, unlike the S5II, can't read .CUBE :)
Hello thanks for the Video I have a canon M50 8 bit camera I managed to download CLOG on the camera from EOSHD instead of the cenistyle will the luts work on it.
It’s not meant for canon 8 bit from canon but it’s worth a shot 🤷🏽♂️
@@AnthonyRodriguezz if I did buy it I will let you know if it worked or not
Thanks!
Hi, do you think i can use them on my a6600 8bit slog2?
Yes! The Sony fx3 pack comes with slog2 LUTs
Just wondering, would it have been much of a difference if you used a CST from Clog to Slog and then use the Phantom Luts? Didn‘t try it tough.
Haven’t tried it!
Not sure if there’s much need nor do I think they were designed that way tbh
Would anyone know if these LUTs work well applied to a Cinema DNG file, converted from ProResRaw on to my Ninja V from Sony A7s3 S-log footage? Could I apply same workflow, but using the camera raw sliders to make adjustments?
Honestly not too sure!
What kind of worn are you doing?
Are they noticeably better than just doing a Davinci colour managed workflow / a colour transform from slog3 to rec709? Or even from slog3 to arrilog to rec709
Imo, yes.
Hi, I've bought the LUTs.
I hope you will make a video with more detailes about this LUTs.
Thank you!
Thanks brother!
I’ll be making a video on that in the near future
@@AnthonyRodriguezz I'm still waiting for that video. haha
All the best!
Hahaha a lot of corporate work came up!
That pays the bills a good bit more than UA-cam 😉
which color space are they in? i find luts that convert to 709 useless.
These aren’t merely Rec 709 conversions.
If that were the case I’d just use a CST in davinci, which costs me nothing.
It doesn’t put your camera into a different “color space” but it does match your cameras color to an Arri Amira and it does it exceptionally well!
@@AnthonyRodriguezz Thanks a lot for the answer. My gripe with that is that I can't control how much of the LUT I want in my picture, because it does the rec709 conversion. So if I go say 50% key on the LUT, I lose 50% rec709 conversion.
@@apocryphal_man it’s not a heavy grade so I’d be confident telling you to just use it at 100% and grade on top of it.
Not too contrasty and for sure not over saturated
@@AnthonyRodriguezz the problem is they convert directly to 709 and you can't work in DaVinci Wide Gamut colorspace. This instantly becomes a problem the moment you want to grade something for HDR.
Did you just throw these different base LUTS on without any adjustment (around the 15 minute mark) or did you grade each LUT to your taste? I ask because each LUT example you showed was waaaaay more "subtle" than when I put them on my Canon R6ii footage.
Each camera reacts differently to the LUTs, especially the canon ones as they weren’t made specifically for each different sensor!
Make sure you’re using the right LUT for the right log profile you’re shooting in and do your adjustments from there. The r6 mark ii would be clog3
Also, yes I do plenty of adjustment and grading. I use the LUTs as a starting point that gets me 80% of the way there for the look I’m going for 💪🏼
@@AnthonyRodriguezz Rockin. All that makes sense… I appreciate your time. Thanks Anthony! 🤜🤛
I don't own a cinema camera. I own a Canon 8bit DSLR and shoot with the Cinestyle Profile. Will these Phantom Luts work for me?
Unfortunately I don’t think so
Awesome video. The LUTs look great. I'm a newbie, so sorry if this is a dumb question, but would these LUTs work in a color-managed workflow, DWG to DWG? Thanks.
I would use davinci YRGB. They are conversion LUTs so you’d apply them directly to your log footage
Thank you for this !
Ofcourse!
Hey man, I’d like to see your workflow with these luts. I own the luts, I own dehancer, just want to learn what others are doing
I will be making a video on that soon! Stay tuned 😉
@prasad chundi I will be making a color grading tutorial separately. That was not the purpose of this video!
I will say though, you probably do not need to stress out about your color management settings in davinci and just use the default if.
Does he have a Davinci Wide Gamut version of his Eastman LUT?
I don’t think so! But honestly I’m not sure as I haven’t explored farther than just using the standard ones
@@AnthonyRodriguezz yeah, they are only usable on a one off environment. Anytime you need to tweak the footage in post, you can't.
@@mrshaheedmalik this isn’t true 😅
I tweak my footage every single time I use them like any other lut
Superb. Have u tried using these luts on the S5ii with the lut feature in camera. Does this work
Yes and yes!
I’m struggling to wrap my head around these LUTS - just bought an S5iiX, are these simply conversion based LUTs? Could I apply other grades on top of this? E.g Serr’s FilmVision PowerGrade or Gamut’s LUT packs?
They are conversions!
I’m actually releasing a color grading video this week using them
@@AnthonyRodriguezz thank you! Look forward to it. There are so many LUTs out there and they often don’t come cheap, trying to work out which is the best
@lewishague123 I’ve tried most and these are by the best imo. At least for the ones I’ve tried
I saw this video after I desided to buy S5iiX I buy Phantom luts , will we get Updates from phantom luts. 😊😊😊
The s5ii and s5iix are basically the exact same camera minus a few extra features.
Sensors/colors are not different so the LUTs should work perfectly with the s5ii as well. 👌🏼
Very nice guy, I like his attitude:)
He’s solid!
@@AnthonyRodriguezz Color matching LUTs is proof that they're really good.
@@tomaskonvicka4135 I didn’t post the whole interview but he really goes into his process of matching cameras and it’s REALLY extensive.
Hi, do we need to apply these post CST rec 709, or are they used straight from Vlog to rec 709 ?
They are Rec 709 conversion LUTs!
Interesting!! I haven’t used them but I get curious when I see this.
Do you use them within color space, transform and then add the film luts within that pipeline? Is that the way to work with these luts?
These are my CST
When will Joel have Nikon Z9 LUTs? Or should I buy the Canon LUTs and try them on my Z9 footage? I'm new to this, I have no idea what to do.
I don’t think he’s going to be making Nikon LUTs… sorry! 😭
Why wouldn't he? He built LUTs for the DJI Mavic 3, which I have. The Z9 is a great camera. @@AnthonyRodriguezz
@@edielayland8211 probably because he doesn’t own the camera or plan to own it.
Also, it’s a lot of work and might not be worth the ROI with the small Nikon filmmaking community
Okay, thanks. I'll try using my BMPCC phantom LUTs on my Z9 footage. Maybe it'll work somewhat.
@@AnthonyRodriguezz
It should have somewhat of a close effect!
What you can try doing is use a Color space transform in davinci and transform the Nikon footage to BMPCC color space and log curve
what are the first steps before apllying the Phantum Lut?
Color correction, contrast all of that! This is with any LUT that you use.
I’ll be making a video on that at some point! I also do personal 1 on 1 color grading consultations as well where I look at your footage and walk you through what could improve and share personal tips!
Would it work with GH6 Vlog?
Not sure the difference in color between the gh6 and s5/s1h but I’m pretty sure it would!
How do you expose for these LUT's? Do you use zebras?
Depends on the camera but most of the time I’m using either false color or waveforms
But honestly if I’m using a good monitor I’m just eyeballing it
What do you think the biggest difference is between using something like cinematch and converting lufs to the phantom
Honestly, I can’t speak into the color fidelity because I haven’t used cinematch as much.
But I do know cinematch takes a lot more processing power and takes much more time. The pros regarding cinematch is definitely that you have much versatility when it comes to cameras brand but also you’re stuck with one look instead of 11 with the phantom LUTs.
I own both and prefer the phantom LUTs for 95% of my projects where I’m using different camera systems
@@AnthonyRodriguezz Cinematch converts from one log to another so you can still add one of Joel's luts following. This is how I use the Phantom FX6 Lut on footage from my drone and it looks great
@@andrewtaylor5103 never tried that! Does it work well?
I feel like it’d be finnicky
@@andrewtaylor5103 so if I’m already using cinematch to convert my log footage to arri then the 709 conversion so do these luts take a log of a different camera to a arri 709 or stylized color space or if I have arri log footage could transform that to a 709 color space or stylized look
@@AnthonyRodriguezz finnicky? Not at all. I have a preset saved which converts from D Log to S Log 3 which gets dropped on the clip, then add Phantom FX6 lut after it (either on the clip or an adjustment layer). Then I use Cinematch's exposure and WB controls to get it in the right place
can you apply these in davinci resolve?
Yes
Can we use a7siii phantom luts for a7iv?
It would work! Just not a perfect match as the a7IV has SLIGHTLY different color science than the a7siii
Could I use these luts on Sony a7iii, slog 2?
Yes. They have a LUT that works with slog2 included in the a7siii pack
Do the Phatom luts contain any lut to get a moody dark look ?
There is no specific LUT to get a moody dark look, sorry!
I would stray away from those as it’s pulling down a lot of your exposure with a LUT. I’d just to it manually
Does phantom luts works with LUMIX S5ii???
I would love to use it
Yes! He has lumix s5ii LUTs included in the Panasonic pack
@@AnthonyRodriguezz can I use those Panasonic LUTs with the G9ii? It's not listed on the page but it's v-log...so maybe?
Can you use these for the Real Time Lut in the S5iix?
Yes! I do it all the time 💪🏼
@@AnthonyRodriguezzI put them on my camera and I’m so excited about it! Looks incredible.
Whenever I use the luts, I realize that the contrast is a little too strong for me on my A74.
Haven’t had that issue!
You’re using them with slog3 and cine.gamut
@@AnthonyRodriguezz Yeah I’m using it. I think it’s more of my personal taste on the contrast for me.
@@AnthonyRodriguezz Would this be the same as the S-Gamut3.Cine.S-log3 on the FX30?
Tbh I’ve never had any contrast issues and I actually like my images a little less contrasty, especially with Sony footage.
can you use these luts baked in ?
Depends on your camera
@@AnthonyRodriguezz the s52 ?
Yes but unless you’re delivering the footage to somebody there’s no real benefit for video
Hi where can I find the 15% off coupon
The link in the description and use the code “Anthony”
@@AnthonyRodriguezz thanks
These are rec709 lut only?
What do you mean by that?
@@AnthonyRodriguezz DWG WOULD BE AUSOME
@@AnthonyRodriguezz they aren't useable in DaVinci Wide Gamut. They covert from scene referred colorspace directly to display colorspace (709). This becomes problematic if you have to match cameras together then have to match a look.
Lumix s5II are ausome
Yes!
The takeaway here is learn color science & the ability to create your own LUTs.
How’d you deduct that? Just curious
@@AnthonyRodriguezz knowledge is power.
Time is money 👀
@@AnthonyRodriguezz exactly. Teach a man to fish...
with these luts you have the same look like everyone else lmao
Idk if I agree with you on that.
That’s like saying everyone with an Arri camera(more than half of Hollywood) will have the same looking image. Or everyone shooting on Eastman film stock will have the same exact look.
"anthony" doesn't work bro ...
Lol what doesn’t work?
If you likes to share make them free
1. They are not my LUTs
2. I don’t think you’d say that about all the other things that cost money 🤷🏽♂️ same applies here
I hallucinate people who think of saying such stupidity, I guess I don't have to add anything else.