Thanks for offering your Fuji LUT, Cullen. Much appreciated! I shot Fuji color negative for years and remember the green bias (compared to Kodak) that you have captured so nicely in the LUT. It’s a great addition to my CKC toolkit.
Looking back at my career in Film... A DP would frequently made the choice between Kodak and Fuji Negative Stock based on color reproduction. Fuji being more "pastel". Thank you for giving us this option once again...
Wow! Thank you so much Cullen! You are the best there is at this game! Hopefully on a project in the future we can get you to grade our stuff! That would be so gr8! Gunna check ur site for prices for the future!
You are the best man thank you so much for making these videos! Im still learning and I feel like I finally found someone who gets straight to the point and I can trust.
Awesome! I always wondered why the Fuji LUT didn’t get some love from Cullen. Thank you for making this available to us, and always with thoughtful deliberations
Hey Cullen, fantastic video. Thank you so much for sharing all your knowledge and experience with us. I was just wondering if you have every used the "Filmbox" film emulation plugin in your projects?
Definitely an interesting video, Fuji is very overlooked. I would note that the Kodak 2383 D55 and the rest of these Kodaks that are in Resolve are designed for daylight, so they don't work well in night scenes. I know the philosophy of creative LUT is macro level use, but even then they used different materials depending on the situation.
Thank you for sharing all this amazing information! Would it be possible to have a video dedicated to display calibration (hardware, software, viewing environment and best practices)? Keep up the amazing work!
Thank you! We cover display calibration in the Colorist Career Accelerator course (CCA). You can stay in the loop with dates for the course via the newsletter you can sign up for via a link under any of my videos.
If you built the LUTs for DWG would you not have set the contrast pivot of middle grey for DWG? And if so would then adjusting the contrast on the clip level on the ratio of .435 ( default ) pivot not be incorrect? It seems to pull the contrast with a smooth curve that the same pivot point should be applied. And in DWG according to your cheat sheet - is .336 for the pivot. I know it's splitting hairs but seems like being technically correct should be what we try first and then if it doesn't look right - try other things.
Looks great. If I learn half as much from this LUT, as I have from the 2383, it'll be a game changer. Pleasantly surprised at how much it stands apart from the other film profile. ____ For shots that it wasn't automatically "suited" towards... I found it was easily brought closer in-line with the 2383, without having to slam the contrast; by adding a Lum vs Sat curve, and a slight HK effect (VAC / inverted VCC).
Just when I needed it! This past week I've been diving into your channel to get a quickstart guide on color grading to prepare for the editing of my first short film, and so far it's been great. I really connect with your ideas and your way of approaching color grading on a more simple and photographic way. Just one quick question, halation is a topic you haven't talked about yet, so if you were to use it, where would you place it in your node graph? I assume it's on the timeline level and just before the grain, but just to be sure
Hey! He does have a video on the whole pipeline of film emulation where he touches on it: ua-cam.com/video/RGr4EVJRE_Y/v-deo.html Short answer: you're spot on. Just before the grain on the timeline level. Hope this helps :)
Great question! One of the characteristics of a traditional film print is that big swooping s-curve, providing strong contrast and big roll-offs. You might try reducing some linear contrast at the clip level. Even if exposed correctly, the acquired ratios might not always work when paired with the strong contrast curve of a film print.
Thanks for this! Love your quality LUTs! I like what it does to the contrast, but not really a fan of what it does to shift lighter skin tones toward green... Messing around with it already, I feel like I have to balance toward magenta which may defeat the point of the color shifts... or maybe I'm just not familiar with 3510 enough to appreciate it yet lol
I sometimes mix Nelvana and the 3510 at the same time, is that too much? What is happening scientifically in your luts? I use Bmpccgen5 to dwg then dwg to rec709, the sandwich
The Lut looks amazing and very grateful its free. A pro colourist giving away a free lut and showing how to use is it fantastic and rare. Can someone tell me the colour management for a Bmpcc4k for the Davinci Wide gamut using this Lut. I would be very grateful. Thanks !
over the years I’ve seen examples of folks transforming their footage from Rec.709 to LOG, grading then transforming back into Rec.709. Can you share some insight on this matter?
Thanks for the content you provide. Really appreciate it. Where is it possibile to get some of the footage you use in your videos to practice? Maybe it has been said already, so im sorry if its a question already aswered somewhere else
Good question! The different camera manufacturers provide a bunch of free test footage on their websites. There's also two very good paid resources that are worth checking out, RawFilm and Artgrid.
Hi Cullen. A big fan of your work. I'm always confused about the best color grading process for UA-cam. As you know, UA-cam uses VP9 encoding for 2K & 4K and the videos look good in that resolution. But my videos look garbage when played on 1080p or lower (which is the default resolution for most people). Are there any good workflows for getting the absolute best video on UA-cam?
Awesome content. But how do I integrate Rec709 LUTs into my DWG managed workflow? Would applying: CST from DWG to Rec709 > LUT > Rec709 back to DWG work? Or am I compromising on something here.
Thanks for the LUT Cullen! Unrelated color management question: if we compare our usual CSTs of log c > dwg > rec 709 vs a CST going straight from log c > rec 709, why do we get a slightly different reproduction (most noticeable in bright high saturation colours). Why aren't the results pure 1 to 1?
Hard to say exactly without seeing how it's being implemented. But a pure transform with a cst from LogC to 709 compared to a cst from LogC to DWG to 709 should yield a very similar result.
@CullenKelly oh for sure... it's like 99% the same and of basically no significance... just ever so slightly different in some high sat colours... you can see the difference in the scopes on the Isabella colour chart.
Just tried the HSV trick but it breaks my braw pretty easily and I see noise patterns. This is with gain or gamma wheel adjustments. Have you noticed this and what can we do do ensure the image doesn't fall apart?
1. make sure your color management is correct 2. enable Gamut Compression in camera raw setting 3. turn off channel 1 and 3 on the hsv node if everything correct it shouldnt break
@@eleven9189 I'm in color managed DWG project color space and works perfect with my braw, gamut compression on/off has no effect, I disabled channel 1 & 3. No luck. If only we had some form of blur or feathering option on anything other than qualifier, I think we could get cleaner results with techniques like this.
Do you mind explaining what the HSV trick is doing as oppose to just boosting saturation? I feel like you mentioned it in a prior video, but cannot remember which one.
It adds "saturation" in a different manner - saturation slider makes the colors more colorful and bright, HSV "saturation" channel makes the colors more colorful and dim. This better aligns with our perception of colors in real world.
Great question! It all depends on the design of the LUTs but also your creative intent. If say you have something meant to emulate Kodak 2383, you probably don't want to have another film emulation LUT over it as it may end up looking unlike what you want. Say you use something like my Voyager LUTs which are designed to be paired together, you are less likely to have funky things happening in your image.
Thank you Cullen, also it was great being part of the Summer CCA course!
Thanks for offering your Fuji LUT, Cullen. Much appreciated! I shot Fuji color negative for years and remember the green bias (compared to Kodak) that you have captured so nicely in the LUT. It’s a great addition to my CKC toolkit.
Thanks Professor C. Again...another contribution to the community that we can actually use. We, the Community, have MUCH LOVE for our Professor C.
Looking back at my career in Film... A DP would frequently made the choice between Kodak and Fuji Negative Stock based on color reproduction. Fuji being more "pastel". Thank you for giving us this option once again...
Wow! Thank you so much Cullen! You are the best there is at this game! Hopefully on a project in the future we can get you to grade our stuff! That would be so gr8! Gunna check ur site for prices for the future!
You are the best man thank you so much for making these videos! Im still learning and I feel like I finally found someone who gets straight to the point and I can trust.
Awesome! I always wondered why the Fuji LUT didn’t get some love from Cullen. Thank you for making this available to us, and always with thoughtful deliberations
My head is still spinning from CCA! Thank you for the amazing and passionate work as always Cullen!
wise word as always...thank you for sharing your approach to colour grading
Always excited for a new CKC LUT 🔥
Hey Cullen, fantastic video. Thank you so much for sharing all your knowledge and experience with us. I was just wondering if you have every used the "Filmbox" film emulation plugin in your projects?
Thank you for the Fujifilm film print lut!!!!!
Definitely an interesting video, Fuji is very overlooked. I would note that the Kodak 2383 D55 and the rest of these Kodaks that are in Resolve are designed for daylight, so they don't work well in night scenes. I know the philosophy of creative LUT is macro level use, but even then they used different materials depending on the situation.
Thank you for sharing all this amazing information! Would it be possible to have a video dedicated to display calibration (hardware, software, viewing environment and best practices)? Keep up the amazing work!
Thank you! We cover display calibration in the Colorist Career Accelerator course (CCA). You can stay in the loop with dates for the course via the newsletter you can sign up for via a link under any of my videos.
Thanks a lot again for sharing this one!
If you built the LUTs for DWG would you not have set the contrast pivot of middle grey for DWG? And if so would then adjusting the contrast on the clip level on the ratio of .435 ( default ) pivot not be incorrect? It seems to pull the contrast with a smooth curve that the same pivot point should be applied. And in DWG according to your cheat sheet - is .336 for the pivot. I know it's splitting hairs but seems like being technically correct should be what we try first and then if it doesn't look right - try other things.
Looks great. If I learn half as much from this LUT, as I have from the 2383, it'll be a game changer. Pleasantly surprised at how much it stands apart from the other film profile.
____
For shots that it wasn't automatically "suited" towards... I found it was easily brought closer in-line with the 2383, without having to slam the contrast; by adding a Lum vs Sat curve, and a slight HK effect (VAC / inverted VCC).
Great look!
Thanks for this piece 🙏🏾
Just when I needed it! This past week I've been diving into your channel to get a quickstart guide on color grading to prepare for the editing of my first short film, and so far it's been great. I really connect with your ideas and your way of approaching color grading on a more simple and photographic way. Just one quick question, halation is a topic you haven't talked about yet, so if you were to use it, where would you place it in your node graph? I assume it's on the timeline level and just before the grain, but just to be sure
Hey! He does have a video on the whole pipeline of film emulation where he touches on it: ua-cam.com/video/RGr4EVJRE_Y/v-deo.html
Short answer: you're spot on. Just before the grain on the timeline level. Hope this helps :)
the dwg 2383 always looks super contrasty and dark when i apply to a peefectly exposed image, tips?
Great question! One of the characteristics of a traditional film print is that big swooping s-curve, providing strong contrast and big roll-offs. You might try reducing some linear contrast at the clip level. Even if exposed correctly, the acquired ratios might not always work when paired with the strong contrast curve of a film print.
@@CullenKelly awesome thank you
Thank you CK
Thanks for this! Love your quality LUTs! I like what it does to the contrast, but not really a fan of what it does to shift lighter skin tones toward green... Messing around with it already, I feel like I have to balance toward magenta which may defeat the point of the color shifts... or maybe I'm just not familiar with 3510 enough to appreciate it yet lol
Hi Cullen. Great work as always. Thank you for sharing your work. The link seems to not work anymore. Is it expired?
Thank you!
what’s the different between using the HSV and LAB option on a node?
I sometimes mix Nelvana and the 3510 at the same time, is that too much? What is happening scientifically in your luts? I use Bmpccgen5 to dwg then dwg to rec709, the sandwich
Cullen, do you keep your Key Output at 1.0 and then grade at the clip level or adjust the Key output to your liking and then grade at the clip level?
The Lut looks amazing and very grateful its free. A pro colourist giving away a free lut and showing how to use is it fantastic and rare. Can someone tell me the colour management for a Bmpcc4k for the Davinci Wide gamut using this Lut. I would be very grateful. Thanks !
if i use color space management transform (cts in and out) where i should put the lut and what output gamma i shoul use in cst out node?
over the years I’ve seen examples of folks transforming their footage from Rec.709 to LOG, grading then transforming back into Rec.709. Can you share some insight on this matter?
Thank you🙏
Thanks for the content you provide. Really appreciate it.
Where is it possibile to get some of the footage you use in your videos to practice?
Maybe it has been said already, so im sorry if its a question already aswered somewhere else
Good question! The different camera manufacturers provide a bunch of free test footage on their websites. There's also two very good paid resources that are worth checking out, RawFilm and Artgrid.
Thanks
Hey Cullen, i just wanted to join the Waitlist for the Course but i couldn’t confirm my email. It just said: page not found
Hi Cullen. A big fan of your work. I'm always confused about the best color grading process for UA-cam. As you know, UA-cam uses VP9 encoding for 2K & 4K and the videos look good in that resolution. But my videos look garbage when played on 1080p or lower (which is the default resolution for most people).
Are there any good workflows for getting the absolute best video on UA-cam?
how to apply the Kodak 2383 when using ACES color space ?
Awesome content. But how do I integrate Rec709 LUTs into my DWG managed workflow? Would applying: CST from DWG to Rec709 > LUT > Rec709 back to DWG work? Or am I compromising on something here.
Thanks for the LUT Cullen! Unrelated color management question: if we compare our usual CSTs of log c > dwg > rec 709 vs a CST going straight from log c > rec 709, why do we get a slightly different reproduction (most noticeable in bright high saturation colours). Why aren't the results pure 1 to 1?
Hard to say exactly without seeing how it's being implemented. But a pure transform with a cst from LogC to 709 compared to a cst from LogC to DWG to 709 should yield a very similar result.
@CullenKelly oh for sure... it's like 99% the same and of basically no significance... just ever so slightly different in some high sat colours... you can see the difference in the scopes on the Isabella colour chart.
Just tried the HSV trick but it breaks my braw pretty easily and I see noise patterns. This is with gain or gamma wheel adjustments. Have you noticed this and what can we do do ensure the image doesn't fall apart?
1. make sure your color management is correct
2. enable Gamut Compression in camera raw setting
3. turn off channel 1 and 3 on the hsv node
if everything correct it shouldnt break
@@eleven9189 I'm in color managed DWG project color space and works perfect with my braw, gamut compression on/off has no effect, I disabled channel 1 & 3. No luck. If only we had some form of blur or feathering option on anything other than qualifier, I think we could get cleaner results with techniques like this.
Do you mind explaining what the HSV trick is doing as oppose to just boosting saturation? I feel like you mentioned it in a prior video, but cannot remember which one.
It adds "saturation" in a different manner - saturation slider makes the colors more colorful and bright, HSV "saturation" channel makes the colors more colorful and dim.
This better aligns with our perception of colors in real world.
@@Fedor_Dokuchaev_Color Thanks! :)
Wait. What was the secret tip?
I cant seem to find v2 of the 2383 lut? Is it in circulation somewhere?
Try this link! procolor.ist/freelut
thanks, did Colloid Website Expired?
Could or should we use two different film emulation LUTs in one project? If some shots do better with one LUT and other shots with another?
Great question! It all depends on the design of the LUTs but also your creative intent. If say you have something meant to emulate Kodak 2383, you probably don't want to have another film emulation LUT over it as it may end up looking unlike what you want. Say you use something like my Voyager LUTs which are designed to be paired together, you are less likely to have funky things happening in your image.
Where can I download this Arri reference footage/image in LOG?
You should be able to find the Arri test images directly from their site!
Cullen. Sell merch Tshirt "These Lutz" patent it. 😆