Peter

Film Stock LUTS

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There's a lot of LUTS available, both free and paid. Many claim to be accurate but does anyone know which are the closest to emulating actual film stocks? Resolve has it's 'film look' LUTS for Kodak and Fuji. When shooting with film, there is both the camera negative stock itself and then print stock to consider. I'd love to hear any thoughts people have.

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I think, free 2383 LUTs from light illusion and davinci resolve LUTs are more than enough for that purpose.
But Steve Shaw (from light illusion) says, Koji LUTs are may be most accurate print emulation LUTs on the market.

But you still may want to fix yellowish green color.

Edited by Anton Meleshkevich

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Do the Koji LUTS work in Resolve? The website seems to only mention PPro, FCPX and AE. I've been using Impulz LUTS and find they do a reasonable job.

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also check out FilmConvert (www.filmconvert.com). You can get 10% off with promo code LOWEPOST too.

(disclaimer: I work for FilmConvert :) but our film stock emulations are also really good)

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Hi John, since you work for them, I would love to know how they're created. As in, do you physically have the film stocks there that, through some process, you're able to accurately reproduce the way they work or is it more a guess work to get them to have similar characteristics of the stock? Does that make sense or am I being confusing? :)

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Hi Peter. Yes, we have shot rolls of all of our film stocks in a controlled studio environment, so we have the print density emulations as our targets. We also profile each digital camera, down to the camera model and specific picture style, so we can create an accurate transform between the camera footage and the target film stock.

We have a free, fully functional trial version of the software available at www.filmconvert.com/download that you can try out - all the film stocks are enabled, and the camera profile packs are free to download as well.

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Thanks for the info. I'll check them out ;)

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(edited)

@John Parker do you plan to release a version without print film emulation or with ability to disable it?

Also do you still don't know, what exactly print film was used? Filmconvert support says me, they only know the lab name, but not the name of print film you have used.

Seems like it is definitely not 2383. However blue color doesn't look like on 2383.

Edited by Anton Meleshkevich

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We have 19 different film stocks in the plugin, each one was profiled separately so they all have the individual characteristics of that film stock.

We're planning an update to the software in the near future that will enable the original Cineon log scans to be used, instead of the projected film simulation. This will keep the flavor of the film stock but give more power and flexibility in grading.

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On 10/9/2018 at 6:04 AM, John Parker said:

We're planning an update to the software in the near future that will enable the original Cineon log scans to be used, instead of the projected film simulation. This will keep the flavor of the film stock but give more power and flexibility in grading.

Sounds great, thank you for listening ;)

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@John Parker How does filmconvert compare to other emulation plugins like colourlab in your opinion? Or is it just matter of more options and choice but not the output for given same parameters?

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On 11/2/2018 at 11:33 AM, Maria Karanam said:

@John Parker How does filmconvert compare to other emulation plugins like colourlab in your opinion? Or is it just matter of more options and choice but not the output for given same parameters?

We don't know much about how Colourlab develop their film emulation, but FilmConvert is available to the public, whereas they have a members-only policy :)

FilmConvert's emphasis is on getting fast, usable results straight out-of-the-box with our camera profiles, so it's a good choice for jobs which require a quick turnaround, look visualization or on-set LUTs. The camera profile -> film stock matching also means FilmConvert can be used as a good camera matching tool for projects with footage from multiple camera sources, but we're also working on a new tool called CineMatch (www.cinematch.com) which is going to improve camera-matching accuracy too.

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Here is a Powergrade I created that emulates 2383 that you can play with: https://www.dropbox.com/sh/wda8sf4xdg3mpwz/AABKKXxahWBMFoIv7X0zQ4_Ca?dl=0

You might find this interesting: https://mixinglight.com/color-tutorial/creating-western-color-grade-look/

Here is a link to Juan Melara's 2383 video.  Scroll down for a link to the Powergrade download.

 

Here is a link to the Powergrade: http://juanmelara.com.au/store/kodak-2383-powergrade

 

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