Bryan Tran

I never had much luck with Arri's film style matrix, but I tried using the RGB mixer in YUV mode and this is the best I could get: Alexa adjusted with RGB mixer in YUV mode, +20 saturation in raw tab, white balanced to gray patch on chart Kodak Vision3 250D 5207 (white balanced) Here are my RGB Mixer settings if you would like to try them, but they don't seem to work well on other shots.

I've noticed this too. I think what we're seeing is caused by the difference between the color rendition of film negative and digital. I applied the Light Illusion 2383 LUT to test images from https://cinematography.net/Valvula/valvula-2014.html. All I did was match contrast and add saturation to the Alexa footage before the LUT. Kodak Vision3 250D 5207 Arri ALEXA XT Here's the same two images white balanced to the gray patch on the color chart. Kodak Vision3 250D 5207 (white balanced) Arri ALEXA XT (white balanced) Converting ALEXA Wide Gamut to Rec709 cools the greens a bit, but still doesn't come anywhere close to the film. If any experts could chime in, please do!

Thank you Mitch! That's really helpful, but I have a couple of questions. What is "log scene exposure" and "balanced log Cineon CV input"?. Please forgive my ignorance, as I'm just a film student. Also, I've noticed yellowish greens from 2383 LUTs as well. Even with the LUT provided by Light Illusion, which is based on data from a highly accurate spectrophotometer and densitometer. Maybe @Steve Shaw can chime in? I remember watching Dunkirk in 70mm and seeing "green" greens, in fact, very blueish greens, in the beginning. So I was wondering why I can't seem to get the same with these print LUTs. I know I shouldn't be using LUTs anyway, but besides the yellowish greens, I love the way footage looks when grading under a PFE LUT. I'm rambling, but thanks again, Mitch!

I'm also curious about this. I thought I was the only one who noticed this because no one else has said anything about this online until now.