3 LUT myths + Why do Hollywood LUTs work better?

There's a simple reason Hollywood gets better looks using LUTs, and it's not for the reason you might think.
You'll also learn about:
• Camera LUTs
• How to make sure you're using the right LUT for the right job
• Why Hollywood always uses LUTs (and why they always look so damn good)
See you in the video.
P.S. LUTS in the video are below.
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Get my free Kodak 2383 film print LUT for DWG and ACES here:
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Get my free Fuji Film LUT here:
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Start creating your own studio-quality show LUTs, camera LUTs, and LUT packs with my pro look design plugin Contour (free trial available): procolor.ist/c...

[@AllThingsFilm1]

Thank you for the LUTs and this walkthrough. Q: When creating a viewing LUT to install in the camera, do you create a 33 cube or 65 cube LUT?

[@GeezerStray]

Has to be 33, most cameras can't take a 65 cube.

[@xplodingminion2029]

Where could I go if I’m interested in creating LUTs that like you mentioned are able to do things not possible in resolve?

[@mahdiahmadzade9190]

It's also my question!

[@dukebozikowski3801]

He makes an awesome course on TAC Resolve training

[@ema.colorg]

I think the problem is the sale of luts. People buy them without knowing how they were made and then expect their footage to look identical.

[@bigsnap5]

Reliable in camera viewing LUTS are in very short supply. Cullen would you consider creating LUT packs for in camera viewing in the future?

[@MarkRay84]

You should be able to export the same Luts is 33 for the monitors or cameras.

[@mohamadali2066]

In one of your very early videos you have shown a way to separate the contrast and the color effect of the lut into 2 different nodes using layer mixer and compositing mode can you please explain it again soon or send me the video which I couldn’t find, also is there a different method since BDM added compositing mode per node?

[@focuspulling]

Emphasis on LUTs is misleading; LOG is the fulcrum of any such debate/discussion, of course. "Look Up Table" literally means precise conversion BACK to reality, using one and only one mathematical formula keyed to a specific camera and shooting mode: it's reverse-engineering to reality with only one allowed result. Your notion of a hybrid LUT tries to interpolate the creative tweaking process into the reverse-engineering pipeline. But AFTER conversion, as a discrete stage (not a LUT), we sometimes, but not always, starts with a faux LUT file that stacks on a vague look. We proceed from there...

[@m1nt9reen]

Eh?

[@VernardNuncioFields]

I like big LUTS and I cannot lie!

[@TubeSilva]

Do productions use more than one viewing lut since scenes in a film are not all identical. For example, indoors, outdoors, night, etc?

[@OlegUstimenko]

Depends on the project. The last movie I was a DIT on, there was a separate lut for night scenes that raised the black levels.

[@frankinblackpool]

Using a Viewing LUT can have strange results with prosumer kit. With my Panasonic camera using a Log colour profile, I can and do use a Viewing LUT created by and distributed by Panasonic to replicate a Rec 709 colour space when I use my camera. The camera knows how to use the LUT and compensates the Waveform to give good exposure when filming. Contrast that with a field monitor by Atomos Ninja. The Atomos also allows me to use a viewing LUT and lets me use the Waveform to expose my shots. BUT. And it’s a very big but, the field monitor does NOT compensate the difference between exposing correctly for LOG and using the viewing LUT and this results in incorrectly exposed footage, better known as a day wasted. I’m not a professional, and am probably not sing viewing LUTs ncorrectly through user stupidity, but I’d rather look at a washed out LOG colour profile when filming, knowing that I have the exposure nailed. And, more importantly, I can visualise the end result. I just wish clients could visualise end results too, it would make life much more simple.

[@mohamedashfaq9167]

❤