Thread: Desaturated shadows?

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  1. #91  
    Senior Member Christoffer Glans's Avatar
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    That's why Red has different rolloff versions of the transforms, in order to give that control while enable a standardized workflow. And this is only a problem if people use the settings version of input and output LUTs. Place them as a node and you have control over grading both before and after that node. This is the type of node based LUT workflow I'm trying to make as a replacement for using the Red LUTs. ACES is still not ready for prime use and the speed of using a node output LUT is much better than trying to balance a grade from scratch every time.

    The problem with LUTs is that people use them wrong. Use them right and they work great. I also don't really like "look" LUTs. The look is made in the grade, the LUT is there to create a specific transform to neutrality that speeds up making the creative grade. This is why I'm not a big fan of sales of "look" LUTs. Those that so many YouTube creators buy and just slap on their footage, usually a regular teal/orange look.

    So the problem I'm pointing at in this thread is that Red's own LUTs for IPP2 workflows are a bit flawed. Not in their mathematical precision, but in that they always force you to rebalance everything the same way every time before starting the creative part. And the green cast is a serious problem on set since it's not neutral. On Komodo this is an even greater problem since the transforms seriously push green as soon as it's not perfect 5600K white and bright.

    If the intention with the IPP2 LUTs is to speed up workflow, they don't really do that as they are right now. Both the desaturated lifted shadows and the green cast make them unusable as output LUTs without having an adjustment after it, which defeats the purpose of using it like that. It's basically closer to how Deakins works with Alexa. Instead of using some baseline defined by Arri, he made his own LUT that he uses all the time. Because of it he can work on set and in post with a defined look that will look the same throughout with minor tweaks. If the standard camera brand LUTs have problems we need either adjustments to the color science or make our own LUTs to use throughout the process. Doing mathematical adjustments manually is nothing anyone has time with, the creative part is the important part, which requires a neutral and working baseline.
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  2. #92  
    Senior Member Christoffer Glans's Avatar
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    I've made some more changes to the LUT so this is really the version before it. It still is going from 0% - 100%, but is a bit less contrasty. It especially counters a green cast and how shadows behave underexposed. Some shots look a little off due to the lower contrast, like the shot of the model being less contrasty, but I also used the most contrasty version of the Red LUTs so the medium one is a bit closer to mine. But there certainly is improvements when changing white balance and lowering luminance intensity. While the most extreme areas get "splotchy" by the nature of how R3Ds work, it doesn't really do that in color variances as much. As with the video showing this, the Red high/verysoft gets pink and green splotches moving around while just darkening the image at a neutral white balance.

    Both videos have the same RAW settings between them.

    Shadow behavior (I upped the saturation a bit so that it doesn't get drowned in compression)




    DXL2 with Red and new LUT

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  3. #93  
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    thanks for the updates
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  4. #94  
    Senior Member Christoffer Glans's Avatar
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    Tinkered with the LUT some more and I'm starting to arrive at a point where it's a really good and neutral place. Gonna start beta testing with it on real stuff as well.

    It also works on any other Red with very pleasing results.

    Red High/VerySoft



    CGLUT
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  5. #95  
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    very nice. would love to be able to try that lut out.
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