3D LUT and Look Design

Ok so today I am launching an updated website, Ive got a new logo which I’m much happier with but more importantly I’ve added a section to include a new service. Grading, 3D LUT and Look design

So what does this mean. I’ve decided I’m going to open up some of the work I do on my own Cinematography to the public, if they want to avail of it. These days colour management is so important and with budget and time constraints it can easily get swept aside but colour effects how your clients and viewers perceive and feel about your work. This applies to all audio visual projects from features to adverts, music videos, docs, anything.

All cameras have a ‘look’ or ‘LUT’ (look up table) that they apply to the footage they shoot. It’s one of the reasons people will argue for one camera over another. However the majority of cameras these days give you the ability to shoot in RAW which is a flat image with no ‘look’ on it, the reason people shoot in Raw is because it gives you more options in post including more ability to control the look of the image. You don’t want your end product to look like everyone else’s.

A Show LUT is a single LUT designed to control the look of a film, TV show or whatever project you are doing. It is used on set to monitor the colour and look of your production and insure your look is consistent. It is then used in post as the basis for your grade.

For Camera people there are plenty of LUT packs that you can buy out there but they’re generally a ‘one size fits all’, they tend to not give you really good film stock emulation or truly get the look you want. I can design custom LUTS based on the camera you are shooting on and catered specifically to the look you want.

The way this process works is that you will come to me looking for a look, LUT or colour space designed for your project. I will talk to you about the look you are going for we will discuss the tone and feel of the project, reference images and intended delivery.

I will then present it to you in the following format:

If you are at the point that you are just building your pitch or presentation these are a great addition to you look book.

Once we work out any tweaks or changes to the look I will then reissue this presentation along with the reference images and two .cube files, a 65 and a 33. (The 33 is for uploading to your camera and monitors for on set monitoring and the 65 is only for post as 65 is too big a file for on set monitoring but they are the same LUT)

It is important to have a LUT that is 100% correct because it needs to give you the look that you want without effecting the exposure of the camera.

This is a process I use for every project I shoot and it really does make a difference.

If you have any questions or queries email me at fionagraham@singlecellfilms.com

Upgrading My Grading

grading wheels, colour wheels, davinci
Colour Grading Wheels

Ok so my last blog post got deleted so ill try to rewrite it as was, with a few minor corrections,

So With Covid slowing everything down I’ve decided to to take a course while I still have the time. This time I’ve decided to go with the ‘Summer Looks Academy’ with https://www.colour.training/ taught by Dado Valentic.

I first met Dado in London at a REDucation course in CVP. I was looking for a course to help improve my cinematography and thought learning everything there is to know about the camera I was shooting on was a good place to start. Dado was the guest speaker on the second and third day who was coming in to talk to us about Colour Science.

During this talk he said something that caught my attention. “If you were to look at the sun without the ozone layer it would actually appear as a shade of green not yellow, The ozone layer acts like a filter and the reason that the sun changes colour as it sets is that the density of the “filter” between you and the sun increases as it sets”. This was connected to the reason that there are twice as many green photocites in a cameras sensor then blue or red because the purpose of the sensor is to capture as much light as possible. When I heard this I thought ‘this is what I should be learning’ and a few months later I returned to London to do my first course with Colour Training in Colour Managment.

After we were presented with our certificates a few of us went to the pub where I nearly lost my certificate when it caught fire in the smoking area but that’s a different story.

This time I’m hoping to delve deeper into the design of Looks and LUTs and create some cool LUTS. I’m excited about doing the course, I really want to develop a look for a film or series from scratch and see it come to life on screen rather then do it all in post but I’m also nervous cause there are some really heavy hitters in the group that work on really big projects. 

Anyway lets see how it goes.