What LUTs does everybody use?

Im Curious if anybody here uses LUTs in their Editing workflow with footage from the Ursa Mini 4.6 or Pro cameras, and what LUTs they use.

I'v gotten the Impulz and Osiris LUTs. I feel the Osirus LUts work great with Sony SLog 3 footage from my A7sii, but i'm not always thrilled with how they look on the Ursa Mini Pro footage.

I would avoid Impulsz and Osiris. Fine if you like the look, but most of those LUTs are so extreme you'll have to fight in the grade to keep things consistent from shot to shot and scene to scene unless you shot specifically to hit exactly what the LUT was designed to expect as an input. I also don't think they offer any LUTs designed with the current 4.6K FIlm v3 as an input, which would also explain why they aren't working for you.

For the Ursa Mini 4.6K or Pro, you can't go wrong with Kholi's Comet Color LUTs as a starting point to your grades: https://www.thecampcomet.com

Another option is to work without LUTs and grade in ACEScct:
https://mixinglight.com/color-tutorial/getting-know-aces/

EDIT: BTW if you do choose to use ACES, here's a LUT you can load into the Ursa Mini 4.6K + Ursa Mini Pro (or any other monitor that accepts .cube LUTs) for monitoring that matches exactly (or as close as technically possible with a LUT) the transformation that ACES makes from 4.6K film v3 to REC709.

https://drive.google.com/file/d/0B1bnfGXKHqpcR2lKMmUzcTNzdVU/view?usp=sharing

Jamie, thank you for sharing this referral to ACES workflows (not so mention your expertise on other topics in this forum). I just tried it on some test footage I shot the other day and the results were dramatically improved, compared to a traditionally achieve grade that was much more effort.

I will try out the LUT also. My strong preference is to expose to minimally processed sensor data, but the LUT might help those who look over my shoulder during shooting.

Very glad it was useful info.

As for exposing, in my experience viewing only the log signal can easily lead to underexposing and then having to deal with noise reduction (or facing unremovable fixed pattern noise). I'm sure you're well aware that none of the BMD cameras, not even the Ursa Mini Pro, do well when underexposed. Personally, I prefer to have a LUT loaded into the LCD (or external monitor) that is as close as possible to the intended look for the project as an additional check to make sure I've got the exposure dialed in. If the look of the project hasn't been set, I'll use a LUT that pulls the image down a half stop or so (Kholi's A side is good for this purpose), so that during color grading I can be fairly confident that we won't have to fight noise in the image.

Hey!

I have checked some of the free LUTs that people of forum uses and I have made some tests (old style):


I burnt in the LUTs by recording the footage to the 4K Blackmagic video assist - so it's 442 instead of 444. No post grading. Interiors, LED, natural, tungsten and mixed light. Fixed exposure and lens.
I have a 4K file but too big for my vimeo account...
Pity I wasn't able to test the Antos film LUTs, as my camera doesn't load them.

After doing this test, I have my favourite LUTs, which are yours?

If anyone have any other LUTs to suggest, I might have another go sometime soon.

Because I was using vintage lenses I thought I'd go with the K_TONE vintage_KODACHROME LUT kinda matched the look and because... music video... free.
That caused this problem

But the nice Resolve FB page showed me how to fix and its been fun
[img]https://scontent.fwlg2-1.fna.fbcdn.net/v/t1.0-9/28576019_10208665418671493_2513956906891933649_n.jpg?oh=823f01b71dd918aa373fc7bd618db8b3&oe=5B0D500A[/img

Some grabs
https://drive.google.com/open?id=1nKrYM ... gMlcjTg6of
https://drive.google.com/open?id=1R5jx6 ... 9cmDi-Upc2
https://drive.google.com/open?id=1jRLju ... KyXYSuLfx7
https://drive.google.com/open?id=13V4kK ... 8zc7FZ7S7_
https://drive.google.com/open?id=115qrl ... UQJ4Ocy77O

I use Kholi's B Gamma Lut the most. All of his Luts are great. They are always my go to.

https://www.thecampcomet.com

Luts are most optimal for a very small window of shooting situations. Correct color gamut (bmdfilmv3, redlogfilm, etc.), colorspace, native ISO, and certain white balance. If any one of those things is wrong, it may produce a good look but not necessary the most optimal result. So it's nice to make your own luts and create a look that you like for different lighting situations, (night-time, tungsten, daytime, etc.) If you don't feel like doing that just test as many luts as you can and find the best ones for each shooting situation and use those.

At least from doing VFX it does seem some of the bigger american TV dramas do seem to use a single LUT and do all of their corrections though a CDL. Not sure if that's for preview or they do better grading later on, but it does give good results. Not sure if that's from DIT or whether they're using that to grade.