Premiere Pro LUT not importing to URSA Broadcast

Is anyone using Premiere Pro/Lumetri to create a LUT for a BM camera?

I've created a LUT, exported it as a .look and when I go to install it on the URSA Broadcast, it sees the file on the card, but nothing happens when I click on it. It does not show up in the list of LUTs on the camera.

Tried Googling it, but all I could find was that it might be because it needs to be 33x33x33 and Premiere could be exporting its LUTs as higher... but I don't know how to check and how to change it to 33, any ideas?

Thank you!

Premiere is exporting the wrong format. BMD cameras support .cube LUT files, not .look files.

I’d recommend making .cube LUTs in Resolve.

Thanks

I've now tried a .cube and a .look from Premiere, neither worked. the cam recognizes the file, but nothing happens when it's clicked on and it doesn't list it in the list of luts.

I've downloaded Resolve to see if I can convert it.

Premiere is probably adding some text at that head of the file formatted such that the camera doesn't recognize it.

Try opening the .cube LUT from Premiere in any plain text editor and replace all the text in the header (everything that isn't simply long numbers) with what's below. For the title in quotes use whatever name you like.

Code: Select all

TITLE "Type any title you want here"
LUT_3D_SIZE 33

If Premiere is exporting 17 point LUTs rather than 33 point, change the 33 to 17.

Thank you! I've changed it and I'll try importing next time I'm in.

It said SIZE 16, so I've changed that now. Didn't know 16 was an option.

Thanks for your help.

Could you help me with one more question, right now I'm using the ATEM software to color correct the cameras, I've saved a preset on there that I'm happy with. But now that I want to start testing LUTs, what should I do about the software because I'm guessing the LUT will replace what I've done on the software. Or if I make the LUT based on the final software changes, I'll now apply the LUT to the camera before the software changes it and I'm guessing that's the wrong way to do it.

Should I just forget about my software color preset, take the camera's output (Video dynamic), make a LUT based on that for each camera so they're all matching and cinematic? So, each LUT will be different because we have different lenses on some of them. Hope some of that makes sense, anyways, appreciate the LUT help!

I haven't used ATEM, so can't help with that. I'd suggest posting that question as it's own topic in the "Live Production" section of the BMD forum, and I'm sure someone who has experience with ATEM will be able to provide assistance.

Unfortunately, it didn't work. Now the camera installs the LUT into its list of LUTs, but it won't enable the LUT. There's no blue line as if it's selected and nothing happens when I click on it from the list.

I guess Resolve is the only way to make LUTs for it?

I’d have to look at it.
If you feel like sending me the LUT you exported out of Premiere, I'd be happy to take a look and see if I can get it to work.

But, yeah, Resolve is always the better way to go when it comes to anything dealing with color.

Have a look at this thread from the Premiere forum:
https://community.adobe.com/t5/premiere ... p/10425312

That's very helpful, thank you... here is the LUT in case you want to take a look, but I'll export a BMD LUT so I can see what they're supposed to look like and find where the LUT_3D_INPUT_RANGE line is supposed to go.

But I should start learning Resolve as well.

Thanks again!

How did you create that LUT file? Is what you posted the original file? Since there are negative numbers in it, there should be a flag in the header to explicitly state the range. I neglected to consider that in my earlier reply.

33 point LUTs exported from Resolve v17 only have this text in the header:

Code: Select all

TITLE "Generated by Resolve"
LUT_3D_SIZE 33


And same thing with the BMD LUTs that come with the camera firmware, just a title and the LUT size.

AFAIK, a 0 to 1 range is assumed by the parser if it's not explicitly stated. And I'd assume that BMD cameras + Video Assist don't accept LUTs with a range other than 0 to 1. Perhaps Captain Hook can confirm whether that is the case.

That was made in Lumetri/Premiere Pro.

I changed the top two lines to what you just wrote, I think I've got to just make it in Resolve because I don't know how to get around the negative numbers.

Yeah, that was my mistake, I didn't expect Premiere to use a range outside 0 to 1.
If you send the original exported file, I might be able to run it through Lattice to get it formatted correctly for BMD cameras.

Thanks, here is the original format.

Thanks for your help

That should do the trick:

CAM5 SAT 0826_33.zip

(434.8 KiB) Downloaded 125 times

I got a different result via rescaling in Lattice that appears to maintain the saturation of the original LUT.

CAM5 SAT 0826_33_Lattice-Rescale.cube.zip

(590.02 KiB) Downloaded 114 times

[CaptainHook]

The negative numbers aren't so much a problem (for parsing at least), but you can't just change the tag for 3DLUT size - it directly relates to how many lines of data there is. You have generated a 16^3 LUT file from Premiere so there needs to be 4096 lines of data past the "header" tags etc. Changing it to say 33^3 is not correct as then there should be 35937 lines of data, you need to 'resample' and actually resize the LUT to make it 17^3 or 33^3.

The easiest thing to do for future reference if you don't have a tool like Lattice etc is to import the LUT into Resolve, apply it to a node (with no other changes unless desired) and generate a new LUT by right clicking the clip. This should create a new version of the LUT that will import into the camera fine.

I've attached just a resized version (no rescaling etc done as I assume the LUT looks as intended) of the LUT (17^3) using Lattice that should also work on the camera.

Thanks for the info Hook.

Thank you all so much!

What an amazing forum, so helpful!

Hello again... I'm revisiting this issue because I still have found a solution.

Even when I create a 33pt .cube LUT in Resolve, when I import it on the URSA Broadcast cameras it has this color issue on the camera image.

When I create the LUT in Premiere, then import it into Resolve and export it as a .cube LUT from Resolve - same issue.

I appreciate any help, thanks very much.

Here are a couple of images of the problem, one is how it should look vs. how it ends up looking.

[CaptainHook]

Just to confirm, if you actually use the exported LUT inside Resolve you dont see the issue?

Please post both LUTs, the one from Resolve and the version from Premiere (without it going through Resolve).

Thanks for your help!

The file CAM5 - J30.cube is the LUT that was made in Premiere/Lumetri. When I import it into Resolve it looks fine. The URSA Broadcast cameras won't accept a LUT made from Premiere though.

The file CAM5 - J30-33.cube is the same LUT imported into Resolve and then exported out of Resolve as a 33pt LUT. (same thing happens when I export a 17/65pt LUT, just gets more extreme)

Same thing happens when I export a LUT made from Resolve.

So, maybe my Resolve settings aren't what the URSA Broadcast cameras accept. I still have to try that trick to make Premiere LUTs work on the cameras, but I haven't had any success from Premiere.

[CaptainHook]

Something is going wrong when you generate the LUT from inside Resolve - do you have other nodes or processing happening? Especially anything spatial related like sharpening/blurs/grain/etc ?

Your conversion is generating this:

instead of the expected resize to 33^3 that looks like this:


Attached is a conversion of your LUT to 33^3 size that should work, although it's worth noting the range is not 0-1 as Jamie mentioned a while ago above. And ideally you can figure out what's going wrong in Resolve so you can do this yourself.

Thanks very much.

Only the one node with the LUT is on the video.

How do I see that screen?

Here is a screenshot of my Resolve, you can see the color happening on her shirt.

What are you doing to fix it? Am I able to reproduce those steps or would I need an additional application?

Thanks again!

Here are some screenshots of my settings... anything noticeably different there?

Thank you!

[CaptainHook]

What version of Resolve are you running? I see its some version of 17, I would recommend going to 18.5 if you can. What machine and macOS version?

In general I would recommend changing from Trilinear to Tetrahedral for 3D lookup table interpolation, but that shouldn't be causing your problems here.

You having the timeline colorspace set to Rec709 is throwing it off.

The URSA colorspace is Gen 5 but that Lut is being processed in Rec709. Change to colorspace to Blackmagic Film Gen 5.

The camera can't process a Lut designed for Rec709 in as it works in Blackmagic Gen 5.

Put a Colorspace Transform from Gen 5 to Rec709 on a node before the LUT from Premiere the regenerate a new lut, and it should work in camera.

[CaptainHook]

You having the timeline colorspace set to Rec709 is throwing it off.

The URSA colorspace is Gen 5 but that Lut is being processed in Rec709. Change to colorspace to Blackmagic Film Gen 5.

It's not a colour managed project, so this will have no real affect* in this instance in how the LUT looks in Resolve or in trying to generate a LUT like Martin is.

The camera can't process a Lut designed for Rec709 in as it works in Blackmagic Gen 5.

Not quite true. You can set the record space on camera to Video or Extended Video instead of Film, in that instance you would want to use a (monitoring) LUT on camera designed to receive Rec.709 with ~2.4 power law as input.

*ignoring UI viewer display profiles etc

Thanks very much. I'm going on vacation, so I'm not going to get a chance to test this until I'm back.

I'll update my software and try just about anything I can, so thanks for the ideas to test.

I think updating Resolve to 18.5 fixed the issue. Hopefully it doesn't become an problem again.

Thanks very much!

Hello all, I just bought a Ursa Broadcast G2 and I would like a LUT to match the Sony FX-6 S-Cinetone Picture Profile. Has anyone done this? I'm happy to pay for a finished LUT if anyone's interested in making one. My time is sparse and I have no experience with LUT creation.

Thanks!

Try Cinematch https://www.cinematch.com/camera-list
As far as I remember it supports S-Cinetone on Sony cameras. It will get things close, not exact, but it’s better than nothing. It’s also important to expose both cameras the same, white balance them to the same gray card under the same light, and if possible use the same matched lens set on each camera.

Yes, CineMatch has Slog3 S-Cinetone, even two versions of it.