I need just one lut

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Peter Selbie

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I need just one lut

PostSat May 23, 2020 1:39 pm

You can get enough luts
But the lut I looking for is just one Lut
The Lut that can make mine desire complete going back analog world to the 60's or 70's which I so much miss..
Talking about resolution 6k ,8k means me nothing when I see a movie like this https://www.imdb.com/title/tt0058329/me ... ttmi_mi_sm
So give me that one Lut !!
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Jim Simon

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Re: I need just one lut

PostSat May 23, 2020 1:41 pm

FilmConvert is a plug-in that 'converts' your camera original to the look of real film. They have both Kodak and Fuji options.

Might be worth a look.
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John Paines

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Re: I need just one lut

PostSat May 23, 2020 3:25 pm

In the 1960s you'll find movies as diverse as 'Mary Poppins', 'Red Desert', 'The Umbrellas of Cherbourg' and '2001' -- and your choice, 'Marnie'. All on film. And looking nothing like each other.

For Hitchcock lighting and production design of the period, there is no LUT.
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Peter Selbie

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Re: I need just one lut

PostSat May 23, 2020 4:10 pm

John Paines wrote:In the 1960s you'll find movies as diverse as 'Mary Poppins', 'Red Desert', 'The Umbrellas of Cherbourg' and '2001' -- and your choice, 'Marnie'. All on film. And looking nothing like each other.

For Hitchcock lighting and production design of the period, there is no LUT.


Thats not true Technicolor was used in almost all films from Hitchcock......
The lightning was very importend thats true.
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John Paines

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Re: I need just one lut

PostSat May 23, 2020 4:14 pm

If you mean the Technicolor IB dye-transfer process, which was phased out completely by the early 80s, you're right (3-strip Technicolor ended in the 50s).

But thousands of films of the 60s and 70s used the dye-transfer process, and they don't look anything like each other. Does Marnie look like Godfather I?
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Peter Selbie

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Re: I need just one lut

PostSat May 23, 2020 4:48 pm

Marnie was produced in 1964 and is different then godfather 1972 I agree..
But when I look to Three Days of Condor 1976, I love the colors do not know if the technicolor used here..
In 2020 vs 60's and 70's digital world makes are life easy but still we can't get the quality what's done in the
past...
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John Paines

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Re: I need just one lut

PostSat May 23, 2020 4:56 pm

Some people have argued that digital color correction (the "digital intermediate") has ruined the movies -- that you end with overwrought synthetic "looks" which bear no relationship to anything in art history or nature. So, entire movies in teal washes, skin tones which make everyone look like aliens, etc.

But this is the future ... not photo-chemical finishes with lab timers.

I haven't seen "Three Days of the Condor" recently and can't comment, but again, this is overwhelmingly lighting and production value, not shooting format.
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Dermot Shane

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Re: I need just one lut

PostSat May 23, 2020 5:21 pm

lab tollerances, even kodak "goldstar" labs were massive by today's standards

you were lucky to get r3 matching r4 if they ran on either side of a weekend when the chemicals were refreshed

that's the prints, you also have to allow for lab tolerances in cam neg, IP and IN

lab are all diffrent even if the cam neg, ip, in and print stock are the same

all these "film looks"" area fool's errand if the target is true film emulation on a cinema screen

it was near impossiable on a good day to get a release print that matched-ish the timed answer print that was signed off

on a normal day? ferget it, not gonna be close to happening...

if the target is on an emissive device, the you also add the variables involved in scanning, and are you scanning can orig? IP? IN? print? if print from reel 1? reel 6? Monday? Friday? first run, 17th run of the IN?

i mean really.... there's is not a chance of any LUT on earth emulateing a print from Deluxe / Toronto scanned on a filmlight and expecting a match to a print from Arri / Munich scanned on a Spirit

on and on and on and on the variables add up to making / buing a creative LUT that makes you happy, and drop the concept of global film emulation
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Dmitry Shijan

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Re: I need just one lut

PostSat May 23, 2020 6:53 pm

If someone missed, here is huge and quality collection of G'MIC and RawTherapee Film Simulation LUTs viewtopic.php?f=21&t=77553#p569634

Image
All my custom made accessories for BMMCC/BMMSC now available here https://lavky.com/radioproektor/
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Marc Wielage

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Re: I need just one lut

PostSun May 24, 2020 5:39 am

Dermot Shane wrote:lab tollerances, even kodak "goldstar" labs were massive by today's standards... you were lucky to get r3 matching r4 if they ran on either side of a weekend when the chemicals were refreshed.
that's the prints, you also have to allow for lab tolerances in cam neg, IP and IN

When I worked for the digital side of Technicolor, we asked the lab guys what their tolerances were for a rejected print: 3 points? 4 points? They didn't want to be pinned down. The problem is, if a theatrical print was 3 points +Red but -3 points Green and -3 points Blue, that will be a really red print. Yet that would still be within spec.

People endlessly chase what they believe is a "film look," but the reality is that even within a five-year period (say, 1970-1975 or 1980-1985), there were a dozen different film looks. It's all in the lighting, the lenses, the exposure, and the art direction. The film alone didn't have that much to do with it. LUTs alone have nothing to do with it, and I'm convinced you can match most LUTs with corrections in any high-end color software.

I've done restoration color on 17 films so far this year, and I promise the o.p., every single one of them looks different. All shot between 1975-1995. It's not just something you can mathematically apply.

Note also that 3-strip Process 4 Technicolor ended around 1954, and Tech IB prints ended in 1975. (I'm writing this from that old former Technicolor building in Hollywood.)
marc wielage, csi • VP/color & workflow • chroma | hollywood

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