[Tig] To LUT or Not to LUT

trovak at comcast.net trovak at comcast.net
Fri Feb 17 19:15:32 GMT 2012


True Janet. But after the Spirit came out, I got accustomed to all zeros from the Spirit. I did away with the TAF basemem. I used the TAF only when trouble shooting if need be. So I would always trust my own ability to balance the neg. first with the Spirit controls, then the 2K (also starting from zeros). I found using the TAF could bury you in some circumstances, same with LUTs. I find LUTs to be absolutely necessary after the initial CC when going back to film etc... I just don't like to start my CC based on someone else's judgement. 


Tom Rovak – Sr. DI Colorist 
Commercials, Feature Films, Music Videos 

Foundation Content/Post - Chicago/Los Angeles 
200 East Ohio Street 
Suite 200 
Chicago IL 60611 
(312)951-8734 Office 
(815)690-8323 Cell 
tomrovak at foundationcontent.com 
trovak at comcast.net 
Commercial Reels: www.youtube.com/user/tomrovak 
www.foundationcontent.com/talent/tom-rovak 
IMDB credits: www.imdb.com/name/nm1652946/ 
----- Original Message -----
From: "Janet Falcon" <janet at shootersinc.com> 
To: "George Daniel Mitre" <danmitre at yahoo.com> 
Cc: trovak at comcast.net, "Graham Collett" <grahamcollett at visible-sprockets.co.uk>, "TIG" <tig at tig.colorist.org> 
Sent: Friday, February 17, 2012 12:47:44 PM 
Subject: Re: [Tig] To LUT or Not to LUT 

But don't forget, we did have a form of LUTs back with film. They just weren't called that. They were a basemem set up on a particular TAF that got us started out. We also had chip charts and grey scales which never make it into a finished commercial. I'm not completely convinced either way about using LUTs with log material or not. I do both depending on the workflow of a particular job. 

-Janet Falcon 
Senior Colorist 
Shooters Inc. 


On Feb 17, 2012, at 1:06 PM, "George Daniel Mitre" <danmitre at yahoo.com> wrote: 

> Sohonet http://www.sohonet.co.uk sponsors the TIG. 
> Support from Nucoda www.imagesystems.tv 
> Support from Blackmagic Design http://www.blackmagic-design.com/ 
> ==== 
> 
> Tom Rovak said it nice and true. 
> Cheers 
> 
> On Feb 17, 2012, at 4:45 PM, trovak at comcast.net wrote: 
> 
>> Sohonet http://www.sohonet.co.uk sponsors the TIG. 
>> Support from Nucoda www.imagesystems.tv 
>> Support from Blackmagic Design http://www.blackmagic-design.com/ 
>> ==== 
>> 
>> 
>> 
>> Very true Graham!!! When it comes to initial grades, or dailies grades on any raw files, I have never seen anything a LUT can do that I can't do better. Funny how for so many years we graded film in it's many falvours with out LUTS. Todays colorists rely on too many pre-packaged fixes and looks that take the fun and true creativity out of it. 
>> 
>> 
>> 
>> 
>> Tom Rovak – Sr. DI Colorist 
>> Commercials, Feature Films, Music Videos 
>> 
>> Foundation Content/Post - Chicago/Los Angeles 
>> 200 East Ohio Street 
>> Suite 200 
>> Chicago IL 60611 
>> (312)951-8734 Office 
>> (815)690-8323 Cell 
>> tomrovak at foundationcontent.com 
>> trovak at comcast.net 
>> Commercial Reels: www.youtube.com/user/tomrovak 
>> www.foundationcontent.com/talent/tom-rovak 
>> IMDB credits: www.imdb.com/name/nm1652946/ 
>> ----- Original Message ----- 
>> From: "Graham Collett" <grahamcollett at visible-sprockets.co.uk> 
>> To: "Marc Wielage" <mfw at musictrax.com>, "TIG" <tig at tig.colorist.org> 
>> Sent: Friday, February 17, 2012 4:01:12 AM 
>> Subject: Re: [Tig] To LUT or Not to LUT 
>> 
>> Sohonet http://www.sohonet.co.uk sponsors the TIG. 
>> Support from Nucoda www.imagesystems.tv 
>> Support from Blackmagic Design http://www.blackmagic-design.com/ 
>> ==== 
>> 
>> <a LUT is whatever you want it to be> 
>> How about we call it colour correction !! what a novelty 
>> 
>> Graham Collett 
>> Visible Sprockets Ltd 
>> www.visible-sprockets.co.uk 
>> 
>> 
>> 
>> -----Original Message----- 
>> From: Marc Wielage [mailto:mfw at musictrax.com] 
>> Sent: Fri 17/02/2012 5:32 AM 
>> To: TIG 
>> Subject: Re: [Tig] To LUT or Not to LUT 
>> 
>> Some interesting comments from LA Light Iron Digital's Michael Cioni, who 
>> reveals how they avoided using traditional LUTs for the recent 4K/5K film 
>> THE GIRL WITH THE DRAGON TATTOO during their workflow and post process: 
>> 
>> http://www.youtube.com/watch?v=Qztrb9arZl4 
>> 
>> Instead, they debayered the R3D files to 4K DPX log files, set to 
>> RedLogFilm, and then used custom curves on their Pablo color corrector, with 
>> linear color grading, all viewing in P3 color space in a projector. (This 
>> is about a 35-minute presentation; the LUT conversation starts around 28 
>> minutes in.) He says what I've said for years, in that a LUT is whatever 
>> you want it to be -- and that in some cases, the LUTs can work against you 
>> and actually slow the process down. 
>> 
>> Very interesting point of view, and Michael is a very articulate and 
>> passionate spokesman for 4K post. I have no doubt his thoughts will be 
>> controversial, but Cioni makes a good case for what they did, and the film 
>> obviously did well (and was nominated for several Oscars). 
>> 
>> --Marc W. 
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>> _______________________________________________ 
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