Personal View site logo
Cinema gear deals, direct from factories - Gear deals and Gear deals section. Also check Cameras, lenses, software, gear deals.
You support is vital for us. To keep this place ad free and independent, select one of the options below.
Donations are going to community support costs, hosting, etc. Your support allows to improve and expand this site.
Best Practices for Color Grading with LUTs
  • 7 Replies sorted by
  • Looking over this on YouTube, so many folks wonder 1) where you get LUT's and 2) how to find LUT's for their specific camera. When I first started with video, yea, I bought some good ones ... but in the first couple uses I was needing to tweak them to look how I wanted my footage to look ... and found that as I got some sense of how SpeedGrade worked, I could make a Look (the Adobe format of LUT) in about the same time I spent tweaking the LUT's I'd bought ... and it was better.

    Grow your own, dudes & dudesses! ;-)


  • Good advice rNeil.

  • With 100's of LUT packs out there it's hard to decide. These are the 2 sets that I think are far and away my favorite:

  • @aaronchicago the LGG's thread that Benjamin Lambinet (creator of LUTs from your first link) opened to sell his LUTs is just too delicious not to give it a go: also very instructive... I bet my own LUTs are frikin saws under the gradient lupe :P

    Me like film emulations (film and photo stock), the Koji stuff and VC's Impulz and Osiris. As I complaint before too bad one cannot apply the LUT as output only in prememê's new Lumetri thing. The lumetri panel is also the only instance of a program that gives me different displayed and output rendition, go figure!
    Among the many forgettable, there are some useful LUTs in this pack

    Forgot to thank you @aaronchicagoyou as Lambinet free 4k scanned grain (proRES_HQ) is quite nice... and thin, at least comparing with the Kodak 5219 Rough DCI I've been using =)
    Case anyone interested, direct download link

  • The only issue with using luts is how the ranges are mapped. I have had some luts that clip highs and lows due to the difference between full range (0-255) and video (16-235) levels. Knowing the range used by the lut for input levels is fairly important. In DaVinci Resolve I always use a node before the lut to adjust the levels to work best with the lut. Using technical luts for log footage is a different matter entirely. Generally I only use luts for very specific 'look' processing and avoid them if I can.

  • The "filmstock" LUT's can be pretty useful to tie a project together ... most I know will put them on a second layer (SpeedGrade) or put a node in front of the (Resolve) and then do basic WB/neutralization on the layer below or the node in front of them. Some variation of this.

    I've also seen a grading/adjustment layer (PrPro & Sg) or final node (Resolve) that has the film-look LUT ... and then per-shot work done prior to that with the LUT layer/node turned off & on as useful to check both individual shots & over-all "fit & feel".

    Lots of ways to do it, can be complicating ... can be totally awesome. Requires a further testing/learning curve to do well & fast. Like everything else in cine/video! ;-)