Calling them “dangerous” may be a bit hyperbolic. However even if limiting, empirical LMTs are also very functional and have their uses. If that’s indeed what you are referring to, then yes, these can have limitations because they are basically 3D-LUTs derived from an output-referred look which by its very nature is “limited” to a particular gamut and dynamic range. It might be able to match the look but the data after the LMT Transform is highly unstable due to the inverse process.īy “inverting the RRT” I believe you are talking about using an inverse ODT/RRT to construct “empirical” LMTs, which are “derived by sampling the results of some other color reproduction process” (TB-2014-010 Sec. I have access to Lattice, DaVinci Resolve, Pomfort LiveGrade to transform and concatenate LUTS and LMTs.Ĭan someone point me in the right direction?īuilding an LMT by inverting the RRT is a dangerous and limiting process. Rec.709, generic LOG, Alexa LogC, REDLogFilm etc. The LUT comes with a number of different transfer function - eg. I imagine I want the LMT to be a combination of the CDL and the Emulation LUT IDT: Alexa Log-C EI800 v3 (or the ITD for which-ever camera is used).The colour pipeline at the moment stands at: I’ll be delivering to Rec.709 BT.1886 and DCI-P3, grading in DaVinci Resolve 12.5.x The DP i’m working with would like to use a commercial film emulation LUT on-set and for dailies, with a view to use it as the starting point for the final grade.Īt various stages in the production, we’ll be shooting on the Arri AMIRA, Arri AlexaXT, RED Epic, GoPro and some other unspecified drone camera.
Can someone guide me in using a commercial film emulation LUT as a Look Management Transform?
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