DELUTS C200 Looks and Transforms

DELUTS UNIVERSE - DELUTS C200 Looks and Transforms
Version 1

CANON C100, C200, C300, C500, C700
Designed for the C200 but usable with other Canon C line cameras.

Shoot ready, filmic REC709 Base LUTS (Use these as you first step Type A would be my choice)

Camera Profiles to REC709 Type A, (Filmic responce)
- Cinema RAW to REC709 Type A
- External (HDMI / SDI) to REC709 Type A
- Internal (MP4) to REC709 Type A

Camera Profiles to REC709 Type B, (More saturated)
- Cinema RAW to REC709 Type B
- External (HDMI / SDI) to REC709 Type B
- Internal (MP4) to REC709 Type B

When shooting RAW because there is a shift in Gamut & Gamma on HDMI & SDI out, load the external LUTs into the ATOMOS, SMALL HD or another device that supports LUTS. Try options that best work for your way of working.

I recommend CLOG2 where possible but sometimes its easier to hide noise using CLOG3.

DELUTS Transform LUTS:
Canon Camera Profiles Matrix transforms, (Only Matrix conversion to base standard no Gamma shift)
- Cinema RAW to Matrix tranforms
- External (HDMI, SDI) to Matrix transforms
- Internal (MP4) to Matrix tranforms

Canon Camera Profiles LOG transforms, (LOG Base conversion, Simular to ARRI LOGC)
- Cinema RAW to LOG tranforms
- External (HDMI, SDI) to LOG transforms
- Internal to LOG tranforms


All profiles, listed below (Internal & External) have been profiled to a matching base look, there are variations but I have kept these as small as practically possible.

Canon LOG 2 RAW (Colour is C Gamut)
Canon LOG 3 RAW (Colour is C Gamut)

Canon LOG 3 (Camera PRESET  Colour is C Gamut)
Canon LOG 3 Cinema Eos Original
Canon LOG 3 Neutral
Canon LOG 3 Production Camera
Canon LOG 3 Video

Canon LOG (Camera PRESET Colour is C Gamut)
Canon LOG Cinema Eos Original
Canon LOG Neutral
Canon LOG Production Camera
Canon LOG Video

Wide DR Cinema Eos Original
Wide DR Neutral
Wide DR Production Camera
Wide DR Video


Creative Looks:
- DELUTS Overlook SET A (58 Standard Looks), (35 Orange and Teal), (29 Faded).
- DELUTS Overlook Classics SET B (208 Looks).
Out of these I have selected 146 looks that work best with the Canon profiles included here.

There is an MP4 Sample file for a rough guide on looks. 'DELUTS Overlook Sample Guide.mp4'

DELUTS Speedy Looks: (Use these after trying the filmic REC709 Base LUTS, for Premiere place contents in the Creative directory, see *below folder location).

DELUTS REC709 Type A (146 Looks)
- Canon LOG 2 RAW REC709 Type A Looks
- Canon LOG 3 ATOMOS REC709 Type A Looks
- Canon LOG 3 Internal REC709 Type A Looks
- Canon LOG 3 RAW REC709 Type A Looks

DELUTS REC709 Type B (146 Looks)
- Canon LOG 2 RAW REC709 Type B Looks
- Canon LOG 3 ATOMOS REC709 Type B Looks
- Canon LOG 3 Internal REC709 Type B Looks
- Canon LOG 3 RAW REC709 Type B Looks


EXTRAS:
- Gamma Curves and Roll Off (Gamma only curves)
- Luma Clipping Control (Highlight recovery)
- Orange and Teal (Can be used over the top of some looks)


Using/Installing:

*Load within app:
Adobe Premiere Pro CC. Adobe Premiere Pro CC.appContentsLumetriLUTsCreative for the Looks
and
Adobe Premiere Pro CC.appContentsLumetriLUTsTechnical for the 'DELUTS REC709 BASE LUTS' & 'DELUTS Transform LUTS'.

Or using the new method allowing you to keep your luts inplace through updates. Make new folders as below and then restart Premiere.

Mac:
/Library/Application Support/Adobe/Common/LUTs/Creative
/Library/Application Support/Adobe/Common/LUTs/Technical

Win:
\Program Files\Adobe\Common\LUTs\Creative
\Program Files\Adobe\Common\LUTs\Technical

Although the original methed placing inside the apllication package worked best. The new method seems to reset to the top most lut everytime you scroll through.

Load natively with FCPX using the Effects LUT filter.
(for best results use with Tetrahedral colour conversion. FCPX renders better than Premiere but Resolve allows you to select Tetrahedral, for smoother transforms)

I would suggest spending time filtering out creative looks that are your favourite. I suggest around 20 creative looks is about right and will speed up grading. I have selected the DELUTS Overlooks that work best for the Canon C Series and the base transforms LUTs. But all Overlook LUTS can also be found in the DELUTS Speedy Looks/DELUTS OVERLUTS/DELUTS Overlook SET A & DELUTS Overlook Classics SET B.

Technical Information:
Looks supplied in 33x33x33 & 17x17x17. Speedy Looks supplied in 17x17x17. Technical, DELUTS Transform LUTS & DELUTS REC709 BASE LUTS supplied in 64x64x64, 33x33x33 & 17x17x17.
Adobe Premiere Pro CC is really only happy with smaller resolution luts 17^3 but I usually swap out for 33^3 where possible and if not experiencing any slow downs or crashes. I will always use 33^3 creative looks in Resolve but 64^3 for base transforms.

LUT Interpolation:
Unfortunately, the way products and systems display LUTs can vary. I always set DaVinci Resolve to Tetrahedral Interpolation over the faster Trilinear it defaults to on new projects. Adobe Premiere Pro CC appears to use Trilinear and FCPX looks like something in between. It will make a difference in terms of how the colour sits on the image, tones and roll off will improve using Tetrahedral. Switch between them and spot the difference. Some external recorders may use Trilinear Interpolation and this will affect your image if burning in a LUT. I would recommend not doing this and only use for recording native signal or using a LUT for monitoring purposes. Recording ProRes is also sometimes not beneficial and can introduce artifacts in the image that will get picked up on heavy grading, normally if using an 8-bit output.


HELP, I'm stuck:
(In these example we are using TYPE A as or REC709 look, it's also my favourite)

RAW:
If your using RAW (Cinema Raw Light) footage FCPX will bring & RESOLVE will bring your footage in as default  to CLOG2, C GAMUT.
to work with this profile.
Goto the package download and nativigate to:
'DELUTS REC709 BASE LUTS' (for FCPX use x17 luts)
Open 'Camera Profiles to REC709 Type A/Cinema RAW to REC709 Type A' and load into FCPX (Effects Tab, LUT) the lut named 'DU_TYPE_A_RAW_Canon_LOG_2.cube'. Out of the box this LUT has a lovley filmic look.

EXTERNAL:
If your monitoring or feeding to capure footage via HDMI or SDI, Goto the package download and nativigate to:
'DELUTS REC709 BASE LUTS' (for FCPX use x17 luts)
Open 'Camera Profiles to REC709 Type A/External to REC709 Type A' and load into FCPX (Effects Tab, LUT) the lut you have your camera profile set to. There is a choice of 14 options here.

If your also recoding MP4 internally rember to use 'Internal to REC709 Type A' Luts with that footage in post.

The camera records a slightly different look depening on how you are capturing it, my profiles take that into account.

 INTERNAL:
For now until the update we can also record MP4 to SD cards. If you have captuerd or capturing footage using the SD card Goto the package download and nativigate to:
'DELUTS REC709 BASE LUTS' (for FCPX use x17 luts)
Open 'Camera Profiles to REC709 Type A/Internal to REC709 Type A' and load into FCPX (Effects Tab, LUT) the lut you have your camera profile set to. There is a choice of 14 options here.


CREATIVE LOOKS:
If you require a creative look other that the Base look above.
Goto the package download and nativigate to:
'DELUTS Speedy Looks/DELUTS REC709 Type A Looks'
Here we have four folders:

• Canon LOG 2 RAW REC709 Type A Looks
• Canon LOG 3 RAW REC709 Type A Looks
• Canon LOG 3 External REC709 Type A Looks (Currently called ATOMOS)
• Canon LOG 3 Internal REC709 Type A Looks

These are based on the Cameras default presets. Colour is C-Gamut.
Load one of the 146 looks that are ready to go over your footage.


MATRIX Transforms:
Goto the package download and nativigate to:
'DELUTS Transform LUTS' (for FCPX use x17 luts)
Open 'Camera Profiles Matrix'. As above there are profiles for RAW, Internal (MP4) and External (Monitoring and External Recording).
The Camera Profiles Matrix's transform the colour into a set standard based on the ARRI Look. You will notice subtle colour changes in a general image but more noticable if shooting a clip chart. Use these with own S-Curves to bring your image to levels how you like it. 

LOGC Transforms:
Goto the package download and nativigate to:
'DELUTS Transform LUTS' (for FCPX use x17 luts)
Open 'Camera Profiles to LOG'. As above there are profiles for RAW, Internal (MP4) and External (Monitoring and External Recording).
The Camera Profiles to LOG transform the camera profile listed within into a set standard based on ARRI LOGC. Use these with ARRI REC709 Technical LUTs. For best results use with Davinci Resolve Tetrahedral Interpolation.




DELUTS LUTs are copyright of James Miller, Miller Creative Ltd. 2018
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