D  E  L  U  T  S    U  N  I  V  E  R  S  E
Universal Camera Grading Set

Version 3 - (Simplified structure and options, added Camera profiles, additional Monitering LUTS)
Version 2 - (bug amends and additional Alchemy options)

File List from the set.

New Creative Looks from this set.

This DELUTS product contains:

1/ DELUTS Primary Gamut and Gamma Curves
2/ DELUTS Secondary Gamut and Gamma Curves
3/ DELUTS Classics & New Looks
4/ DELUTS Alchemy
5/ DELUTS Monitoring Combined Primary and Secondary (Ready to use)

Please see the 'Read Me' text file located within each folder for more information and description of contents.

Welcome to DELUTS UNIVERSE, since September 2016, I have been working on a brand new way of producing and integrating LUTs into the workflow.

The History:
Over the last 3 years DEULTS have been really well received and used successfully throughout the industry worldwide. In the past, I would create a LUTs set for each of the different cameras I used. Whilst this was great, the amount of cameras were growing at a rapid rate. Trying to keep on top of the updates and new cameras was a challenge. So, for me, the The Holy Grail was to create a Universal set of DELUTS LUTs. One master set, the only set of LUTs you would ever need.

I’ve always loved the colour tones of the ARRI Alexa, they seems to nail the key colours so well especially skin tones. I have tried to base my initial colour profile starting point on that camera. The goal was to strip away extra influences and adjust the core colour values. Its really tricky to create and so many profiles might look great on paper, so to speak, but actually using them is a different story. Now I have the formula, I can use this to create tailor made profiles across all the popular cameras.

How the DELUTS UNIVERSE works:
We start with a unique reference base colour profile which I generated technically, we also supply standard manufactures Matrix transforms where a particular camera has not been individually profiled. This is our master for colour baseline to ALL cameras. We then generate the colour profile transforms from A to B. B being the camera you are adjusting to work towards. We also created two sets of LOG to Linear Curves and Roll Off LUTs. There are a million different stages in between, but that is it in essence. To make this more simple and speedy we combine these core components processes into two main LUTs.

Where to start?
Open a sequence in Adobe Premiere Pro CC, FCPX or DaVinci Resolve.

1/ Goto the folder '/DELUTS Primary Gamut and Gamma Curves'.

2/ Select your Camera to the matching profile for the footage you are working with. If your camera or profile is not there select the nearest profile. Load the selected LUT into your application x33 LUTs where possible but x17 with Premiere, x64 LUTs work perfectly with Resolve.

3/ Locate 'DELUTS Secondary Gamut and Gamma Curves' Select your Camera to the matching profile for the footage you are working with. If your camera or profile is not there select the nearest profile and load into a secondary layer or another serial node or effect.

4/ Locate 'DELUTS Looks' and then one of the choices e.g. 'DELUTS Film Looks A 2018' and load one of the LUTs into a third layer or another serial node or effect.

DaVinci Resolve.
Ading and using DELUTS UNIVERSE (Video based on Version 2)

EDIT Layer order:
1/Clip, footage
  -Exposure adjustment

2/DELUTS Primary Gamut and Gamma Curves
  -Exposure adjustment

3/DELUTS Secondary Gamut and Gamma Curves

4/DELUTS Looks

For those who like to experiment and want more control we also have an ‘Alchemy’ section that splits down core components so if you like to refine each step with multiple layers or nodes then this can be a real help, especially in the grade. Of course we have combined a number of options for a speedier workflow.

Grading friendly option (DELUTS Alchemy):
1: Luminance control (bring up the shadow and highlights from being crushed and back with in range)
2: DELUTS Primary Master Gamut (select your camera or a profile matching your camera profile)
3: DELUTS Primary LOG Transform Gamma (Select a desired Gamma curve, bring footage to LOGC curve)
4: DELUTS Secondary Gamut (ARRI REC colours or muted Film colour options great for use with Creative Looks)
5: Gamma Curves and Roll Off (12 options of Curves, Contrast and Roll offs)
6: Creative Look (There are around 438 (plus) different looks to choose from, spit into 4 folders and covering the Classic DELUTS Looks)

My workflow in Premiere Pro CC would be to create a adjustment layer above the footage add the ‘DELUTS Primary Gamut and Gamma Curves' transforms into the ‘Technical’ section of Lumetri colour then and ‘DELUTS Secondary Gamut and Gamma Curves’ into the ‘Creative’ section of Lumetri colour. I would add another Adjustment layer for Creative Looks.

In DaVinci Resolve after adding all the LUTs to the Blackmagic/DaVinci Resolve/LUT folder I would create serial nodes for each stage to allow for maximum adjustment. If you don’t own DaVinci Resolve, download the free version as it has so much to offer for grading.

Creative Looks:
As there are Many, many different looks supplied (438 options & growing) including the Classic series also in this set 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.

With real film you have different stocks for basically different light conditions and colour. Kodak Vision 3 series have a certain look and when you ingest and scan film you capture it in say Cineon Log. I really love this, I wish digital cameras would have just two profiles a beautiful REC709 image and a LOG based image, that isn’t really enough but it would be it would be liberating!. There are so many profile options on cameras today its becoming a nightmare, the C300MK2 has about 38 different options. I wanted to achieve a single colour look from as many cameras as I can get my hands on and now multiple cameras will now have the same relative tone and colour between them and thus standardise the final transforms. So whether you are shooting with the Canon C300MK2 using Canon Log 3 CGamut or The Panasonic GH5S using HLG. You can now bring the base colours back in line, with the option of not changing the gamma curves as you do this.

Monitoring LUTs: (DELUTS Monitoring Combined Primary and Secondary)
This feature may be expanded back but at the moment whilst there are a selection supplied it is best to generate your own combining the Primary and Secondary and a Look if necessary. DaVinci Resolve would be my choice of producing a Monitoring LUTs.

Technical Information:
In each of the folders within the LUT folders there is a ‘Readme’ text file. Hopefully this will help you understand what is in each folder and where to use them.

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. The Atomos Shogun series 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.

I supply Primary and secondary colour transforms at 17x17x17, 33x33x33 and 64x64x64. Looks are supplied at 17x17x17 & 33x33x33. 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.

Sony:- A7S, A7S2, FDR AX53, FS5, RX10III General profiles for Sony F3, Sony F35, Sony F5, Sony F55.
Canon:- C300MK2 General profiles for Canon DSLRs, C100, C200, C300, C500 and CLOG Based cameras.
Blackmagic:- BMPC4k, BMPCC General profiles for other BMD cameras. (URSA 4.6k & 4k have not been profiled)
Nikon:- General profiles
Panasonic:- GH4, GH5, GH5S General profiles for other Panasonic cameras and VLOG based cameras.
RED:- Helium General profiles for Dragon also.
ARRI:- ALEXA General profiles for ALEXA based cameras.
FUJIFILM:- XPro2 General profiles for FLOG based cameras.

Because manufacturers use known matrix conversions with their S-Curves interchangeable with cameras sharing the same profile it is not necessary to Profile from scratch every camera. Folders for certain camera will appear in updates as these cameras are individually profiled.

Although for example, SLOG2 is available on many different Sony cameras depending on sensor and the processing pipeline the colour tone can shift slightly therefore where possible its beneficial to use the matching camera and profiles. If your camera is not listed please use the closest matching camera or general profiles for that profile/brand.

The list of cameras will grow weekly so please check back soon if your camera is not listed. Note: Additional camera & looks will be added to this set as updates.

This set includes my Custom CLOG in Camera picture profile. For help installing into your Canon camera please view this Canon page.

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