DELUTS RED FILM STOCKS

DELUTS RED FILM STOCKS:
80 DELUTS Film 35mm Stock emulations. My interpretations of some of the classic film stocks for the RED Dragon Cameras.


Please read first: Profiles are designed around ‘DRAGONcolor2’ Color Space and ‘REDgamma4’ Gamma Curve. ISO is rated around 400 depending on Look, all other meta data settings are at their default. 
Please load ‘Base RMD for DELUTS.RMD’ from the folder and replace the ‘Look : Effect : 3D LUT’ with one of the 80 .cube files in this DELUTS pack. 

LUTs are supplied in 64, 33 and 17 Lattice Points. Interpolation will take place if using LUTS below the intended look of the 64 Lattice Points.
The RED Weapon Dragon Carbon supports Supports 33x33x33, 32x32x32, 26x26x26, 17x17x17 3D LUTs The Magnesium supports unto 17x17x17 3D LUTs in camera. REDCINE-X PRO supports up to 64x64x64 3D LUTs. 

Exporting to an intermediate codec with 3D LUTs can be very processor intensive. Please use 17x17x17 3D LUTs if you require faster renders. Color points will be interpolated by selecting a lower Edge Length in REDCINE-X PRO 3D LUT options. I do not recommend going below 17 though.


Please note: There are 80 LUTs in this DELUTS RED FILM STOCKS set. Supplied as native .cube files. No installers are needed or supplied for this set. Integration into Premiere may come at a later point.



FILM STOCKS:

These are my interpretations of some classic film stocks. There are so many variables involved for simulations I have developed a set of Looks that I believe gives you a take on the analogue film look, kind of how you remember them rather than a simulation. To generate these LUTs I have shot multiple stocks of 35mm film, developed and scanned taking reference to produce these looks. I have not given the LUTs official naming as there is no exact standard to do so, even when using set specifications. And besides anyone who knows my LUTS knows my quirky naming and numbering. I will continue to develop this set and I’m always open for suggestions.


DELUTS FILM SET 1: (In no particular order and I suggest going though and sorting into a favourite order)


KD Color 7210
Based on an overall modern Kodak film look.


KD Color 7210 2SU
Based on an overall modern Kodak film look with 2 stops under in tone. 
*Film underexposes out of tone more dramatically than over exposing and to get that effect using a 2SU LUT will add the additional color look of doing so.


KD Color 7211
Based on an overall modern Kodak film look with reduced saturation in the greens.


KD Color 7212
Based on an overall modern Kodak film look with reduced saturation in the reds.


KD Color 7213
Based on an overall modern Kodak film look with shadows lightened slightly.


KD Color 7213 SA
Based on an overall modern Kodak film look with shadows lightened slightly and increased Saturation in the mid-tones.


KD Color 7213 SA 2SO
Based on an overall modern Kodak film look with shadows lightened slightly and increased Saturation in the mid-tones and 2 stops over.
Doing this instead of just increasing the exposure on KD Color 7213 SA produces more filmic tones.  Example If exposed for 320ISO set ISO in REDCINE-X PRO to 160ISO.


KD Color 7214
Based on an overall modern Kodak film look with mid-tones and shadows lightened significantly.


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KDFJ Color 7310
Based on an overall modern Kodak Fuji film look, greens are brighter with colder reds.


KDFJ Color 7310 2SU
Based on an overall modern Kodak Fuji film look, greens are brighter with colder reds with 2 stops under in tone.*


KDFJ Color 7311
Based on an overall modern Kodak Fuji film look, slightly faded with warmer mid-tones. One of my Favourites for daylight people shots.


KDFJ Color 7312
Based on an overall modern Kodak Fuji film look alternative biased to Fuji.


KDFJ Color 7313
Based on an overall modern Kodak Fuji film look alternative biased to Kodak.


KDFJ Color 7313 SA
Slightly increased mid-tone saturation over 7313.


KDFJ Color 7313 SA 2SO
Based on an overall modern Kodak Fuji film look alternative biased to Kodak with 2 stops over in tone.


KDFJ Color 7314
Based on an overall modern Kodak Fuji film look alternative.


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KD Color 9210
Warm faded tones from the 70’s, greener shadows when pushed.


KD Color 9211
Early colour with weak contrast but saturated colours and yellow highlights, greener shadows when pushed.


KD Color 9212
Nostalgic color tones, greener shadows when pushed.


KD Color 9214
Expired film, strong washed yellow and oranges whilst letting other colours through.


IF Color 9215
Instant film, brown blue tones.


IF Color 9217
Instant film, brown tones.


KD Color 9217
Gentle color film, soft tones of green and bluer reds.


KD Color 9218
Gentle color film, cleaner brighter tones of green and bluer reds over the 9217.


KD Color 9219
Easy tone color film look slightly pushed from under to give softer shadows but a bright feel and strong blues.


KD Color 9220
Slightly pushed look strong red shadows but still vivid colours.


KD Color 9221
Very even strong even colors works very well when pulled.


KD Color 9222
Colours biased to purples in the mid-tones can be brought back via white balance to strong warm tones.


KD Color 9223
Lovely deep warm mids and shadows works very well in sunshine.


KD Color 9224
As 9223 but with slightly warmer mid-tones.


FJ Color 9225
Low saturation film with medium contrast.


FJ Color 9226
Medium bright greens, modern Fuji feel.


FJ Color 9227
Medium greens, red mid-tones and slightly expired feeling.


FJ Color 9227
Warm faded expired feeling with strong saturation.


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CP Color 7410
Slight cross processed film look, blue tones across the pallet.


CP Color 7410 2SU
Slight cross processed film look, blue tones across the pallet with 2 stops under in tone.*


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FC Color 7510
Soft muted tones with a bright feel.


FC Color 7510 2SU
Soft muted tones with a bright feel with 2 stops under in tone.*


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WL Color 7610
Warm yellow tones with a hazy filtered light.


WL Color 7610 2SU
Warm yellow tones with a hazy filtered light with 2 stops under in tone.*


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FJ Color 7710
Based on an overall on a bright Fuji film look.


FJ Color 7710 2SU
Based on an overall on a bright Fuji film look with 2 stops under in tone.*


FJ Color 7710 2SO
Based on an overall on a bright Fuji film look with 2 stops over in tone (best when knocked back down in exposure).


FJ Color 7711
Based on an overall on a warm Fuji film look.


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AG Color 7810
Based on an overall warm rich AGFA film look.


AG Color 7810
Based on an overall warm rich AGFA film look with 2 stops under in tone.*


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FC Color 7910
Soft muted tones with a cold bright feel.


FC Color 7910 2SU
Soft muted tones with a cold bright feel with 2 stops under in tone.*


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KD Color 8010
Based on an overall Kodak film look with deep color and rich contrast for landscapes and water.


KD Color 8010 2SU
Based on an overall Kodak film look with deep color and rich contrast for landscapes and water with 2 stops under in tone.*


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AG Color 8110 Very strong base colour with deep skin tones. Blacks set low.


AG Color 8110 LB
Very strong base colour with deep skin tones. Blacks lifted and faded.


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AG Color 8210
Strong and fully saturated vibrant colours.


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AG Color 8310
Strong and fully saturated vibrant colours with warner mid-tones and highlights.


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FJ Color 8410
Balanced film with neutral mid-tones and dark greens.


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FJ Color 8510
Low highlight saturation 2 strip with reduced yellow and blues.


FJ Color 8510 2SO
Low highlight saturation 2 strip with reduced yellow and blues with 2 stops over in tone. 


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FJ Color 8610
Classic strong Fuji tones. Dark reds and brights greens.


FJ Color 8610 2SU
Classic strong Fuji tones. Dark reds and brights greens with 2 stops under in tone.*


FJ Color 8610 2SO
Classic strong Fuji tones. Dark reds and brights greens with 2 stops over in tone. 


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AG Color 8710
Warm brown muddy overall with a slightly underexposed feel.


AG Color 8710 2SO
Warm brown muddy overall with a slightly underexposed feel with 2 stops over in tone.


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KD Color 8810
Dusty warm earthy tones with gentle highlights.


KD Color 8810 C
Dusty warm earthy tones with gentle highlights and a tint of blue shadows.


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KD Color 8910
Kodak style color dark reds and yellow greens.


KD Color 8910 2SO
Kodak style color dark reds and yellow greens with 2 stops over in tone. Colors remain strong even when pushed.


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KD Color 9010
Even tones and pink skin tones. Stronger reds, dusty thin yellows and clean greens. Great all rounder.


KD Color 9010 2SO
Even tones and pink skin tones. Stronger reds, dusty thin yellows and clean green with 2 stops over in tone.


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KD BW 6010
High contrast black & white tone with medium level Yellow filter for the Reds.


KD BW 6011
Medium contrast black & white tone with high level converted reds almost IR.


KD BW 6011 R
Medium contrast black & white tone with low level Yellow filter for the Reds, more suited to skin tones.


KD BW 6012
Low to standard contrast black & white tone.


KD BW 6013
Vintage low contrast black & white tone.


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KD Color 9210
Warm faded tones from the 70’s, greener shadows when pushed.


KD Color 9211
Early colour with weak contrast but saturated colours and yellow highlights, greener shadows when pushed.


KD Color 9212
Nostalgic color tones, greener shadows when pushed.


KD Color 9214
Expired film, strong washed yellow and oranges whilst letting other colours through.


IF Color 9215
Instand film, brown blue tones.


IF Color 9217
Instand film, brown tones.


KD Color 9217
Gentle color film, soft tones of green and bluer reds.


KD Color 9218
Gentle color film, cleaner brighter tones of green and bluer reds over the 9217.


KD Color 9219
Easy tone color film look slightly pushed from under to give softer shadows but a bright feel and strong blues.


KD Color 9220
Slightly pushed look strong red shadows but still vivid colours.


KD Color 9221
Very even strong even colors works very well when pulled.


KD Color 9222
Colours biased to purples in the mid-tones can be brought back via white balance to strong warm tones.


KD Color 9223
Lovely deep warm mids and shadows works very well in sunshine.


KD Color 9224
As 9223 but with slightly warmer mid-tones.


FJ Color 9225
Low saturation film with medium contrast.


FJ Color 9226
Medium bright greens, modern Fuji feel.


FJ Color 9227
Medium greens, red mid-tones and slightly expired feeling.


FJ Color 9227
Warm faded expired feeling with strong saturation.


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A small selection Deluts classic tones.


DL Color 9110


DL Color 9111


DL Color 9112


DL Color 9113


DL Color 9114


DL Color 9115


DL Color 9116


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LUT RESOLUTION:


My Luts are supplied in 64, 33, 17 lattice points. The lower then number the smaller the LUT size and the quicker the LUT will be on an edit sequence. A 64 point LUT and a 17 point LUT will visually look very similar. It depends on the edit software, monitor and the way it interpolates the conversions. For best results in REDCINE-X use a 64 point LUT (Edge Length) by default REDCINE-X interpolates down to 32 points unless you change it.


For example a 17 point LUT is 111KB where as a 64 point LUT is 7.1MB. A big difference for processing is required between the two.


Adobe Premiere CC only really functions well on 17 point LUTS but it interpolates them very well. It is very common for people to think using a 8 point LUT or a lower lattice point than 64 will produce banding in their image. This is not the case but It will effect the display of color adjustment if very fine colour range adjustments had been performed. If you are any using any LUT, especially when working on an 8-bit image be cautious as using them can affect the graduations and cause negative artifacts to be displayed.


Actually using a lower point LUT such as an 8 Point version can smooth out problem areas by interpolation, so using them does have advantages apart from the greatly reduce computer processing requirements needed. I recommend not going below 17 though.


The Looks (LUTs) are designed around ‘DRAGONcolor2’ Color Space and ‘REDgamma4’ Gamma Curve not LOG. Although they may work on other cameras with some adjustments they will not match across cameras. To be added to this set as a free addition will be some common cross conversion. LOG C, SLOG, VLOG etc.

For an indication of Looks from this set please visit www.deluts.com - (This sets web page is currently being added) or here for a selection of look examples. https://vimeo.com/153431239

Re. Product update: Adobe Premiere Pro CC 2015.3 / DELUTS 

Please read all the way down.   

Adobe have updated CC applications and Adobe Premiere CC 2015.3 and have slightly changed the way LUTs load into Premiere. Instead of loading the LUT .looks files that I created as a MAC installer and a Manual installer on PC.  

All you now have to do is add the .cube files to one folder within Premiere App and restart the Application. Navigate to the APP. (So for example on a MAC its Adobe Premiere Pro CC 2015.3/Adobe Premiere Pro CC 2015.app)   

1/ Adobe Premiere Pro CC 2015.3/Adobe Premiere Pro CC 2015.app  Control click (ctrl) whilst clicking on the app and select 'Show Package Contents'.   

2/ Navigate to /Contents/Lumetri/LUTs/Creative Place the .cube that you would like to use or try here and restart Premiere. 

I would suggest leaving the .cube LUTs inside folders like 'SLOG3' or 'SET 4' etc, this way its easier to remove and manage them. The .cube are also supplied in separate folders when you downloaded the DELUTS from Sellfy. If the folder is marked  '17 PointCube LUTS' use these otherwise add what is supplied. Premiere still chokes on LUTs above 17x17x17 in complicated sequences a note of caution.  

MAC ONLY - Your installed .cube files can also be found at your Macintosh HD/Library/Application Support/DELUTS  here they are all in folders already and just need moving to the new location. "Adobe Premiere Pro CC 2015.3/Adobe Premiere Pro CC 2015.app/Contents/Lumetri/LUTs/Creative"   

For PC I would suggest adding the .cube LUTs from the original DELUTS folder.   I will be updating the all the packs over the next few days accordingly and to make it clear for users.   

PLEASE READ: As ever please don't upgrade if you are part way through a project. And note down what looks and Luts you used in the sequence as I always suggest. Opening a previous project will loose the link to that particular LUT so its very important that you manually add a lut once you have made a choice on what to use through the quick browser. Its always a safe way to archive and deliver projects anyway. 


E&OE


© Copyright 2016 James Miller / www.DELUTS.com
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