D E L U T S  U N I V E R S E  /  O V E R L O O K

Welcome to DELUTS Overlook.

Creative Looks:
- DELUTS Overlook SET A
(58 Standard Looks), (35 Orange and Teal), (29 Faded).

- DELUTS Overlook Classics SET B
(208 Looks).

These are overluts and can be applied to REC 709 or non Log footage and photos to give you a new exciting look.
This DELUTS product contains:

1/ DELUTS Overlook SET A (Creative Looks)
2/ DELUTS Overlook Classics SET B (Creative Looks)
- Optional Usage below:
3/ /EXTRAS/DELUTS Primary Master Gamut
4/ /EXTRAS/Luma Clipping Control
5/ /EXTRAS/Gamma Curves and Roll Off

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

Note: If you already own the DELUTS Universe set ( ) then everthing here is already in that set.

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 Primary Master Gamut Luts are created:
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. - 'DELUTS Primary Master Gamut'.

Load within Adobe Premiere Pro CC. Adobe Premiere Pro CC.appContentsLumetriLUTsCreative for the Looks and Adobe Premiere Pro CC.appContentsLumetriLUTsTechnical for the 'DELUTS Primary Master Gamut'.

As these are 'REC' overluts they are equally happy being used on Photos, within Photoshop. Load one at time through AdjustmentsProperties3DLUT File/Load 3d LUT...
Or alternatively Open your Adobe Photoshop CC application folder and locate 'Presets'. Presets3DLUTs and copy them over to here. Restart Photoshop, open an image and navigate to AdjustmentsProperties3DLUT File. Under the drop down 'Load 3d LUT' you will find the DELUTS looks.

Can be also natively loaded into FCPX and DaVinci Resolve.

Also supplied under EXTRAS is 'Gamma Curves and Roll Off'. We have Gamma curves options and also a Linear to Log conversion. These curves contain no colour information only gamma curves are effected. This might help recover footage for grading and or bring footage back to LOG.

Suggestion would be to use like this:
Layer 1 - REC, balanced or pre-graded CLIP
Layer 2 - DELUTS Primary Master Gamut
Layer 3 - Looks

You can just add the Overluts if you like and skip anything else.

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.

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.

Looks supplied in 33x33x33 & 17x17x17. Technical, DELUTS Primary Master Gamut 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.

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.

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