LUT for DCP or Rec709

Hello,
I got a job where I have to grade some RED MX footage. The output will be DPX lin 1920x1080 and it will be packed as DCP . I own a MacPro Nehalem, ATI Radeon HD 4870 and a LaCie 324 - DVI.
Can anybody help with some advice? How can I create or get a LUT to monitor the grading? Is it possible to do it with my equipement or I need to rent a different display? What options do I have? Can I grade it with a Rec709 LUT and then convert it to DCI, and how can I create or get a Rec709 LUT?
Thanks much.

Thanks for your answer. I do not have a production display and the reason I would still think of using my computer monitor is because the footage needs just some minor touches. It was graded during shooting on a TVlogic wright on the set and everything is saved in metadata. The LCD I have is very good and I would trust it in this case as long as I could load a LUT in Color that would allow me to identify roughly the path towards Rec709. Otherwise I could just buy a HP DreamColor which I assume is also very good.

Similar Messages

Generate a camera LUT for Sony FS7

If anyone knows how to generate a 17x17 or 33x33 .cube camera LUT for a Sony FS7 directly from the Timeline that would be stellar. Or if you know how to do this from Speedgrade lmk. I am hoping not to have to buy Red Giant's LUT buddy.

Send the sequence over to SpeedGrade via Direct Link. Do what you need to do as far as effects and color go. You can then save those out as a LUT, including .cube format. (Though I'm not at all familiar with the 17x17 part.)

LUT for Sony F35 S-Log footage

Hi,
We are working with Sony F35 footage shot with S-Log setting.
Does anyone have a suitable LUT for Sony F35 with S-Log that can be used with Color?
Also if I need to neutralize the S-log setting, for say output back to tape , what is the best way to perform this,
Thanks and Regards,
Vivian Pimenta

hi ortix,
i am an adobe user, and I hate to say this, but I hate speed grade. my personal recommebdation is that you don't use it until they make it more usable, and instead get DaVinci resolve 11 lite beta, as it's free and does have working s-log2 LUTs.

Exporting Jpeg2000 for DCP directly from Premiere

Hello everyone,
I have to export a jpeg2000 sequence for a dcp. I`ve just installed the j2k plug in in premiere and after effects. My question ist do I have to export the jpeg2000 sequence from AE or can I do it directly from premiere? The problem is that I can`t change the color space to xyz in premiere, which I can do in AE, but is it necessary if the plug in seems to have a XYZ Conversion as an option? Did someone used it before that way?
my second question: in my timeline I have a dpx sequence, some psd graphics and titles made in Premiere Pro. Everything in Rec709. Do I have to convert everything to XYZ before exporting as jpeg2000 sequence in XYZ color space?
thanks in advance!:-)

hi there, so I made some tests with exporting a jpeg2000 sequence
1. directly form Premiere Pro, through the j2k plugin, with convertion to xyz color space
2. from After Effects with convertion to xyz
3. first I exported a tiff sequence from Premiere Pro and then exported it from OpenDCP as jpeg2000 sequence
the problem is that all of the final results are slightly different. the brightness is a little bit different and the colors too. any idea why?
btw. I`m using Premiere Pro CC 2014.0.1

DPX export settings for DCP creation

I have a short film that's been accepted to a major festival that requires a DCP, and I want to create the DCP professionally. I would like to provide a true 24p DPX master to the DCP company.
My final film is a 4K sequence at 23.976. I have duplicate 24 fps 5.1 audio wav stems that were output from Pro Tools, so audio isn't a concern.
Okay - so I export my sequence and choose "DPX". I'm presented with several options: 24p Full Range (max bit depth), 24p Over Range (max bit depth), 24p Standard (max bit depth), and 24p Video (max bit depth). Huh? I'm a Jack of all Trades indie filmmaker, and I can't find a word about these options anywhere - not in the Adobe manuals, not in tutorials, not even via a Google search. And, although these options are all "24p", my output still clearly shows as 23.976.
What option should I select? Why the variables? And can I simply change the frame rate to "24" under the video tab?
Finally, will I be able to import this image sequence back into a new sequence in Premiere Pro to check the 24fps audio tracks for alignment and sync?
Thank you geniuses in advance. I don't know how I would do this without you.

I just heard that DPX/Cineon was the best format to use for lossless colour grading. I also was starting to learn speedgrade, which uses DPX as it's main format. This is the first time I've attempted using any codecs specific to colour grading before. I used to export as AVI or quick time and grade that...
One of the problems i'm having is that I'm shooting on the 5D mk ii, which doesn't have anything near the colour depth of somethig like the scarlet..
I did figure out however, how to get rid of those lines. In AE down the bottom of the project tab, where the new compositions button is, there's also a colour settings button where you can change the sequence bit rate and output settings. So I got rid of the lines, but not I'm having issues with the output being over exposed in some places, and under exposed in others. But that's probably becuse of the limited colour space of DSLR's..

GTX transceiver wizard set CPLLREFCLK="101" in property/xci generate and stay for dcp ooc?

VC707 - transceivers wizard 3.5 ...
How do I with GTX transceiver wizard set CPLLREFCLK="101" so I can select my gt0_gtsouthrefclk0_in (which I'm in QUAD 113 so this is from QUAD114 correct)?
I currently have to open ..._multi_gt.vhd and the _funcsim.vhd/.v files and edit the:
SIM_CPLLREFCLK_SEL => "101",
cpllrefclksel_in => "101",
from the default "001"
The attached is my current .xci. --
I'm not sure about wizard page Line Rate,RefClk the "Transceiver Selection" I have my GTX X1Y2 from QUAD0 o ngui =QUAD113 for real set to get clk from QUAD1 per gui=QUAD114 for real REFCLK0_Q1 to my CPLL ... not sure what this does but closest thing to selecting the southrefclk0 I guess...?
I also include shared logic in example design since I think I don't want to step on my prior pcs_pma core that used include shared logic but still uses same QUAD113 - ch1 for phy.
I tried to find in .xci or report_property something to set the CPLL sel but don't see it..
currently I will set my .xci to global and delete my .dcp which will then just build from source right..
PS- when I change funcsim CPLLSEL signals it doesn't seem to simulate for them, just the "001"...?
THANKS!

Thanks, I've been looking at those diagrams for some time and just don't understand clearly. May you please point me the right direction for my application:
VC707 board, using QUAD113 the SGMII on GTXE_CHANNEL_X1Y! is already working using it's MGTREFCLK0 SGMII_CLK and now I want to get the GTXE2_CHANNEL_X1Y2 SFP+ transceiver in the same QUAD113 working using the Si5324 MGTREFCLK0 from QUAD114 as it's CPLL input.
I can't get CPLL lock. Since this Si5324 clk is from QUAD114 MGTREFCLK0 above I believed I should tie my design Si5324 clk input pin signals through an IBUFDS_GTE2 to the GTSOUTHREFCLK0 pin of my gtwizard GTXE2_CHANNEL for my SFP+ transciever. However in the design view it appears the Si5324 clk pin into QUAD 114 is mapping to GTSOUTHREFCLK1 in the diagram so I tried that as well. I've also tried to just tie it to GTREFCLK0 and/or 1, change to appropriate CPLLREFCLKSEL, and also to tie it to all the advanced clks...
Where shoudl I tie the Si5324 clk input signal -- what should my CPLLREFCLKSEL be set to.
If I understand your response it sounds like since I'm never changing clks to the SFP transceiver and only tieing one, I just leave CPLLREFCLKSEL = '001' and tie it to the GTREFCLK0?
THANKS!

Render farm for DCP creation

We are starting to get more and more requests to make DCPs for clients and we need to speed up the process. Currently doing a DCP through the Wraptor AME plugin takes around 20 hours for a feature length film. It's a bit faster if we do tiffs through AME and use OpenDCP for the rest but even then it's still taking a while. When we are doing work for festivals etc we are simply running out of time where we need to do dozens of films.
Is there a way to use render farms to speed up the AME processing? And if so, any advice about setting it up?

Rather than a farm, if you can find out from Adobe or the Plug-in maker how well the code threads you might consider a single computer with multiple CPU's llike the Xeon E7 v2 chips that can have up to 15 cores and up to 8 sockets. Here is Harm's picture on his Tweakers Page. To run a beast like this you have to us Windows Server OS which not officially supported by Adobe but apparently should work. Of course the pricing is astonomical.each CPU chip (15 Cores 8-way) is $6841.
I would suggest contacting Eric ADK and see if they can build you a Super Workstaion for your processing. If it can be done they are the one's to do it

Exporting Photoshop LUTs for use in Speedgrade

Hi
I'm not sure if this is a silly question, but here goes!
Firstly, I'm using Windows 7.
I have created an adjustment layer in Photoshop CC 2014 and exported to 3DL, CSP, CUBE files and ICC profile.
How do I pick up and use these in Speedgrade CC 2014?
Thanks!
Dave

well I tried. I created the Photoshop adjustment layer, exported as Color Lookup Tables using all 4 formats of 3DL, CUBE, CSP and ICC Profile
then in Speedgrade, did the +, FILM, LUT and immediately it adds the LUT to my layer list
I do not see the .... button next to the pulldown list - I don't think I get a pulldown list ??
RoninEdits wrote:
in speedgrade, the bottom left layers area, click the + button and from the menu choose Film>Lut. you can then click the .... button next to the lookup table pulldown list to choose your custom lut.
EDIT - got it, sorry. Had to collapse LOOK Management to see Lookup Table and the ... button!
my 3DL seems fine
my CSP is red and white checker board
my CUBE is fine
and my ICC is darker then original ,,,, I see what you mean Dave about the very high contrast/saturation

Export for DCP

I need to send my final to master to DCP. What's the best format to export from FCPX?

I need to send my final to master to DCP. What's the best format to export from FCPX?

JPEG 2000 for DCP?

Been trying to create a DCP package. I noticed AME seemed to have a JPEG 2000 and there is a Digital cinima option, is this creating files with a 16 bit depth?
Ben
PS I did install http://www.fnordware.com/j2k/
plugin so maybe AME does not include JPEG 2000 as default. Is this the case.

You have those options because you installed the fnordware plug-ins. If you have questions about them, you should ask fnordware. There's contact information here:
http://www.fnordware.com/about/
I'll direct them to this thread, too.

How to export 2048x858 for DCP

Just wondering if it is possible to export DPX's from Speedgrade at the DCP Scope required size of 2048 x 858 there doesn't seem to be an option in the Outputs. Some of the files in the timeline are 2048 x 858 openexr's and others are 4.5k R3d's. I'm aiming to have the whole timeline exported as 1 dpx sequence with all frames at 2048 x 858. Any suggestions on how to do this?
** Ok after some messing around I found a solution, (I'm working on a Mac 10.7.3 ) I opened the App package and navigated to contents/macos/settings/rendersizes.fcps opened this in Textwrangler and duplicated one of the 2k settings and modified it to the size I needed , works perfectly.
Message was edited by: BenK1934

Hey Ben,
another, more comfortable method would be adding a Pan and Scan layer and type into the Crop area 'H2048 : H858'
Cheers,
Duy-Anh

VISION IMPULZ LUTs with FS7

Hi everybody, I recently purchased Visuals Impulz Lut Collection - it offers a great variety of LUTs for negative/linear/directprint grading. I didnt check other footage yet, just FS7 XAVC-I 1920x1080 25p and 23.98p , both Slog2 and Slog3 in CINE EI. What I found with SGamut3.cine/Slog3 was heavy banding-steps (32??) when using darker/high contrast film LUTs - both in the camera and when used in Resolve or Catalyst (yes, you can put external LUTs into Browse/Prepare). Today I wanted to see if Slog2 is better , here are my results: SGamut/Slog2, no Lut: To see if it behaves strange, I put on some Sony LUTs: with 1D LUT709(800): with Look Profile Cine+709: with 3D User LUT Visual Impulz Techtacrome FPE (Slog2-Techtacrome FPE Cube): with 3D User LUT Visual Impulz Techtacrome FPE + raised EI/ISO-Slider: when I move the Exposure Slider up and down, the pic goes brighter and darker, but the "grid" stays on its position. Obviously the slider moves the brightness BEFORE the LUT conversion.Playing with Lift Gamma Gain the "grid" moves accordingly up and down. Testing the same footage in resolve brings same results (but the Waveform Monitor doesnt show it the same obvious way). When I first convert Slog to REC709 (via NODE1) and bring in the Impulz LUT AFTER that (REC709-Techtachrome FPE), bandings are much more less obvious, but still there. I didnt expect the direct Slog-ImpulzLUT way to be THAT bad. Interestingly other LUTs (Alisters Film Look for example) show not nearly heavy bandings. What I want to find out is a) do I expect to much out of 10bit Slog when used with extreme 3D LUTs? b) is there a problem with the Vision Impulz LUTs? c) I found that the Look Profiles are 65step LUTs, 3D User Luts are 33 (exported from Resolve), Vision LUTs are 32 - does the FS7 dont like 32s? Any experiences too? ULi

Uli, I'm pretty well certain that that banding has nothing to do with how large the LUT dimension is. If anything, the lower the 3D LUT dimension, the simpler and softer the transitions possible and the less likely you are to see banding. I do wonder if it might be the software having issues with 32x32x32 rather than 33x33x33. 3D LUTs are frequently an odd number of dimensions, specifically 17x17x17, 33x33x33 or 65x65x65. One reason for this is that it makes it very easy to accurately reduce dimension without recalculating; to go from 65x65x65 to 33x33x33 you just remove intermediate values from the LUT. Likewise to go from 33x33x33 to 17x17x17 and then on to 9x9x9 if you want to go that far! As you say, Sony's cube LUTs are 33x33x33 except for Cine+709 which is 65x65x65 and the camera accepts 33x33x33 or 17x17x17. Seeing your Catalyst framegrabs and the nature and consistency of the lines on the waveform, I wonder if the hardware acceleration is tuned for the common odd-number dimensions and just throwing a wobbly at having even dimensions? You could try converting the 32x32x32 Sony one to a 33x33x33 one (or 65x65x65) with the LUTAnalyst tool in LUTCalc as Alister mentioned - or equally convert the Arri 64x64x64 one to S-Log3/S-Gamut3.cine. It might be worth a try rather than saving from Resolve as LUTAnalyst has been specifically designed for making conversions. If you convert the Arri ones, just make sure that you set the 'Camera' in the top left box to 'Arri Alexa / Amira'. This sets the native ISO and makes sure that the LogC parameters used are correct! Keep us posted, Ben

Problem in J1iin for Export Invoices only

Dear All,
I want to create Excise Invoice for Export. We are using Letter of Undertaking ( LUT ) for our export. My Billing Document shows the values for BED, Cess & SHE Cess.
While J1iin , It also shows the BED, Cess & SHE Cess values in there appropriate places. As soon as I save the document excise invoice number got generated but when I see the same document through Change or Display mode, in all the places of BED, Cess & SHE Cess I got 0.00.
I checked J_1iexchdr & j_1iexchdtl tables all excise values are 0.00 there.
(Excise Invoice with BED, Cess & SHE Cess is our client's requirement)
Experts please give me your suggestions.
Regards
Sagar Pande

Dear Sagar Pande
In normal circumstances, if your configurations are in line with standard, it should not happen. Anyway, please check in J1I7 with transaction type DLFC whether those values (BED, SCess) are flowing. Not sure whether I am giving right direction but just you can try.
thanks
G. Lakshmipathi

DCP export -very small file..?

Hello,
I'm trying to export a feature film for DCP export and it's been a doozy of an experience so far.
I'm using the latest/updated version of Premiere Pro CC, on a MacBook Pro, OS X 10.10.2, 16GB of Ram. The film is 84mins total, shot on a RED Mysterium, 5K. The timeline had mostly DPX image sequences that were 2K resolution. Please forgive all the fuzzy details, trying to paint the picture best I can.
When I tried to export a DCP from the timeline, each and every time Media Encoder would crash as soon as it started the job. I was exporting at 2K, scope settings, 24fps, Bitrate of 250Mbps, JPEG 2000. Below the estimated file size said 814819 MB. It would load in to Media Encoder and when I started the export, every time it crashed. I tried exporting the same settings directly from Premiere and the same thing; the whole system would crash -immediately. I also tried to simply export a minute of the sequence with the same result, crashing immediately.
I was given the advice to export a master of the entire film as a ProRes 4444 file. I made a few tests, exporting a minute sequence as a ProRes 4444 file, then making that clip it's own sequence -then exporting it as a DCP at the same settings as before -and it worked. Therefore I exported the entire film as a ProRes 4444 file. Took about five hours and it came out to being just over 36GB.
I imported this file in to Premiere and made it in to a sequence, then exported that sequence at the DCP 2K Scope settings, 24fps, Bitrate of 250Mbps, JPEG 2000. Below the estimated file size said 814819 MB. The export seemed to work and took about 17hrs before Media Encoder said 'successful'.
But the problem now is that the files combined say that they're only 9GB. How can that be? I thought maybe I was reading it wrong or that there were some missing files I didn't see so I copied them to a portable drive that I'm planning on using to deliver the movie on -and during the transfer it verified that it was only 9GB. I don't have a DCP player so there's no way that I can check to see what's there, but I was under the impression that it was going to be more like 80GBs.
I have an appointment to watch the DCP on a projector tomorrow but I just can't think that the 9GB file is correct.
If you can't tell already, all this DCP export stuff is new to me so any clarifications are appreciated.
Sincerely,
Wayne

Hello All,
I'm near the end of this project and it's been a learning experience all the way through. It's been comforting to know that if I'm going through anything and/or hitting up against walls, that I'm probably not the first person to go through it. I've found answers to most of my questions through the forums and just in case anyone goes through what I just did, I thought I'd share my 'solution'.
The first problem I was having with Premiere crashing immediately was fixed by going in to AME's preferences and unchecking the 'import sequences natively' box.
I then attempted to export the finished timeline directly as a DCP file. While it worked fine, I cancelled it when the export time started to approach 40+hrs. I was thinking that it shouldn't take that long. Little did I know...
I then exported my ProRes 'master' of the film that I had made earlier and was surprised when it was again only 9GBs. Turns out that I exported the ProRes4444 'master at a much lower resolution than I should have. That was the reason (I believe) that it was so small. Ultimately it was my bad...
I then reexported a new Master from the timeline, ProRes 4444, 2048x1080, and it took 61hrs to export. 61hrs..!? I was surprised by it but at this point I needed it done. It finished yesterday morning (175.5GB) and then I dropped it in to a new timeline in Premiere. I used the RED Camera 2K, 24fps settings. The film was shot at 23.97 fps and I was under the impression that you have to have your timeline at 24fps in order to successfully export it as a DCP. I exported two tests, one 30secs long, and the other a full minute. They both exported fine and I checked them on 'Easy DCP Demo' to see that they worked fine. (Earlier I mentioned that the color was off on the player. I had to adjust the settings on the player to one of the 'color transformation' settings, after that it looked great.) I exported the whole sequence and another 17hrs later, it was done. This time it was just over 17GB.
My original impression was that feature length DCPs were 80/90 GB, or more. Dima mentioned that the file size should be twice the size of the 9GB file. She was spot on as the final ended up being 17GB.
I'll be double checking the work tomorrow at a screening room and if everything goes well, I'll check the 'correct answer' box on my forum. Thanks for the help. If you see anything off about my process please let me know.
Much appreciated,
Wayne

Using a 3d Lut in after effects?

I´m working at a digital film restauration facility and our workflow is
arri scanner -> restauration software -> after effects (color correction) -> Arri Laser
we are working with logarithmic dpx files, using a 3d Lut for previewing purposes on the monitor
As i know, you can only use ICC profiles in after effects, bummer.
Is there any way or workaround to use 3d Luts in AE or does anyone know a way to convert a 3d Lut to an ICC profile?
I found a possible way at http://www.color.org/creatingprofiles.xalter within SampleICC, but it´s for developpers and i don´t seem to get it to work
any ideas?
I attached the 3dlut, if anybody has the option to convert it
http://audiovisual.at/download/3dlut.zip
this is also a feature request to adobe, please add 3d-lut support, it´s quite an industry standard and i guess a lot of people might apreciate it !!!
thnx

I do have a vested interest in this, but LightSpace CMS from Light Illusion can hlp with LUT conversion, etc.
We are also about to launch SpaceMan ICC for LUT to ICC Profile conversion.
Steve Shaw
LIGHT ILLUSION
[email protected]
+44 (0)7765 400 908
www.lightillusion.com
Skype: shaw.clan
LUTs, CUBEs + GAMMA CURVEs

LUT for DCP or Rec709

Similar Messages

Maybe you are looking for