philmColor is a series of motion picture film inspired Creative 3D LUTs designed and optimized for RED's new Image Processing Pipeline 2 (IPP2). The core concept behind this project is to provide filmmakers with new "digital stocks" to assist in carving out a more unique look to their captured footage. The LUTs are 33×33×33 and can be used in cameras with IPP2 support or on any REDCODE RAW .R3D in post.
In this version 1.0 release you get a total of 103 LUTs with the purchase of philmColor.
- 45 baseStocks
- 17 ghostStocks
- 4 printModels (with strength variations, 20 LUTs)
- 7 toneAdjusts (with strength variations, 21 LUTs)
- Free Updates to Version 2 as new LUTs are created and added
- PDF Manual with previews of each LUT and some notes regarding them.
Examples of philmColor.
There are currently 4 categories of LUTs with the release of philmColor 1.0. baseStocks, ghostStocks, printModels, and toneAdjusts. Here are a few examples of each:
baseStocks - There are 45 of these unique looks. Some are based on film stocks, some are based on modern film grading trends, some are helpers for specific situations, others are unique in their own ways. These meter accurately to 18% Gray in camera unless otherwise stated in the manual.
ghostStocks - There are 17 ghostStocks. Their purpose is to serve more like color science and are designed to slightly tune chroma and luma responses. These are far more subtle than most of the baseStocks. Overall my goal with these are to provide different approaches to skin tones and more subtle hues found in situations such as dusk. These all meter accurately to 18% Gray in camera.
printModels - There are 4 printModels with this release. Each loosely based on a film-like print response. They come in a variety of strengths. Pure, Flat, Flatter, Punchy, and Thin.
toneAdjusts - There are 7 of these and mostly these are intended as post helpers, though you may find a couple of them pleasing in camera (like the cineTone variants). Some are purely utilities. For instance, if you desire to pull down your highlights only, there's a LUT for that. Additionally these come in different strenghts. Full, Half, and Quarter.
How do I use philmColor LUTs?
philmColor can be used in camera and in post. In camera, your camera must support IPP2 internally. At the moment, RED Helium camera bodies for instance. In post, philmColor can be used on any R3D from any RED Digital Cinema Camera.
Within REDCINE-X Pro and supported 3rd party software you place your selected philmColor LUT in the "Creative 3D LUT" menu.
In Camera Workflow
On your REDMAG media create a folder called "luts" and copy over the philmColor LUTs you'd like to use in camera. Do note, you must have a camera that is "IPP2" capable to utilize these LUTs properly in camera. Go to Menu>Image>3D LUT to select and manage your LUTs.
All of philmColor LUTs are designed to work when applied to any shot, but you may want to tweak your look a bit. When applying your philmColor LUT you may want to fine tune your White Balance, ISO/Exposure Adjust, Curves, and Contrast. Saturation and other adjustments can be further manipulated within the CDL controls. Additionally, you can of course select different Output Transforms like your Output Tone Map and Highlight Roll-Off depending on if you after a smoother or punchier look. There are a huge variety of looks you can explore.
Can I redistribute and/or Resale philmColor?
No, you cannot freely redistribute or resale philmColor LUTs without written consent of Phil Holland. However, I am a realist and you can certainly forward these along to your post house or post person if need be. Basically, use them to get your work done, but don't steal them if you can avoid it.
philmColor represents a whole lot of time, effort, tests, and R&D. Much of which transpired during 10 months of IPP2 testing and some of the base info came from many years before. During the bulk of the QC a test bed of nearly 3600 R3Ds was created from shooters all over the globe as well as from RED themselves. So in short I'd like to thank everybody who helped along the way with providing that footage. Thanks goes out to DSC Labs as well as X-rite for making good things. I'd also like to thank Graeme Nattress for his brilliant work on IPP2 and willingness to test my efforts over the last few months. A big thank you goes to Jarred Land of RED Digital Cinema for continued motivation over these last few years. And lastly, Will McCown and Megan Edwards who allowed me to focus on the "important work" back when film was the primary medium in my life.
About Phil Holland
After a bit of gripping and gaffing for petty cash, Phil Holland began his career in the motion picture industry on the VFX side of things in 1999 working in the Scanning and Recording Department at Rhythm and Hues Studios. As a Digital Imaging Specialist he had the privelage to explore film rather deeply through cinematography, high resolution scanning, high resolution laser recording, and his efforts as a Digital Colorist on feature films. From 2011 on Phil has moved on to pursue his Directing and Cinematography career with a keen interest in bleeding edge digital cinema technology. As of late he's been spending a great deal of time up in the air filming aerials in 8K all over the globe as well as executing some smaller scale narrative and commercial pieces. You can learn more about about Phil and his work at www.phfx.com