So if a LUT is designed to increase overall brightness by 10 percent, but an image is already overexposed, the LUT will just make it worse. RGB values after a LUT is applied.īut this simplicity comes with a drawback: LUTs are “dumb.”īecause LUTs are just a fixed table of values, the user can’t adjust the results based on the type of image being input. RGB values before being transformed by a LUT. Or you can build a LUT to emulate the look of your favorite filmstock, and then use that LUT in-camera to capture footage with that look. And it’s this simplicity that makes LUTs a great tool for a variety of functions.įor example, you can easily build a LUT that transforms footage from one color format to another, say from log to Rec. The extent of this process varies depending on the type of LUT specification being used (1D vs 3D), but the idea is the same. It just takes RGB values in, adjusts them by the parameters in the table, and then spits them back out. This process often yields impressive visual changes, but it’s remarkably simple. LUTs can be used for quickly converting log footage to a more vibrant color format. When a LUT is applied to an image, every pixel from that image is adjusted with the values from the table to change the visual look. The pixel can be made to look brighter, or more contrasty, or more saturated, or whatever combination is specified. This might seem too simple for such a useful creative tool, but the easily-readable plaintext data is what makes LUT files so powerful. The values contained in an actual LUT file. In fact, you can open most LUT files in standard text editing applications to view the columns and rows of numbers. ![]() ![]() LUTs are powerful creative tools, but they’re just lists of fixed plaintext numbers. What is a LUTĪ LUT, or lookup table, is a table of numerical values used to adjust an image’s visual properties. If you ever use LUTs in your workflow, read on. ![]() In today’s article, we’ll answer each of these questions so you can understand the debate about LUTs vs transforms. But how are they different from LUTs? What advantages do they offer? When and how can filmmakers start using them? Image transforms are here, and they’re going to change how we capture, manipulate, and convert digital footage. I suggest this topic, not just because color is one of the most important factors in how viewers perceive your work, but also because there is significant change on the horizon you should be aware of. In light of current events, many of us are taking a step back to learn new filmmaking skills and patch holes in our workflow.Īs you deepen your knowledge and sharpen your mind, may I suggest you take a moment to consider how you handle color in your workflow.
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