I always grade under a LUT or at least use the ACES config so that I’m viewing Rec709 output. I mostly do commercial work.
This time is a bit different. Client provided a LOOK file. Which really isn’t a look file but a LUT.
I can’t easily grade underneath it. The picture freezes and doesn’t want to update. Part of the problem is that I have action setups and timewarps on many of the clips.
Can i load it in as a viewing lut in preferences? Problem is that not all the shots need the LOOK.
Will the ColorMgmt matchbox load it?
yes it does. But not sure what that will get me.
If it’s possible to load the LOOK file into the Colour Management node you can then use the Export button in the Colour Mgmt node which will create a CTF file that you can use to create a new Viewing Rule in the Preferences in Color Management.
Hit the Create Rule button then in the View Transform column select “+add new” from there you can load it and select the appropriate options etc.
Are you grading and want to bake the look file into your grade? If you put it on a ColorMgmt matchbox inside your Image TLFX, you should be able to grade underneath it. I like to put mine on a Secondary at the top of the stack.
Or are you doing that and that’s what’s causing freezing?
Seems like there are multiple questions here: getting this look file to work, and how to apply it selectively.
When you say the look file isn’t really a look but a LUT? Did they just send you a LUT but called it a look, or did they send you a .cdl file?
Either way, you would also need to know which color space it was based on. LUTs and Looks only work well, if you layer them on top of the place in the colorspace journey. And in the case of a LUT, some folks bake colorspace transforms alongside the look into a single LUT, which can create problems.
It sounds like you’re working int he timeline with TLFX and Action, but this doesn’t involve batch groups. And grading underneath a LUT, is that LUT in a separate adjustment layer above, or part of your TL-FX?
Assuming I understand correct, here are ways to approach.
If the CDL or Look LUT is based on camera original (but doesn’t bake color space transform), I would place it a green color management TL-FX so it’s before anything you grade, and then do your grade (which is now just supplemental) on top.
If the CDL or Look LUT is based on viewing colorspace (Rec709) but doesn’t bake color space transform, I would place it in an adjustment layer above your viewing transform, and then add edits, so it only sits atop the applicable clips.
If they did bake the colorspace transform in as well, then you can use it lieu of your viewing transform. So just place in adjustment layer and only apply to applicable clips, and then have all other clips contain your view transform.
I’ll answer in line.
When you say the look file isn’t really a look but a LUT? Did they just send you a LUT but called it a look, or did they send you a .cdl file?
Perhaps my own confusion. When they called something a look, they meant they dialed in a corrects and then exported it as a .cube file. No issues here, just incorrect terminology.
Either way, you would also need to know which color space it was based on. LUTs and Looks only work well, if you layer them on top of the place in the colorspace journey. And in the case of a LUT, some folks bake colorspace transforms alongside the look into a single LUT, which can create problems.
Yup, agreed.
It sounds like you’re working in the timeline with TLFX and Action, but this doesn’t involve batch groups. And grading underneath a LUT, is that LUT in a separate adjustment layer above, or part of your TL-FX?
I always, always grade beneath the LUT. LUTS can sometimes cause extremes that can’t be graded back in. First FX is always IMAGE. Often I have to grade and give footage to an editor at its original resolution. Next up is the color management node. Only needed if there are other transformations in the sequence. I always set it for viewing to get back to Rec709, especially is there are other transformations needed in the timeline or if there is Rec709 footage for example.
Problem happens when, in addition to action transformations, there are timewarps. This can often cause a freeze in the footage. Biggest problem is not being able to do a comparison between different references or even the secondary on the timeline.
Assuming I understand correct, here are ways to approach.
If the CDL or Look LUT is based on camera original (but doesn’t bake color space transform), I would place it a green color management TL-FX so it’s before anything you grade, and then do your grade (which is now just supplemental) on top.
Again, I wouldn’t grade above the LUT or LOOK.
If the CDL or Look LUT is based on viewing colorspace (Rec709) but doesn’t bake color space transform, I would place it in an adjustment layer above your viewing transform, and then add edits, so it only sits atop the applicable clips.
Then how does one grade through the Look LUT? Yes I can view Primary track but that does not work well.
If they did bake the colorspace transform in as well, then you can use it lieu of your viewing transform. So just place in adjustment layer and only apply to applicable clips, and then have all other clips contain your view transform.
Same as above.
Thanks for the suggestions. I do think this is an issue with Flame. It seems the best way to add it would be through a viewing LUT. I’m going to see how well it works.
What are you trying to deliver? Graded Rec709 files? Just load the .cube into a ColorMgmt matchbox inside your Image node and grade through it. Also, unless there’s something I don’t understand about your workflow you can totally grade after the LUT if you want. There’s no law!
If you’re saying that it’s hard to turn knobs inside Image while watching the result out in the timeline after the TW and Action repo have been applied, then yes. It sucks, and is something I struggle with too. I think it just has to do with how the Effects editor works and not with .cubes specifically.
DM me if you want and I’d be happy to hop on a call and show you.
That does work. thanks. Only issue I have with it however is that when copying image nodes there are times when the priority gets messed up. I would always want the CM node to be at the top. But will take a look thanks.
If you F-copy the whole Image TLFX from one shot to another it works, but if you’re marquee selecting big chunks of your Image setup and ctrl-c, ctrl-v’ing, then yes the priority can get screwed up. I should have filed a bug for that 2 years ago, but we’re still on 2023.3 Because Centos.
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This can sound ambiguous, because LUTs can play multiple roles.
The grade should always sit between the camera transform and the viewing transform (maybe a LUT or a transform). That is the only place your grade will be stable across the timeline. In theory all your camera specific log spaces have been normalized, and the LUT is still scene referred, so it doesn’t change if you’re viewing space were to change (doesn’t sound like it’s the case for you, but in principle). You want to grade the scene, not the camera or the viewing device.
In that case consider putting the timewarp inside BFX and cache them through Flame’s caching mechanism, or by using a write/import node. Also keep the timewarp before any grade, so the cache doesn’t get invalidated if you change your grade.
What’s the problem with the primary track? Has always worked for me. I put my viewing transform as an adjustment layer above the main track, that becomes my primary track and viewer is set to that.
That really depends on how/where they generated their ‘look’ LUT. You may want to grade on top of it, as grading underneath may have undesired effects. If their ‘look’ increases saturation, and you grade underneath it, you’re changing their baseline, and so their saturation increase could vary from shot to shot as a result. That makes more work for you. If they provide a look, you should treat that as the baseline, and then evolve that to taste.
But there is no right/wrong answer. This is just how I think about it.
Speaking of priority - I find this is an area where Flame can be quite annoying. The Image order of selectives in the image node, and even their IDs is not reflective of the processing order. When you insert selectives or copy them back and forth, you constantly have to go into the manager and make sure the priority order is correct. Adds extra time. And you can never drag something in to the top spot. That UI could definitely use some help.
I try to pre-built my selectives to minimize this. Kind of like a fixed node tree in Resolve, and then always start with that, and only add new ones when something strange comes up.