LUTs are calibration-dependent, so a LUT that’s created for a Nikon camera wouldn’t suit footage shot with a Sony camera. Things to Keep in Mind While Applying LUTs So, make sure to test out the LUT before you decide on it. It’s worth mentioning that one LUT can change the footage differently from one video editing software program to the other.
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It’s only natural to wonder where a preset group of colors comes from, especially with all the mathematical formulas involved, which need a high degree of creativity. Using LUTs will help you make up for the discrepancy and give you a consistent look throughout all the shots, regardless of which camera you use to shoot them.
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This is especially true if you’re using multiple camera brands during production. A “True Blue” on a Nikon can be different from that on a Sony, and LUTs help us align both. In a way, LUTs enhance the consistency of cameras and unify the color grade. If you’re working with monitors that don’t display the camera input accurately, using a LUT means that you can turn the footage you shoot into something your monitor or computer can output. While LUTs are a post-production tool, they can be practical if you try them on set too. That’s why editors or colorists typically use LUTs after the footage has gone through color correction, then you can apply a color grade to your entire footage.Īnd while cinematographers and directors put a lot of effort into ensuring they capture the right effect and emotional tone, the production team may not always be able to hit their vision just right-and that’s when LUTs shine. To clarify, LUTs can work with one color correction issue, but if there are multiple problems underlying the footage, applying a single LUT might bring out the issues more than fix them. However, the tricky part is that applying LUTs to the wrong footage brings out the shortcomings instead of fixing them. In instances like these, color correction becomes a necessity. These include an actor being in an area with too much shadow during a particular shot, lighting hot spots in some frames, and improper calibration of the white balance. Once footage goes from the production team to the post-production team, the latter checks for any videography hiccups in the various color grading spectrums.