[Jeremy Ball]

Thanks Robert but I am looking for the print stock LUTs mostly. Although, creating LUTs for camera stock would be a great idea since you work at a place with all the equipment you need to scan the film and create the LUTs. Let me know if you take on this venture, I would be one of the first to buy. : )

It would be great to find camera stock LUTs like Kodak Vision but I was pretty sure I would find the print stock LUTs. Any idea where I can find some. How do most freelance colorists acquire the LUTs when emulating a film out?

[Jeremy Ball]

Thanks. I’ll upgrade to 8.2 and give it a try. I did try extracting the archive and then making a zip file with .resolve.zip as the extension and it worked as well.

[Jeremy Ball]

Thanks Walter. Now I understand a bit more how LUTBuddy works.

Yeah I am trying to recreate what MatchLight does and save the $2500+. It does exactly what I need but I would not use it enough to justify the cost.

Good advice about adjustment layers. Now I just need the Art Director to remember to use them.

Thanks again for the replies.

[Jeremy Ball]

Adjustment layers would be the best way I agree but unfortunately I hardly ever get them let alone a layered file even when I ask for it.

I am trying to find a way to trick LutBuddy into seeing the difference between the ungraded image and the graded image. I’d like to apply LUTBuddy first in the plugin stack then add an image loading plugin to load the graded image, then add another LUTBuddy to output the LUY.

Is there a plugin that loads a source image from a different layer into the plugin stack?

[Jeremy Ball]

Thanks for the reply.

I am not sure that will work since I am trying to create a LUT from an ungraded image and a graded image from photoshop. I won’t be making any actual color correction in after effects. I want to be able to apply looks created in photoshop to a LUT. Most Art Directors won’t be using after effects when they are creating look examples for a colorist so I am looking for a quick way recreate via a LUT.

I will try precomposing the layer but how could I show LUTBuddy the changes between the ungraded image and the graded image.

[Jeremy Ball]

Thanks for the replies. I thought it was only 24 to 29.97 but I wanted to see if I missed something. I might try looking into the AJA FS1 which supposedly converts most standard signals into any other standard.

[Jeremy Ball]

Would the motion look smooth like a horizontal pan? I only have a decklink card as of now so I can not do any tests without investing in another card so I can not do any tests right now.

If someone says the 29.97 play out to 23.976 capture would work well then I would invest the money.

Has anyone tried this before and what were the results?

Thanks

[Jeremy Ball]

I would like to keep the filmic look but is there a way to conform the footage from 29.97 to 23.976 perfectly. I have read many places that there is not a perfect answer for this. Maybe someone has a recipe for Compressor or Squeeze that works well.

I guess my next question would be, is there a way to add 3:2 pulldown to 23.976 footage that looks fluid with no stuttering or ghosting. I have not had any luck using After Effects or Compressor and not had some problems somewhere in the transcoded footage.

[Jeremy Ball]

Final deliverable is 1080 59.94. We are out putting to tape through a Kona 3 card so even if we edit at 23.976 we will be fine for delivery. I am concern with stuttering when converting from 23.976 or 29.97 to 59.94. Should I be concerned?

I had heard that 59.94 might be the lesser of all the evils since 29.97 will directly translate to 59.94 and the same with 23.976. Is that true? Or will there always be problems converting between 23.976 and 29.97?

[Jeremy Ball]

Thanks. I did not think to route the alpha for tracking windows. That works really well. I still wonder why you can not bring the tracking data with a node when you copy it though. Not a big deal when you can just use the alpha from the node and feed it to all the other blur nodes. Thanks again.