philmColor R2 + R3 Luts

philmColor 是围绕 RED IPP2 颜色工作流程构建的广泛的 LUT 集合。LUT 的范围从创意外观到后期调色师的有用工具。自 2017 年上一次发布以来，这是一段旅程。成千上万的作品在片场和后期都使用了这些 LUT，我很喜欢看到 BTS 在片场加载 LUT。philmColor 的成功让我在人们的要求、项目外观等方面投入了大量时间。个人、工作室和制作开始进行大量测试，并为我自己的项目创造更多外观。这带来了一个机会，甚至可以创建您在 RED 的新 DSMC3 摄像机中获得的少量 LUT。但我向你保证，这只是我在 PCR3 中所包含的盛宴的一种体验。

正如许多人发现的那样，您还可以通过将传入的素材转换为 REDWideGamutRGB 颜色空间和 Log3G10 Gamma 来将 philmColor 与其他相机一起使用。这个版本强调了跨摄影机的战斗性，因为在现场有几个不同的摄影机是很常见的。

电影胶片一直是我灵感的源泉，你会发现熟悉的色调、色调和密度的暗示贯穿现代柯达和富士胶片的复古库存。一如既往，我们的目标是制作对现代电影制作人有用的数字股票，这些股票将适用于各种照明条件和曝光方法。At key、under key、high key 或 ETTR 曝光方法非常适用于这些 LUT。

在第 3 版中，您通过购买 philmColor 以及之前从 philmColor R2 获得的 178 个 LUT，总共获得了 540 个新 LUT。一系列 LUT，但我保证这与数量无关，我已经在这个版本上工作了将近 4 年，为 RED 的 IPP2 工作流程创建一个合理且持久的外观集合。

我创建了 philmColor R3 的 LUT，用作 RED IPP2 分级工具箱，本质上是一个模块化的 LUT 工作流程。因此，我不仅将 LUT 组织成单独的类别，而且通常我建议在您选择使用它们的顺序中选择更复杂的外观。LUT 工作流程是整个行业的一个有趣话题，但许多制作选择此途径的原因有很多，归结为控制和一致性，这是专业图像制作的一个重要方面。调色师可以采用这些 LUT 并构建外观，也可以从他们为最终调色所采用的方向中获取灵感。真正的工作方式很多。我的目标是灵活性、多功能性和兼容性。

philmColor R3 包含什么？

– col_labDevAndSat – 21 个新的饱和度、密度和开发 LUT
– crv_curves – 12 个新的色调曲线 LUT
– crv_fades – 8 个新的褪色曲线 LUT – 点击了解更多
– crv_tones – 36 个新的感知、ETTR、胶片打印特性曲线 LUT
– grd_achromic – 10 个新的“无色”黑白 LUT
– grd_polychromic – 70 个新的“数字胶片库存”LUT
– grd_printSplitTone – 27 个新的分色 LUT，具有冷色、中性和暖色变体
– grd_revisedBaseStocks – 20 个更新的 LUT，基于 philmColor R2 中一些最流行的外观
– grd_schema – 204 种新的创意配色方案 LUT、更大胆的外观、射击股票、表演外观等
– out_ARC – SDR 和 HDR 中 33 和 65 大小的立方体中的 4 个新输出变换，带有几个黑点
– out_PFE_CLR – 我的硬剪辑和有限范围 13 和 15 停止柯达打印 LUT 的清晰版本，带有 4 个黑点
– out_RED – 包括 RED 默认的中等对比度/软高光滚降输出变换的 SDR 和 HDR 版本
– out_resolveFilmLooks – 基于 Resolve 的具有两个黑点的 Film Looks 的 6 个特殊输出变换
– out_STEM – 3 个新的色彩空间分级 STEM（无色调曲线），适用于调色师和高级用户
– utl_colorSpaceTransforms – 来自不同制造商的色彩空间和 Gamma 的 10 个色彩空间变换
– 加上 philmColor2 之前的所有 LUT

philmColor R3 各类别示例

在 15 个类别中，有很多内容需要涵盖。我已经包含了一些示例和解释每个类别的设计目的。但我敦促您探索每个类别。这是一个令人难以置信的深度版本。我用键码和前缀对它们进行了组织，因此您永远不会迷失在您正在使用的 LUT 或 LUT 中或在哪里找到它们。“Col”代表颜色，“crv”代表曲线，“grd”代表等级，“out”代表输出变换，“utl”代表实用程序。

col_labDevAndSat – 21 个新 LUT
这是饱和模型、密度修改器和开发 LUT 的集合。我为 PCR3 创建了两个新的 Bleach Bypass 模型，当它们与一些更强的曲线相结合时，可以创造出非常漂亮的风格化外观。对于处理过半不理想的朦胧天或天空的自然电影制作人来说，有一些亮点可以助推器。我特别喜欢我的“镀铬”，它具有独特的色彩模型，倾向于密集而充满活力的外观，以及一种受印刷启发的模型。减色密度和添加剂会影响这些色调的重量，从而获得非常类似胶片的颜色响应。一个 Sub CMY 模型，它实际上会稍微改变颜色的绘制方式。两个“natSat”模型可以提供更多的感知调整较低的饱和度和颜色密度。有趣的负面和负面色调只适用于那些了解反转感觉的人 两个擦洗的外观似乎仅使高光去饱和，就好像它们从印刷品中被废弃一样。还有两个减色工具可以相应地增强和减少颜色。这些真的是为分级使用而设计的，因为调低它们的不透明度或增益允许个人调整到你所追求的外观。

LUTs for RED cameras (and others).

philmColor is an expansive collection of LUTs built around the RED IPP2 Color Workflow. The LUTs range from creative looks to useful tools for colorists in post. It’s been a journey since the last release in 2017. Thousands of productions have used these LUTs on set, in post, and I’ve loved seeing the BTS grabs of the LUTs loaded on set. philmColor’s success has allowed me invest a lot of time into people’s requests, project looks, and more. A great deal of testing by individuals, studios, and productions commenced as well as creating more looks for my own projects. This led to an opportunity to even create the small selection of LUTs you get inside RED’s new DSMC3 cameras. But I assure you that is merely a taste of the feast I’ve included in PCR3.

As many have figured out you can also use philmColor with other cameras by transforming your incoming footage into the REDWideGamutRGB Color Space and Log3G10 Gamma. There’s an emphasis on cross camera combatility for this release as it’s pretty common to have a few different cameras on set.

Motion Picture Film has remained the source of my inspiration and you will find hints of familiar hues, tones, and density that stretch across modern through vintage Kodak and Fujifilm stocks. As alwasy the goal was and is to produce digital stocks useful to the modern filmmaker that will work with a variety of lighting conditions and exposure methods. At key, under key, high key, or ETTR exposure methods work very well with these LUTs.

In Release 3 you get a total of 540 new LUTs with the purchase of philmColor as well as the previous 178 from philmColor R2. A duanting collection of LUTs, but I assure it’s not about the number, I’ve been working on this release for almost 4 years now to create a sensible and long lasting collection of looks for RED’s IPP2 workflow.

I’ve created philmColor R3’s LUTs to be used as a RED IPP2 grading toolbox and is essentially a modular LUT workflow. As such I’ve organized the LUTs not only into individual categories, but also generally the order I suggest using them in you choose to cook up more complicated looks. LUT workflow is an interesting topic industry-wide, but there’s many reasons why many productions choose this pathway and it comes down to control and consistency, which is an important aspect of professional image making. Colorist can take these LUTs and build out looks as well as just take inspiration from the direction they are taking things for a final grade. Many ways to work really. My goals are flexibilty, versatility, and compatibility.

What’s included with philmColor R3?

– col_labDevAndSat – 21 new saturation, density, and development LUTs
– crv_curves – 12 new tone curve LUTs
– crv_fades – 8 new faded tone curve LUTs – click to learn more
– crv_tones – 36 new perceptual, ETTR, film print characteristic curve LUTs
– grd_achromic – 10 new “colorless” black and white LUTs
– grd_polychromic – 70 new “digital film stock” LUTs
– grd_printSplitTone – 27 new color split tone LUTs with cool, neutral, and warm variants
– grd_revisedBaseStocks – 20 updated LUTs based on some of the most popular looks from philmColor R2
– grd_schema – 204 new creative color scheme LUTs, bolder looks, shooting stocks, show looks, and more
– out_ARC – 4 new Output Transforms in 33 and 65 sized cubes in both SDR and HDR with several black points
– out_PFE_CLR – My clear version of my hard clipped and limited range 13 and 15 stop Kodak Print LUTs with 4 black points
– out_RED – Including the SDR and HDR versions of RED’s default Medium Contrast/Soft Highlight Roll-Off Output Transforms
– out_resolveFilmLooks – 6 special Output Transforms based on Resolve’s Film Looks with two black points
– out_STEM – 3 new Color Space Grading STEMs (no tone curve) for Colorists and Advanced Users
– utl_colorSpaceTransforms – 10 Color Space Tranforms from various manufacturer’s Color Spaces and Gamma
– plus all the previous LUTs from philmColor2

Examples of each category of philmColor R3

Across 15 categories, there’s a lot to cover. I’ve included some examples and explanations of what each category is designed to do. But I urge you to explore each category. This is an incredibly deep release. I have organized them with a keycode and a prefix so you never get lost in which LUT or LUTs you’re using or where to find them. “Col” stands for color, “crv” stands for Curve, “grd” stands for Grade, “out” stands for Output Transform, and “utl” stands for Utility.

col_labDevAndSat – 21 New LUTs
This is a collection of saturation models, density modifiers, and development LUTs. I’ve created two new Bleach Bypass models for PCR3 which when combined with some of the stronger curves create a very nice stylized look. For nature filmmakers who have dealth with a hazy day or sky that’s semi-not ideal, there’s a few boosters for the highlights. I’m particularly fond of my “chromes” which feature unique color models leaning towards a dense and vibrant look as well as one print inspired model. Subtractive color density as well as additive to impact the weight of those hues towards a very film-like color response. A Sub CMY model which will actually change how color is drawn a bit. Two “natSat” models that may provide a bit more of a perceptual tuned lower level of saturation and color density. A fun negative and negative tone only look for those who understand the feeling of inversion Two scrubbed looks which appear to desaturate just the highlights as if they were scrapped from the print. And two subtractive tools to boost and reduce color accordingly. These are really designed for grading usages as dialing down their opacity or gain allows for personal tuning towarsd the look you’re after.

More infor can be found here: http://phfx.com/tools/philmColor/#philmColorHome