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Not to my knowledge. I’ve never been able to export a LUT from the Color Correct tool and open it directly in After Effects. I’ve always needed to convert them in Resolve first.
Not to my knowledge. I’ve never been able to export a LUT from the Color Correct tool and open it directly in After Effects. I’ve always needed to convert them in Resolve first.
Not to my knowledge. I’ve never been able to export a LUT from the Color Correct tool and open it directly in After Effects. I’ve always needed to convert them in Resolve first.
Could one of you share a LUT that you created with the tool and one you transformed in Resolve, such that I can figure out where the difference is?
Sure thing Dre.
ColorCorrect generated LUT:
https://mega.nz/#!5o5R0ILR!SW5IA5CrfH1M3IlEJEASKbHWwgNs2yce5cqjzVYZcLM
Resolve generated LUT:
https://mega.nz/#!044gRZST!-dSKccUADXmmd1oYcKrA9clFm_2XS2_VdzKEBW4bUKY
Thanks! I think I see the difference. I will add the option to choose between a Resolve LUT and After Effects LUT. The update should be available by early next week.
Great! Thank you!
There’s been a bit of a delay in the update, but I will finish it as soon as possible. 😃
Here’s the ColorCorrect tool v2.2. It has the possibility to export two types of LUTs:
In addition LUT creation is now faster.
Here’s the link:
https://drive.google.com/file/d/0B8_LYKyZDiajQkRZcGtMRlVscjA/view?usp=sharing
Please let me know, if there are any problems using the LUTs.
Awesome! Will probably test it later tonight! Thanks!
There appears to be a problem with the After Effects LUT. Williarob tested it, and while it loads, it gives the screwy results. So, I’ll have to check what’s wrong.
OK, good to know 😃
Here’s a debugged version of the ColorCorrect tool v2.2. The exported LUT should now work in both Davinci Resolve and Adobe After Effects. I’ve tested the LUT in Davinci Resolve, and it works fine. After Effects uses a specific format for LUTs, which luckily also still works in Resolve, so it’s a single LUT for both programs. Here’s the link:
https://drive.google.com/file/d/0B8_LYKyZDiajS3ZLb090U3pqSGM/view?usp=sharing
Edit: for some reason the old version was uploaded before. This should be the correct version.
Williarob has tested a LUT in AE, and it works. Thanks Williarob!
You’re welcome.
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Thank you so much for this great tool. I’ve been looking for such a functionality for a long time.
You’re welcome! Version 3.0 should be out in a while, and will contain the automated faded print correction algorithm. Piota’s scan of the Spanish LPP of Star Wars should provide a good basis for testing the merits of this methodology for correcting an entire print, but the results have been very promising so far…
Is anyone working on AviSynth compatibility? I’m not even sure how CLUT’s are handled in AviSynth anyway, just curious.
If you encode your avisynth script with ffmpeg, you can apply the lut by adding the parameter -vf lut3d=“filename.cube” (including the quotes). I don’t know if it’s possible to use ffmpeg filters with avisynth directly.
Hmm, what about x264?
😉
Was that so hard?
Although wouldn’t it have been easier just to answer his question? 😀
Seeking only the most natural looking colors for Star Wars '77
D’oh! Never tried using ffmpeg before, I just assumed it was a totally different encoder.
To get serious again, I actually don’t know how well x264 encoding works when using ffmpeg. But if you’ve got enogh hdd space, you can make an intermediate lossless encoding e.g. with the ffv1 codec (ffmpeg parameter -c:v ffv1) and feed the result to x264 later. It might be a good idea anyway, because the encoding is relatively fast and you can check the intermediate video if the corrected colours are ok.
Just an idea, since you seem to enjoy finding all these awesome ways to do color correction. Would you be able to implement a function in your color correct tool that scans a video file for the frame with the most visible colors (of course including qualifiers that require a certain amount of those colors have to be within a select range of each primary color so that you don’t just get a frame with 100,000+ shades of red.) If I’m correct, given that single frame, you’d be provided with the best option for a single frame color model full film correction.
Preferred Saga:
1/2: Hal9000
3: L8wrtr
4/5: Adywan
6-9: Hal9000
Sorry for the late response. I’m working on something similar for faded film prints. You can find it in my other thread. Is this what you mean, or do you have something else in mind?
Sorry, Just realized you responded -
I’m not sure if your other thread takes it into account or not. I was meaning a video scanning technique - here’s a simple example to try and explain:
Frame 1: 7 shades of blue, 6 shades of green, 3 shades of red
Frame 2: 3 shades of blue, 3 shades of green, 1 shade of red
Frame 3: 4 shades of blue, 5 shades of green, 4 shades of red
Frame 4: 4 shades of blue, 4 shades of green, 4 shades of red
Frame 5: 5 shades of blue, 3 shades of green, 5 shades of red
My idea is to scan the file for the frame with the most colors (with a small bias of evenly dispersed colors).
In this case the scan would get a result of “Frame 3”, since it has the highest minimum color, as well as an extra shade of green. Even though “Frame 1” technically has the highest color variance, it is not chosen because of the lower minimum for shades of red - this avoids radically over-defining some colors at the expense of others. However, “Frame 4” is also passed by because after the minimum has been established, the additional shade of green in “Frame 3” is still helpful in defining the color shift.
Since the Color Correction model is based on a single frame matched between two sources, wouldn’t this help identify the frame most useful for the process?
Preferred Saga:
1/2: Hal9000
3: L8wrtr
4/5: Adywan
6-9: Hal9000