Can you make Premiere Pro LUT from Lightroom Classic Raw Profile.

New Here ,
Dec 26, 2020

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I've been experimenting with my GH5 and the v-log color profile. 
I use an x-rite color checker to keep everything in check. In Lightroom, you can generate a custom raw profile from a raw still with the color checker that will make everything 100% correct. 

That's where my question comes in. Is there a way to create a LUT from the profile only (not presets or adjustments) for Premiere Pro? So that when I open my footage in Premiere, I have a v-log LUT ready to use, created in lightroom, that will correct my image. 

 

Thanks in advance. 

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Can you make Premiere Pro LUT from Lightroom Classic Raw Profile.

New Here ,
Dec 26, 2020

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I've been experimenting with my GH5 and the v-log color profile. 
I use an x-rite color checker to keep everything in check. In Lightroom, you can generate a custom raw profile from a raw still with the color checker that will make everything 100% correct. 

That's where my question comes in. Is there a way to create a LUT from the profile only (not presets or adjustments) for Premiere Pro? So that when I open my footage in Premiere, I have a v-log LUT ready to use, created in lightroom, that will correct my image. 

 

Thanks in advance. 

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Dec 26, 2020 0
Adobe Community Professional ,
Dec 26, 2020

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If you have a jpeg you will have to convert it to .cube first before you can use it in Premiere.

https://generator.iwltbap.com/

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Dec 26, 2020 0
New Here ,
Dec 26, 2020

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Thank you! But I already have this, and this works very well with presets. 
What I'm asking about is profiles, not presets, and if that is possible. 

But thank you for your reply!

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Dec 26, 2020 0
Adobe Community Professional ,
Dec 26, 2020

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Your lut in Lr is saved as a .jpg.

If so that .jpg is what you need to convert to a .cube in order to use as a Lut in Lumetri/Premiere Pro.

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Dec 26, 2020 0
Adobe Community Professional ,
Dec 26, 2020

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In Premiere you would save the LUT in the proper file location and then I recommend applying anything like that in the Creative tab of the Lumetri color correction workspace/panel.

 

No field image is created perfectly compared to pre-created LUT, so you need to be able to apply the LUT to the clip, but modify the tonal properties/saturation of the clip before the LUT while viewing/scoping the image so you make sure you don't clip or crush anyting.

 

I'll be on my laptop in a few minutes and add the chart for where to store LUTs. Which is NEVER in with the program/package files ...

 

Neil

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Dec 26, 2020 0
Adobe Community Professional ,
Dec 26, 2020

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For the following  chart, you need to create the final folders, the Technical and Creative folders that will hold your LUTs. I also created desktop shortcuts for them so I can access those immediately to add and remove LUTs as needed.

 

Premiere, MediaEncoder, AfterEffects, and Prelude can and will all look in the files there for LUTs that you've applied, so the one place properly serves all apps.

 

Never, ever, ever should any user-provided LUTs be placed in the Program/package folder locations. There's several reasons I won't go into now. Just ... don't. Ever.

 

In use ... colorists use a lot of LUTs, but caution that a LUT is the dumbest math out there ... and can and will crush or clip any pixels that are beyond its bounds. So an any clip slightly over exposed or under exposed (at times, even in fractions of a stop!) or that has wider dynamic range than the LUT was built for will mangle your pixels.

 

So ... as noted above, you need to apply the LUT to the clip, then with tonal controls applied BEFORE the clip, trim the clip into the LUT while viewing both the scopes and the image on the monitor.

 

And while I'm very comfortable and familiar with LUTs and use them as needed, I don't use them nearly as much as many fairly new to color correction seem to do these days. While they're looking for the perfect LUT for the clip, I've already adjust the controls to take a log image to 'normalized' state for that image and moved on.

 

I mostly use LUTs for only certain technical transforms and conversions.

 

Neil

Lumetri LUTs Looks Findable Locations.PNG

 

 

 

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Dec 26, 2020 0
Advocate ,
Dec 26, 2020

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In a way it's fairly easy in resolve cause there's a mask specifically designed to match your color chart ( auto color correct or manual ). You choose your source color ( gh5 something log ? ), timeline color ( rec 709?) and export color ( probaby rec 709). When you get the chart clip right you make it a lut so to speak ( either just a match frame sorta thing or a 3d lut or whatever but I never do that ). Then apply it to all your other clips as you add them to timeline. It usually gets you within the ballpark but depending on lighting and so on some adjustments always have to be at least considered by editor. Wih PPro everyone is both the shooter ( or game player ), editor, colorist, sound mixer, BASICALLY EVERYTHING ).

So, having a suite of programs that work nice with each other to provide everything to everybody, is a nice business model.

Forget about luts with adobe... it's not worth it cause it is all rec 709 and workarounds to get what you want on export.

For that matter, you can only use the color chart accurately if you light it with ONLY the color balance you're gonna use for that film magazine ( location, lighting balance, etc. ).  So that chart is basically useless for most people shooting without a crew.

 

 

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Dec 26, 2020 0
Advocate ,
Dec 26, 2020

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good luck ! and keep shooting and telling stories !

🙂

 

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Dec 26, 2020 0
Adobe Community Professional ,
Dec 26, 2020

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Forget about luts with adobe... it's not worth it cause it is all rec 709 and workarounds to get what you want on export.

 

Puzzling statement.

 

First, the vast majority of media is still Rec709 by nature or at least for delivery. So for instance most colorists I know still assume even if running an IDT in Resolve/Baselight/Whatever to say convert the clips of a timeline to Arric LogC or something within their node structure ... it's still overall a Rec.709 project. The monitor likely is sent out as Rec.709 and exports also.

 

Unless for theatrical which is exported to one of the two theatrical P3 spaces. And the still few shows that are also distributed in HDR.

 

Even with Premiere you can now set a sequence color space for several non-Rec.709 "spaces". And even with your sequence set for Rec.709, you can set the media for whatever color space it should be recognized as which is a bit of a list now.

 

And all that aside, even within Rec.709 straight workflows withing either Resolve Premiere, there are many uses for LUTs depending on workflow needs. There's a ton of people using them for production in Premiere daily. They are quite useful for many things.

 

But wow ... the folks that post they just bought a 1,000 LUT pack ... I've no clue how you would work with  that many LUTs. I'd be done normalizing and correcting things manually before they've decided on the perfect LUT.

 

To each their own, of course. Some people just love looking through LUT options.

 

Neil

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Dec 26, 2020 0
Advocate ,
Dec 26, 2020

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Neil... I just don't care anymore that much... I worked with stuff on a different level and this stuff is basically kid stuff now, and going down to iphone standards ( selfies etc. )

To me, it's all about enthusiasm to tell story shooting source, matching, exporting.. with some kind of script.

And I'm getting too old to deal with the revolution of stupid stuff and ignorance about shooting, editing and ( yes, I hate t admit it to you ) exporting better stuff than stupid TV stuff.

I'm a snob. So kill me cause I worked on movies and stuff like that ( now dying unfortunately due to virus) but don't think I'm a total idiot who can be convinced by YOU that everything is rec 709 or whatever.

I hope you had a great xmas and everyone is healthy and well in your family ( and all the people posting stuff here as well ). But I'm totally losing interest in these stupid posts about hardware problems and sloppy programming.

 

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