A good colorist like Robbie can match/exceed the camera-makers 'tech' LUTs in seconds ... they pretty much know exactly what's the deal. Except there are a few that do say separate curves (essentially ... via a matrix table) per color. So for a select few cameras Robbie would normally pop the maker-LUT down. For most Log cameras, he and most of the colorists I've talked with just "know" what they'd do with X camera, and pop out most of the "corrective" work in 'manual' mode. I've watched Robbie demo what say the Alexa LUT for a particular camera/setting does, and whether within Resolve or Lumetri even, do as good or better in a couple seconds. Especially if he's working on his panel. Comparing with scopes the whole time of course. Whether in Resolve or PrPro, pretty easy to do one clip from a cam, apply to the other clips from that camera for a basic start. The "creative" Looks/LUTs actually do a lot fancier math much of the time ... say, for a camera-stock/print-stock LUT/Look like the Kodak 5205 (the camera film-stock)/Fuji 3510 (print-stock) combo. Those set very specific curves, roll-off, and end-points for each color channel. If you play with the image after applying a print-stock LUT, well ... you don't have the same "look" anymore of that particular release stock. Neil
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