#Filmic pro lut code#
#Filmic pro lut plus#
#Filmic pro lut free#

These LUTs can be used within any editig program that reads. Prefer to edit and grade on mobile The official Filmic V2 LUTs are also available in LumaFusion.

#Filmic pro lut free#

You can find a link to a free installer here: FINAL CUT LUT INSTALLERĩ creative look LUTs and 1 utility LUT, specifically designed to look best with footage shot with the LOG Version 2 Color profile and up available with the FiLMiC Pro Cinematographer's Kit, but these will also work with Log Version 3 as well.įor best results apply the included Utility LUT as an initial color grade, and then choose a creative LUT to apply over top for a finishing touch. Fully compatible with Premiere Pro, FCPX, and Davinci Resolve.

If you are using Final Cut, you will need a LUT installer.

Works within Resolve / Adobe CC / FCPX (with LUT Utility installed).

These LUTS can be used in any editing program that reads.

These LUTS will also work with the new Version 2 and 3 of the Log and Flat Color profiles in FiLMiC Pro.

Specifically designed for use with mobile phone footage.

Works best with FLAT or LOG footage captured with FiLMiC Pro (also works with footage captured with the Moment Pro Camera App.).

#Filmic pro lut plus#

Included are 50 cinematic LUTs featuring every FiLMiC Pro Lut we've ever released, plus 11 brand new bonus LUTs!.

However, since their documentation describes a transform to “an approximation of Hybrid Log Gamma” this may be designed for a more display-referred HLG workflow, and not be suitable for ACES.This brand-new LUT bundle collects every LUT that we've ever created for use with the incredible FiLMiC Pro Camera app into one pack! The linearization function for HLG is described in ITU-R BT.2100, so I see no reason that you should not be able to combine the Logv3 to HLG function with the BT.2100 HLG inverse OETF in a single DCTL.

Is there any DCTL that linearizes HLG footage and if not do I need to pay attention for anything special happening in HLG?.

Although it is intended to look reasonable, it is also designed to be relatively neutral, to give you the flexibility to sculpt your own look in grading. Does the lack of dynamic range come from the different gammas ACES and Filmic Pro are using for Rec 709 ?īear in mind that a LUT is often designed to have some degree of finished look “out of the box”, whereas with ACES an IDT + RRT + ODT is only a start point.

Am I missing something when transforming from Logv3/Rec 2020 to Linear/ACES AP0 or why does it look that flat after the transformation.

And this is the result:įilmic Log v3 HLG conversion iPhone.dctl (1.7 KB) The only way is to go from Log v3 to HLG and then from HLG to Linear ? Does that make sense ?Īnyway I tried to write a DCTL file that transforms from Logv3 to HLG and then used the HLG to Rec709 LUT provided by Filmic Pro to evaluate my DCTL. In my understanding, if you are using apple devices, you are not able to linearize the footage. Assuming typical conditions, LogV3 can be converted to an approximation of Hybrid Log Gamma (HLG) with a function derived from the following pseudocode: ' On Apple devices, dynamic tone mapping can make strict linearization challenging. I took another look at the white Paper and in Chapter HLG Conversion which I kinda overlooked as I was using Log v3 and not the Filmic Pro HLG they write: Now comes a very interesting approach - at least for me. Logv3 to Linear LUT followed by a Color Space Transformation that transforms from Rec 2020/Linear to Rec 709/Rec 709(Scene)

#Filmic pro lut code#

Otherwise, an error somewhere else in the code might make Resolve bork and dump the input image back at ya without any helpful error message.Ĭar LogToLinear CST 2020 Rec709 Scene_1.3.7 1920×1080 285 KB Protip for debugging DCTL : debug one thing at a time. I see that you also have a 3x3 matrix transform in your code which is not mentioned in the white paper. Pow → _powf (but you already knew that one) Finally, you might want to know about the following GLSL → DCTL translations :

Adobe Premiere Logo SVG Final Cut Pro Logo SVG Adobe After Effects Logo SVG. Also, while DCTL supports a 3-component vector type: float3, I would recommend that you stick with your single float approach and apply the transfer function once per component just like you’re doing in the DCTL file you’ve uploaded. Edit images and build 3D LUTs with a powerful raw developer and film look. The only pseudocodey thing about it is that it preprends a ' t: ' before the 3rd parameter of the mix function and that makes the code invalid GLSL. To avoid the kind of mistakes I’m seeing : unmatched brackets, missing multiply operator, I would recommend that you follow the structure of the original GLSL code that you were sent. When you feed invalid DCTL to Resolve, it just dumps back the input image at ya. I’m willing to help but you’re probably going to have to start over as a quick glance at your code shows me that it isn’t valid DCTL so that explains the look horrible part of things.