Opening a discussion about lighting and using LUTs on set

[Georges Rebotyns]

Hello,

I’m currently working as a dp on a short movie and considering the short period of prep, haven’t had the time to work on a personal LUT for the set. I’m working with a Sony FX6 and thus use the 709 Sony display LUT. But, as this LUT is not very contrasted, or at least, less contrasted than the ones I will certainly end up using (film emulation LUTs most probably), I end up lighting with too much contrast and having to fight against my lighting / lut combination during the colorgrading.

I’m not sure I have a precise question but just opening a discussion about the benefits and downgrades of working on set with a basic 709 or with a personal LUT, and mostly what process / way of working this choice involves. Some experimented dp’s I’ve discussed with told me they preferred working on a basic 709 for exposing and lighting. My guess is that this workflow fits for experienced dp’s who have their own habits and the contrast in the eye. I’m also wondering if that workflow might be more similar to working on film ?

Sorry for the poor English.

Topic

[Mike]

Happy Birthday Roger,  pleased your book is going well.  Have a good one.

[Ava Leigh]

Happy Birthday, Sir Roger! Your Reflections book is amazing!

[dmullenasc]

A Rec.709/P3 display LUT on set works most of the time if you want straightforward, standard image contrast and saturation. Sure, you may prefer a personal LUT with a tweak towards slightly deeper blacks, etc. If you have a DIT on set, they can do adjustments like that using ASC CDL values on top of the basic LUT.

The problem becomes when you want a more stylized final look in terms of contrast, like the look of a higher-level ENR or skip-bleach print let’s say. Then it would be helpful to have a LUT with that look so your lighting is taking it into account (or a DIT that can adjust the LUT on set). That’s when it becomes more important to create a LUT in prep based on tests. Otherwise, if you can’t create that LUT, you may have to rely more on your light meter as a guide… but it does beg the question if that display image on set is inaccurate, what is your plan for dailies, which usually use the same LUT as on set? Or is this a one-off sort of thing like a 2-day commercial or short film where you color-correct the dailies after the shoot is over?

[Roger Deakins]

As David says, a basic Rec. 709 LUT is fine unless you want a particular effect. If you have a DIT you can set a ‘look’ with them. Personally, I would not use more than one LUT on a film. I feel many people think a LUT is a solution when it is simply a tool.

[Author]

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