Compared to the Insert LUT tab of the Basic Correction section of Lumetri, the Creative tab allows you to either intensify or reduce the power of your LUT. The best way to do that is to place your LUT in the Creative tab of Lumetri Color. I wasn’t correcting my footage after applying the LUT.
I got into a pretty lazy rut with my color grading for a while - I would take my LOG footage, slap a LUT on there, and if it didn’t work, I would move right over to the next one to see if that one worked. Some Creative LUTs can actually both correct and stylize – transforming footage from a LOG space, while stylizing the color at the same time. This is usually the last step in the color correction and grading phase – it is to be applied after you have corrected your footage and transformed it into a REC.709 color space. Films and narrative videos tend to stylize the color of their projects to fit the mood of the story. Documentaries and corporate videos usually stick to this space.Ĭreative LUTs transform footage into a stylistic color palette. This accurately converts color information to the true-to-form color from the original capture. Corrective LUTs transform one picture profile into another, such as turning LOG footage into a REC.709 color space. There are two types of LUTs that you should be aware of - corrective and creative. So, let’s dive into how you can customize your LUTs in the Lumetri Color panel with PremiumBeat’s Charles Yeager. They’re not “one size fits all” - most videos will need correction to get the desired look. Instead, think of LUTs as a starting point for color grading and correction. Applying one might either make your footage great or turn it into a saturated mess - so you end up going through your entire catalog of LUTs just trying to see what works. When first starting out with LUTs, you may think they are a “band-aid” solution for your color grading woes. With a little help from Lumetri Color, you can get your footage looking just the way you want it. LUTs are much more versatile than you think.
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