MULTIVERSE | REDDIGITAL CINEMA
RED DIGITAL CINEMA camera transforms and film profile looks, for use with RWG LOG3G10 and IPP2.
Over 100 film profiles simulating some of the attributes of AGFA, FUJIFILM, KODAK & POLAROID film. Including emulations of Fujifilm digital camera internal film profiles.
Film Profile Looks Examples:
IPP2 PIPELINE Rec.709/BT.1886
When using IPP2 Pipeline mode try the ‘Overlook’ set first for a speedy look. Overlooks are found under ‘Master Looks’. There are 119 creative film style looks in this folder. Use as an end of chain Lut Look with your IPP2 workflow as a node or adjustment layer. For this example set IPP2 to Rec. 709 / BT. 1886 with Very Soft Highlight Roll Off and a Medium Tone Map as a starting point. If you would like more options then change to RWG/LOG3G10.
Changing the clip profile:
To use the Overlooks in DaVinci Resolve make sure you are using IPP2 pipeline and set your Color Space to Rec.709 and Gamma Curve to BT.1886, ‘Output Tone Map’ and ‘Highlight Roll Off’ to taste. But start at Medium and Very Soft.
For Adobe Premiere Pro under ‘Effect Controls’ you can find the ‘Master’ Tab to change the R3D Meta data settings.
Set your image Pipeline to IPP2 then at the bottom select Rec.709 Color Space and BT.1886 Gamma Curve.
IPP2 PIPELINE RWG/LOG3G10
If need more control you can still use IPP2 Demosaicing but you need to set your Color Space to REDWideGamutRGB and Gamma Curve to Log 3G10.
When using RWG LOG3G10 you have 3 options found under the folder ‘/Master Transforms/RED’.
RED LOG3G10 QUICKBASE.cube
RED LOG3G10 QUICKBASE OPT2.cube
/RWG LOG3G10 Transform
The first two are quick transforms that instantly bring your RWG LOG3G10 to a pleasing image.
You can use this as your starting base and just add a contrast curve if you like and leave it at that. You can also apply an ‘Overlook’ to the Quickbase. If you want to give Overlooks a go they are found under ‘Master Looks’. There are 119 creative film style looks in this folder.
In DaVinci Resolve use two nodes. On the first node in this example add LOG3G10 QUICKBASE.cube and the 2nd node add one of the Overlooks. ‘LOG3G10 QUICKBASE’ can be found at ‘/Master Transforms/RED/‘
Two nodes in DaVinci Resolve.
In Adobe Premiere adding a single adjustment layer and ‘Lumetri Color’ is the easiest way to add the Transform and the Look.
Add the Adjustment Layer above the footage/clip and then when selected on the Adjustment Layer, open the Lumetri Color panel and add the chosen Basic Correction/Technical LUT in this case LOG3G10 QUICKBASE.cube and then on the Creative Look drop down manually add an Overlook Lut found in ‘/Master Looks/OVERLOOKS FOR REC FOOTAGE/. You can click on individual clips and adjust exposure white balance as the shot requires. Adding the same luts to each clip will slow Premiere down so Adjustment layers are best to keep things speedy and much easier to change looks. Other quick select options can be found in the Tutorial section of this site.
Below are four options from the set of 119 Looks.
Alternatively you can use one of the transforms from the folder ‘RWG LOG3G10 Transform’ found under ‘Master Transforms/RED’. These can be used with one of the ‘ARRI LOGC BASE LOOKS’ found in the ‘Master Look’ folder.
/Master Transforms/RED/RWG LOG3G10 Transform
>RWG LOG3G10 Transform
>LEGAL HIGHLIGHT HOLD
You will need to set up your Project or Clip to transform your R3D footage into RED Wide Gamut / LOG3G10 when not using IPP2 color workflow. You can use RWG LOG3G10 under IPP2 Demosaicing or Legacy De-mosaicing depending on editing/colour application.
For DaVinci Resolve under ‘Project Settings’ from the ‘File Menu’.
You can also change individual clips to RED Wide Gamut / LOG3G10 when you are in the ‘Color’ section of DaVinci Resolve.
Once your footage is in RWG/ LOG3G10 you need to add two nodes to your Clips or Timeline.
On our first node and for this example we will use a Transform from ‘FULL’ folder located at /Master Transforms/RED/RWG LOG3G10 Transform/FULL on node 01.
On node 02 as a starting point add one of the Looks. Navigate to /Master Looks/ARRI LOGC BASE LOOKS/Standard Clean.
There are High, Medium, Low and Ultra Low Contrast Look sets located here.
Use node 01 to adjust Exposure, White Balance and Tint.
Luts supplied in resolutions; x17 (best for Premiere Pro) x33 great for FCPX and x64 best for Resolve. You can use x33 resolution luts in Premiere and I tend to do that and swap for a manually loaded x33 LUT but only just before export.
Whilst I use DaVinci Resolve for colour work, I will still use LUTs in Premiere Pro, but Premiere has a limited interpolation algorithm of trilinear where as Resolve gives you the option of tetrahedral. I find tetrahedral sits better with LOG3G10 and helps eliminate banding.
List of film styles in this set:
AGFA PRECISA 100
AGFA VISTA 200
FUJI ASTIA 100F
FUJI SUPERIA 100
FUJI SUPERIA 400
FUJI SUPERIA 1600
KODAK PORTA 400 NATURAL COLOR
KODAK PORTRA 160
KODAK PORTRA 400
KODAK PORTRA 400 ULTRA COLOR
KODAK PORTRA 400 VIVID COLOR
KODAK VISION 2383
FUJIFILM Camera Emulation
PRO Neg Hi
PRO Neg Std
You will notice some profiles have ‘STD’, ‘PULL’ or ‘PUSH’ on the end. STD, standard is the base look whilst PULL or PUSH is when you Pull or Push film if it’s under or overexposed. Of course this is digital but you do get shifts in colours especially in the shadows and highlights. Examples below using FUJI SUPERIA 100.
Within ‘/Master Looks/ARRI LOGC BASE LOOKS/’ are another couple of sub folders ‘Alternative Matrix’ & ‘FUJIFILM Camera Emulations’. ‘Alternative Matrix’ is based on another base matrix that produces some really wonderful rich skin tones and vibrant colours.
Only use with RWG/LOG3G10, in conjunction with a Transform from ‘/Master Transforms/RED/RWG LOG3G10 Transform/FULL/RWG LOG3G10 BASE -05.cube’ as a good starting point. There are jumps of exposure that will not always align with your recorded exposure so I suggest getting near then tweaking ISO or Curves on Node 01.
The other folder is ‘FUJIFILM Camera Emulations’ located at ‘/Master Looks/ARRI LOGC BASE LOOKS/FUJIFILM Camera Emulations/’. There are two options to be used here, FULL and WIDE. The WIDE versions are somewhat toned down.
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Any Film style names, camera brands listed or referred to within this product ‘DELUTS | MULTIVERSE’ are the property of their respective trademark holders and are used for a reference only. These trademark holders are not affiliated with James Miller / DELUTS unless otherwise stated. These trademark holders do not sponsor or endorse DELUTS or any of its products.