Grading on Luster

[Nitin Sagar]

hello,

looking forward to learning about look up table on luster( discreet platform) for grading of scanned images to be finally printed back on to film.my studio is tryin to tell me that they need to recalibrate the machine for 16mm....i find this inane as i have used the same emulsion(instead of shootin 5218 i shot 7218)..just that the gauge is different.

 

is it possible that the machine has to be differently calibrated to grade 35mm and 16mm footage..scanned at 2k on spirit? i firmly believe my studio is giving me some bull..looking forward for tech information.

 

can anyone tell me what exactly one means by look up table?

 

best regards

nitin sagar(a DP in distress) :(

[Mitch Gross]

A Look Up Table (LUT) is a series of settings for the machine to accurately reflect the image on the film. It would be easy to drastically alter parameters such as highlights, contrast, medium density red channel, and so on. While many of these parameters are not affected by shooting 16 v. 35, it is possible that the change in capture lens in the machine or resizing for the scan for accurate framing may in fact shift some of the numbers. There are so many factors and they can subtley alterred by the slightest change in another setting. So yes, it is possible to need to change the LUTs for 16 v. 35 even if the same emulsion is used.

[Nitin Sagar]

thx for throwing light and exposing the dormant halide particles ,,,,but some halide particles are still strugling

 

luster is a color correction platform....scanand record setting can differ ....as pricipally v have d sa,e LAD for neg film to obtain consistecy ingrading..ireespective of 16V35....then what all factors can effect seetings change...the one tHAT ICAN THINK OF IS ASPECT RATIO

 

amithinkin on right lines......?what can be other reasons

[Michael Most]

can anyone tell me what exactly one means by look up table?

Lookup tables convert one set of values to another based on calibration and conversion parameters. In the case of digital intermediate work, there are two places you can use LUTs, input and output. The output LUT is normally used for the display, to account for the differences between your display device (i.e., either a CRT or a digital projector) and the final output device (i.e., print film of a particular type). The output LUT is always the same because it's there to make what you see look as close as possible to the intended film print, adjusting for gamma differences, color differences, and approximating colors that are out of gamut (i.e., colors that print film can display but a CRT can't). In other words, it's a system adjustment based on the particular viewing device and the environment it's in, and what type of print stock you're going to be using. The input LUT, if used, converts the scanned log format film frame (almost all scans are done in 10 bit log format) to linear colorspace to allow "video style" color correction. Systems such as the Discreet Lustre or the Baselight system can color correct in either log or linear space, so in those systems an input LUT is not always used. Frankly, I don't really see where either LUT would need to be adjusted in any way for a 16mm original, because the color corrector doesn't know or care what format the material was shot on. It is working from digital files, and any calibration adjustments are presumed to have been made when the scanning was done.