Filmout & DCP | Generic LUT's

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An alternative low cost solution are the generic 3D LUT's derived directly from specific systems like Apple's Mac's. These 3D LUT's are created on order and are specially crafted to perform on very specific setup's.

We can provide LUT's for the following Mac's running 10.6.3 and above:

  • ●    Mac's that using Apple LED Cinema 27" connected with display port, that is all Mac Pros,

  •       iMac's, Mac mini and Mac Books.

  • ●    iMac's with the LED Cinema 21.5" or the 27" display. (Coming soon)

  • ●    MacBook Pro with the LED 15" or 17" display. (Coming soon)

  • ●    HD REC709 LCD monitors as well as CRT

All systems are not available today since we are in the process to add them check the order now page to see which are available for order in the drop down buttons on the buy now area.

These LUT's are coming with specific instructions for Apple Color on how to setup your machine and get the result. The LUT's are meant to be used for non critical preview and will might have an error of +/- 20% if they used on the correctly setup machine.

Conversion LUTs are designed to convert a film target to the appropriate digital target.

Also we are providing Camera LUT's for ALEXA Log-C, Sony S-Log, Viper FilmStream and we can provide for Panasonic FilmRec. For the use of these LUTs in the tech papers area  their will be a document that will explain the various workflows.

Additionally a Cineon Log 6500K (HD), 3DLUT would provide a much better result when used in high end Color grading systems like Apple Color and DaVinci than what the simple curve that Technicolor includes in the package for the Canon 5D Cine style.

There aren’t available LUT's for all the cameras are today, please don’t hesitate to ask us using the contact form on the left.


Below are FAQ for professionals that want to order generic 3D LUT's

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FAQ for Generic LUT's

Q. That means we will get 3DLUts for everything like Film, DCP- XYZ, sRGB etc?

A. Yes, that's the point, we can provide LUT's for almost all the targets available under the price of 30 euro's each.


Q. Do we need extra hardware to get the LUT's?

A.  No, these LUT's are coming to you with no profiling so no hardware is needed apart from the appropriate Mac.


Q. If we don't use a Mac's, can we still ask for LUT's?

A. Unfortunately for now we don't have this option, you can send us a request by using the contact form from the side menu and we will evaluate the possibilities.


Q. We do have a MAC color grading system, not Apple Color, can we order LUT's?

A. Unfortunately not for the time being, the reason is that we have optimized the result for applications using the secondary monitor as grading monitor. Apple Color is doing that, if you use another app. that uses the same functionality you can ask us.


Q. Are you planning in the future to support apps that using Video out as grading monitor?

A. We are looking on supporting HP DreamColor and a specific LG monitor, the  LG W2420R both connected with HDMI Black-magic video card. This will cover DaVinci as well as some PC app's. We don't have dates yet, but the support is coming.


Q. We have a monitor that we trust, can we work with that?

A. Unfortunately no, because these generic LUT's are created to be used with very specific hardware not all monitors are good. You can use a generic LUT to a good monitor but the result is unknown. Alternatively you can choose the Student or Cinematography support package that covers all monitors capable to perform.


Q. Ok, let’s assume that we going forward what is the expected accuracy?

A. The accuracy that we aim is less than +/-20%.


Q. What are the differences between what you do and Magic Bullet LUT Buddy free?

A. Let’s explain the different types of LUT’s existing to understand:

  1. Viewing LUT’s, these are LUT’s that can be created from special software like CineSpace with the aim to calibrate accurately your display devices to certain targets like Filmout Stocks, DCP, REC709 etc. These are our Generic LUT's.

  2. Looks LUT’s, these are LUT’s to take an A image “original” that you will alter it (color correct it) to an image B “new image” and because you want to transfer that Look to other applications you will need to create a Look LUT which when it will be applied to images it will convert them from Look A to the Look B.

  3. Conversion LUT’s, these LUT’s are designed to take a given color space like a given Film Stock or Cineon Log to REC709 or DCP, these LUT’s can be applied in the video output and used to color grade a Log sourced image to REC709. You can find this type of LUT's in our Gneric's.

The first is needed to bring your viewing environment to an accurate state in order to have the confidence of what you see is also visible to your clients and to the world. This is a difficult and very expensive task to achieve, it needs special software that costs more than 1500$ and up, plus probe and monitor that can perform. Have in mind the package needed isn’t the typical Desktop Publishing monitor icc calibrators but rather the cinema counterparts that supporting 3D LUT’s. This can be covered along with the third in the most cost effective way by using our consulting services. Alternatively you can use our Generic LUT’s that are used with specific setups to get a similar result.

The second is what the Magic Bullet free plug-in is doing…

So the bottom line is that you either need a correct conversion LUT to work with Log and i.e. with the new Technicolor style like the REC709 to Cineon 6500K (HD) assuming that you use an averagely calibrated HD monitor or if you want a professionally accuracy you have to use the professional tools to calibrate and the appropriate monitors.


Q. Ok you do different thinks, but Technicolor provides a LUT with the package what is the difference?

A. The difference is that the LUT’s included on the package are just simple 1D curves in 8bits and we provide regular high precision 3D LUT with 12 or more bits in depth that allow you to take advantage of the internal Floating point color engines of Apple Color or DaVinci i.e. in a way that will result in much more rich image and more flexible. As an example the Technicolor LUT is 4k bytes and a DaVinci 3D LUT for Cineon Log 6500K (HD) is 951k bytes.


Q. Can After Effects work with 3D LUT’s?

A. As for After Effects the most current version CS5 (10.0.1) supports the Autodesk formats of *.3dl, which we can also provide as generic or conversion.


Q. Why the Log is so better than linear in small cameras like canon 7D or 5D?

A. Let’s assume that we want to capture an 8 stops image from a sensor that has 12 bits internal processing that’s 4096 steps of light intensity to an 8bit compressed H264 file that’s 256 steps.

In “linear” the top brightest stop n. 8 will consume 128 steps, the stop n. 7 will consume the next 64 steps and the stop n. 6 will consume the next 32 steps. The top 3 brightest stops of an image when is being described in linear will result to “consume” the 87,5% of the available bits in a file, leaving the lower 5 stops of the mid-tones/shadows to be described by just 32 bits…!!!

On Log we allocate 10 stops in equivalent segments like 25 bits for each stop. That results to a secondary data compression of an applied curve, which needs to be decompressed with the use of an appropriate 3D LUT in order to counteract accurately also the saturation of the converted image. By doing that we effectively recreate information that wasn’t visible in the original file but was there in the original image the sensor was capturing.

So the difference between Linear and Log is night and day.