![]() 65 points? All that interpolation? No thanks.Īgain, this isn’t a take-down of 3D LUT Creator Pro, it’s a very interesting product and the math would appear to be sound, but its strict adherence to using the actual 3D LUT format as its means of output does kind of undermine it. I myself went a bit further by building 14bit LUTs, before the latest versions of Resolve relieved me of that burden. This isn’t an arbitrary number, you need at least that level of precision to work with complex compression like LogC and Cineon. To put this in perspective, the standard VFX IO LUTs in resolve are 12bit, so 4098 points to remap a signal. A huge 8MB LUT that hits performance for so little return. A 65 point 3D LUT has 274,625 rows of values, yet its effective transform function is based on the input value rows that have the same value in all three columns, which is just 65. Even if you can’t directly apply a transfer function to a signal, a 3D LUT is still a poor choice compared to a 1D LUT. One clear example of misuse of a 3D LUT is as a technical LUT to apply a transfer function. Now, if the software application has limitations in this regard and a 3D LUT is in fact the only way you can apply certain transforms then alas you’ll have to make do with this process, but for most ‘serious’ applications these days this should not apply. However, beyond those two stated examples I believe 3D LUTs have long been bypassed by other, more efficient means of image transformation. It bypasses so much potential difficulty that any computer would have in processing information that doesn’t comply with the strict rules of its virtual/digital self-contained world. The only practical way to emulate or reverse real world (analog) responses is to record them using specialised equipment, calculating the difference between source and target, and applying the transform to a fixed set of linearly spaced input values of a three dimensional look-up table. Without them, the life of a colourist would be a great deal more difficult. Let me start off by making it clear that I think 3D LUTs are awesome, provided they are used in either of the two processes for which they are appropriate i.e monitor calibration and film emulation. remap_image ( & mut hald_clut ) // hald_clut.save("output.png").This isn’t a dig at Jake or the people behind 3D LUT Creator Pro, but I believe the use of 3D LUTs should be called into question here. ] // Setup a remapper let (shape, nearest ) = ( 96.0, 0 ) let remapper = GaussianRemapper :: new ( &palette, shape, nearest ) // Generate an image (generally an identity lut to use on other images) let mut hald_clut = lutgen ::identity :: generate ( 8 ) // Remap the image Use exoquant :: SimpleColorSpace use lutgen :: // Setup the palette to interpolate from let palette = vec ! , ![]() h, -help Print help (see more with '-help') i, -iterations Gaussian sampling algorithm's target number of samples to take for each color std-dev Gaussian sampling algorithm's standard deviation parameter m, -mean Gaussian sampling algorithm's mean parameter power Shepard algorithm's power parameter Higher means less gradient between colors, lower mean more s, -shape Gaussian RBF's shape parameter. n, -nearest Number of nearest palette colors to consider at any given time for RBF based algorithms. a, -algorithm Algorithm to remap the LUT with l, -level Hald level (ex: 8 = 512x512 image) p, -palette Predefined popular color palettes. If `-p` is not used to specify a base palette, at least 1 color is required Custom hexidecimal colors to add to the palette. Help Print this message or the help of the given subcommand(s) Īpply Correct an image using a hald clut, either generating it, or loading it externally A blazingly fast interpolated LUT generator and applicator for arbitrary and popular color palettes.
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