PhilmColor R2 + R3 LUTS Free Download
philmColor is an expansive collection of LUTs built around the RED IPP2 Color Workflow. The LUTs range from creative looks to useful tools for colorists in post. It’s been a journey since the last release in 2017. Thousands of productions have used these LUTs on set, in post, and I’ve loved seeing the BTS grabs of the LUTs loaded on set. philmColor’s success has allowed me invest a lot of time into people’s requests, project looks, and more. A great deal of testing by individuals, studios, and productions commenced as well as creating more looks for my own projects. This led to an opportunity to even create the small selection of LUTs you get inside RED’s new DSMC3 cameras. But I assure you that is merely a taste of the feast I’ve included in PCR3.
As many have figured out you can also use philmColor with other cameras by transforming your incoming footage into the REDWideGamutRGB Color Space and Log3G10 Gamma. There’s an emphasis on cross camera combatility for this release as it’s pretty common to have a few different cameras on set.
Motion Picture Film has remained the source of my inspiration and you will find hints of familiar hues, tones, and density that stretch across modern through vintage Kodak and Fujifilm stocks. As alwasy the goal was and is to produce digital stocks useful to the modern filmmaker that will work with a variety of lighting conditions and exposure methods. At key, under key, high key, or ETTR exposure methods work very well with these LUTs.
In Release 3 you get a total of 540 new LUTs with the purchase of philmColor as well as the previous 178 from philmColor R2. A duanting collection of LUTs, but I assure it’s not about the number, I’ve been working on this release for almost 4 years now to create a sensible and long lasting collection of looks for RED’s IPP2 workflow.
I’ve created philmColor R3’s LUTs to be used as a RED IPP2 grading toolbox and is essentially a modular LUT workflow. As such I’ve organized the LUTs not only into individual categories, but also generally the order I suggest using them in you choose to cook up more complicated looks. LUT workflow is an interesting topic industry-wide, but there’s many reasons why many productions choose this pathway and it comes down to control and consistency, which is an important aspect of professional image making. Colorist can take these LUTs and build out looks as well as just take inspiration from the direction they are taking things for a final grade. Many ways to work really. My goals are flexibilty, versatility, and compatibility.
