Our contribution to the recent Star Wars Fan Film: Hoshino (not affiliated with LucasFilm or Disney) involved helping design the overall look, integrating the visual effects, and performing the final color grading.
We worked alongside director Stephen Vitale and cinematographers Ryan Broomberg and Alyssa Brocato to achieve the final result.
Since the project pays homage to the original Star Wars trilogy, we decided to follow a traditional film post-production workflow, while still shooting on a digital format.
Part of this process involved creating a Custom LUT for the production camera (RED Epic Dragon) which transformed the color to have a more organic feel. This was an early incarnation of our FilmMatrix LUT (part of the RED to Alexa LUT Package).
A customized Print Film Emulation LUT was also used at the end of the grade. This prevented saturated colors from becoming too bright and made the digital image behave more like film.
When creating photo-realistic composites, it’s generally best to work with the camera’s raw scene-linear data (before any non-linear / destructive grading occurs). However, some elements (like lightsabers) need to be placed after the grade in order to maintain consistent colors throughout the film. Therefore, the visual effects were divided into two categories: Pre-Grade and Post-Grade.
This category included things like adding CG elements, keying green-screen shots, and painting out objects.
To aid with integration, separate preview LUTs were also generated for each effect shot. This allowed for the VFX to be seen with the grade applied (before any rendering occurred), and the shots could be fine-tuned accordingly.
Other effects such as lightsabers, lasers, and text overlays were applied after the grade (though still before the Print Film Emulation LUT).
In some cases, if a shot had both pre-grade and post-grade VFX, we implemented the final grade as a LUT inside the effects pipeline – reducing the amount of rendering and storage space required.
Attention was made to ensure the LUTs didn’t cause any banding or color artifacts. Learn more about Stress-Testing LUTs.
Behind the Scenes
Check out the making-of featurette:
For more information, please visit our services page. Or feel free to contact us with any post-production inquiries.
This package transforms RED material to closely emulate an ARRI Alexa’s gamma and colorspace – providing an alternative starting point for further grading.
The LUTs are based on an average of actual camera data. Additional grading may still be required to completely match the two cameras in a particular scene. Try out the Interactive Demo.
*Works with all RED camera models & sensors.
Built with precision and quality control, the LUTs have been thoroughly stress tested and do not introduce any unwanted banding or color artifacts.
The Log3G10 gamma curve is mathematically transformed to ARRI’s LogC format. Some highlight rolloff was added to avoid clipping luminance data. This serves as the base for all other colorspace conversions.
The color information is transformed from REDWideGamutRGB to a variety of ARRI formats using our Camera Profiling process. Since REDWideGamutRGB is a standardized colorspace, this LUT package works across all RED camera models.
All the LUTs implement a tone-mapping process to retain out-of-gamut colors.
This is the foundation for all other colorspace transforms. The wide gamut colorspace provides the most room for color grading and image manipulation. This is usually combined with ARRI’s standard LogC2Rec709 transform.
An option using ARRI’s Film Matrix is included as well. This was originally built for the Alexa to mimic the color characteristics of film from an ARRI scanner. Ideal for a traditional film workflow involving a separate Print Film Emulation LUT.
Intended for dailies and in-camera previewing, the LUT is based on combining our “ARRIWideGamut” LUT with the ARRI LUT Generator’s standard LogC to Rec709 transform curve, but has been re-built to better roll-off the saturation on RED footage.
This transform is for use as a “Creative 3D LUT” in conjunction with RED’s new IPP2 system. When used with our recommended settings, the result is designed to look similar to our “AlexaV3Rec709” LUT.
IPP2 settings: Medium Contrast / Soft Rolloff.
Based on a traditional log workflow, grading should be applied after the TRUECOLOR LUT, but before the output Display LUT.
Also watch some of the recommended workflows using RED Cine-X and DaVinci Resolve:
The following video shows how our LUT compares to an actual ARRI Alexa under various lighting conditions. RED’s default IPP2 settings are also shown for reference (Medium Contrast & Medium Rolloff).
Our goal was to match each shot as closely as possible by only adjusting the White Balance, Tint, and Exposure settings. Better results could be obtained through the use of secondary color corrections.
More details about the camera settings are available in the PDF.
This package helps transform RED material to more closely match an ARRI Alexa’s gamma and colorspace – providing an alternative starting point for further grading… Learn More Try out the LUTs on some custom images using our Interactive Demo.