On the chart there is a grid, which shape and division can be adjusted using the options right above. The real magic happens in three other tabs: A/B, C/L and 2D Curves.Ī/B chart is the color wheel or a vectroscope – pure color without the lightness component. Next on the familiarity scale will be the RGB and Lightness curves, and on the same tab you will also find their more advanced counterparts: Luma/Sat, Sat/Luma and Sat/Sat. The editor opens with the A/B chart, at the bottom of which you will find the controls such as tint and temperature, brightness, contrast, saturation and most of the usual suspects. What Can You Do With It?Įverything and anything that has to do with color transformation.
#3D LUT CREATOR TRIAL PRO#
I was given a Pro version for testing with all options unlocked.ģD LUT Creator will blow your mind and make you think about color in a different way. It is available in 3 versions (Grading edition, Standard, and Pro), that offer different capabilities. It was created by a Russian photographer/developer Oleg Sharonov at first for his own use, and then released publicly. What Is It?ģD LUT Creator is a stand-alone application that allows you to twist, bend and modify color in every way you could possibly imagine. Booooring.īut this was before I was asked to review 3D LUT Creator. It’s all bits and bytes, matrix here, matrix there, I have already seen it all. 1D LUTs were just glorified curves, and 3D LUTs not so complex color transformations. When the LUT craze came not so long ago, I was unmoved. I felt I knew enough to keep me going, and that there was nothing new under the sun. It was hubris, of course, considering DCI P3, XYZ, ACES and everything that is being done to the so-called digital negative to make it look best in theaters, with which I had almost no experience. When Lab finally began creeping into the world of film and video color correction (for example in daVinci Resolve), I felt I was well ahead of the game. I kept wondering why the video world did not make use of YUV, which is kind of similar to Lab. It was not a great workflow, but it served its purpose. I even used Photoshop Smart Objects to perform lossless conversions. I had known a few tricks with Lab color space, mostly sharpening in the lightness channel, but through this book I got to know this space and its capabilities pretty well. Then Dan Margulis’ book “ Photoshop LAB Color” book came out (now in 2nd edition), and that elevated my understanding to new levels. I toyed with it briefly, mostly doing contrast adjustments. YUV was interesting, because luminance and chroma channels were separated. Then, as I begun to learn more about film and video, I discovered color spaces: various flavors of RGB, such as Rec601 and Rec709, but above all, YUV and by extension chroma subsampling. That was the first time I heard about color models, working with channels, as well as various issues that arose from incorrect conversions between various CMYK and RGB profiles.įor some time that was it. Then I took a desktop publishing course, read a few books, and learnt about CMYK and prepress. And it was cool, levels – or actually auto-levels – was all the buzz, as well as Hue and Saturation.
I used shareware Paint Shop Pro back in those days, which at some point was acquired by Corel. First was of course playing in RGB with scanned pictures. I learnt image color correction in several stages.
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