rec709 LUTs - Fuji color profiles

I did some quick reverse engineering of some of the Fuji profiles and created rec709 LUTs that can achieve similar results. No Fuji camera necessary and no need to shoot with a baked-in profile!
Here is an example applied to a clip from A7rII:

Long story short took advantage of the fact that Lightroom allows color profiles to be used with RAW files. Then I computed the three-dimensional affine transformation that can remap the default color space from adobe to any of the Fuji psrofiles.
I can do a much better job if I find color samples that span most of the 3D space. For this I used 4 sample images from dpreview and imaging resource.
The good thing is that I can use the program that I wrote to compute any transformation that is needed. For example S-log/s-gammut to rec709, or slog to clog, rec709Sony to rec709Fuji etc... I only need two images from the two profiles with the same color information such as a colorchecker and of course neutral WB and same exposure.
You can find the LUTs attached. I hope you enjoy them! Don't forget you can use them on images too with Photoshop...
Acros.cube
Astia.cube
ClassicChrome.cube
Provia.cube
Velvia.cube

Comments

Lightroom & Skin tones

Many of you will call me crazy, but I got spoiled from the colors (especially the skintones) that I can get from my A7rii in video with the custom profiles. Still profiles in camera just do not have the same customization level as in the video. Even crazier was the fact that I could not get the stills to look as good with Lightroom, unless I spent a significant amount of time fine tuning all different color settings for each picture. While Lightroom offers plenty of controls to mess with color, it still does not give you the full control like 3D LUTs do (check this to see what I mean). Lightroom has some default camera profiles that you can use but none of them really look that good. For example with the A7rii the default Adobe Standard looks washed out and the Camera portrait has Sony's renowned green-yellow skin tones. Then I found out about the DNG profile editor , which acts like an LUT editor for stills. It is quite straight forward to create your own custom profile: Ex

A story about 4K XAVC-S, Premiere and transcoding

My laptop was not very happy that I got the A7rII. So there my quest for the smoothest 4K editing begun. First, I tried transcoding, but as you will see further down it did not give me the results that I was expecting, I could not match the quality of the original. Low res proxies would not cut it since I use warp stabilizer before I start editing. “Fkit, I ll make the machine of my dreams” I said. But no luck. This buttery smooth experience that I had with 1080p was impossible to reproduce with 4K XAVC-S. Solution? 4K proxies. All tests below were done with an E5-1680v3 @4.5, 64GB EEC RAM, TITAN X, Revo 350 among other irrelevant hardware with Premiere CC 2015 and Windows 10. Hard to build something faster for Premiere ( https://www.pugetsystems.com/labs/articles/Adobe-Premiere-Pro-CC-Multi-Core-Performance-698/ ) . A single XAVC-S 4K 24p file was used. to render all the files with “Max Quality”, “Render at maximum depth”, “Use maximum render quality” with the Adobe media encoder

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