Demystify Color Grading – Rebuilding A LUT From Steve Yedlin’s Knives Out Demo

If you went down the road and just recreate the look without any ODT in place like the Rec.709 LUT from Arri, then you are basically having your custom ODT in place already if you apply all the components (Gamut Mapping, Tonecurve & Split-Toning) in full strength. If you use it at the very end of your node tree it’s basically your own custom ODT that you have in place now which will take you from scene to display referred space. It’s a totally valid approach if you just need to deliver within Rec.709 color space. If it’s broadcast work I would suggest to hard clip the signal & gamut limit it after your ODT though. This way you can be 100% sure that your footage is broadcast safe. But to be fair – I even do this procedure when using any other industry standard ODT like the Arri Rec.709 LUT too. If you do not know how to do this – watch this tutorial here. Of course you could even use this approach when you need to deliver multiple different versions like HDR, theatrical & Rec.709, but you need to be aware that you have to come up with your own solution on how to hit all the different targets and deliver everything correctly, as opposed to just switching the ODT and doing a slight trim pass when using ACEScct or DWG.

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