March 31, 2016 Jim Wicks


This is the second in my series of posts in which I’m showcasing LUT packages that are available for the colorist and the editor/colorist. But rather than post your typical online review, I’ve chosen to let the LUT creators speak for themselves – in their own words.

First, a little housekeeping. For newbies and the uninitiated, LUT is an acronym which stands for Look Up Table. A 3D LUT is what some of us in the post-production community use from time to time to map one color space to another.

How do LUTs do that? Why do they do that? To save you and me time and effort, you can learn more about LUTs here, here, and here.

In this post, you’re going to hear from Benjamin Lambinet, a French graphic designer and independent filmmaker, who has created nearly 100 LUTs under the banner name, IWLTBAP.

What does IWLTBAP mean, how did you come up with the name?
Ok, so IWLTBAP means “I would like to be a Pony”. Yes, it’s strange. It’s the name of a website that I created to share photographs that I did when I was in art school. To be honest I just kept the name because I had the domain. But now I also have an ultra short domain

How would you classify the LUTs you sell?
The LUTs that I sell are mainly look and creative LUTs. I made only two LUTs which are inspired by film prints, Aspen and Sedona (they are in the free download). I didn’t want to make film print emulation LUTs simply because Vision-Color did an awesome job with the ImpulZ collection. I can’t do it better than that. I try to create original looks with very various styles. My main source of inspiration is the movies that I see at the cinema.

RED Dragon
Who is your target audience, who were they created for?
When I launched my pack of LUTs I mainly targeted novice and amateur filmmakers. Over time I was contacted by professionals who asked me to improve upon those LUTs for their needs. So now I include a set of conversion LUTs to convert specific LOG profiles (Alexa Log-C, S-Log2, S-Log3, REDLogFilm, BMDFilm, etc) to Rec.709 (standard). Some people say that it’s a sacrilege for a pro to use a LUT, I don’t think that at all. I know some pro colorists uses my LUTs in their projects and I’m honored by that!

ARRI Alexa Log-C
How do you create the LUTs?
I have accumulated a lot of footage and still frames from different cameras in various shooting conditions. I use many different applications but my main tool is the great DaVinci Resolve. I love experimenting with other apps or small tools, like the great utility Look Converter. I think it’s perfect if you want to create a LUT from a Lightroom preset. My last step is always a final check in Photoshop (with a simple Color Lookup adjustment layer) on several contact sheets containing tens of still frames in high resolution (Rec.709 or specific LOG, depending on what I want). I control banding and pixelation in over/underexposed situations and adjust if necessary. It’s l-o-o-o-ng work …but I create my LUTs with passion.

Sony A7S
Give me a brief description for the LUT packages that you offer.
My pack of LUTs is updated continuously with new looks and improvements. The feedback from users is essential and I always try to listen to what my customers are saying. The LUTs in my pack are stored in two folders, LOG and STANDARD. Each LUT is named with a prefix and a suffix. As prefix, C for Cold, F for Film, H for Hot, W for Warm and X for Creative. This describes the atmosphere of the look. For the suffix, I use STD for standard profile (Rec.709) and LOG for a generic flat profile. I have also included a folder named UTILITY containing several LUTs to convert all LOG profiles to Rec.709. Today my pack contains 95 LUTs and I know that testing so many looks one by one is extremely long ! So I created an online web application, a LUTs previewer, to apply each LUT on a JPG/PNG frame quickly (you can switch between LUTs using the up and down arrow keys). All are optimized for the best performances. Soon I’ll be adding some new original looks and new conversion LUTs for specific cameras. I am working hard to optimize my LUT pack for professionals,

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Jim Wicks

Jim is a recognized and well-respected member of the film preservation and post-production community. His work is seen at the movies, on Blu-ray, television, the web, and mobile devices worldwide. Color Correction & Grading services by a Pro - without the high prices or cost of a big facility. Email: · Phone: 1+ (561) 721-5187