PB: What initially got you interested in LUTs and creating them? We’ve since created products that build on the idea to directly sample from organic visual sources.
#M31 osiris lut upgrade#
So that was why I thought creative color grading could really use an upgrade and learn from the failed attempts to try and emulate complexity by using simple tools that didn’t really seem to get people anywhere. On the visual end of the spectrum, we really wanted natural, organic looks but were stuck with using sliders and curves which only ever control tiny data fragments in vast interpolated datasets - which, just like on the audible end, do not suffice when attempting to emulate anything that has an organic, non-linear source, like analog film for example. In music, it’s well established that if we want the sound of a Bosendorfer Grand Piano, we better record the real thing in a nice studio or go for the next best substitution, which is recorded samples of it. And that’s where I thought the general approach to digital color processing fell flat on its face. I’ve always felt that the sound of a synthetic emulation of an analog instrument for example is dwarfed by even a mediocre recording of the real thing. Or that was the high level reasoning behind our approach anyways. Probably because of my roots in music, most of our early products were born out of the idea to apply the concept of musical sampling to the visual frequency range.
#M31 osiris lut professional#
My professional focus for the past couple of years has been with VisionColor where I am CEO and lead developer.
I do take photography as a hobby pretty seriously.
I did dabble in filmmaking briefly but never really pursued it.
#M31 osiris lut software#
Jonathan Ochmann: I worked as a musical composer and software synthesizer engineer in my early twenties and have been into art and technology for as long as I can remember. Are you a filmmaker yourself? What has your role with VisionColor been? PremiumBeat: First off, I’d like to know some more about you in general. We have composer, software engineer, photographer Jonathan Ochmann ( SoundCloud/ Instagram) and his team to thank for these LUTs, and he was generous enough to give us some more info about how his packs were created. While they in no way replace the true artistry and craft of being a digital colorist ( as this meme about the M31 LUT would suggest), they do provide a really top-notch baseline to work with, are great to use on set with monitors, and will work drag-and-drop better than any other LUTs that I’ve used. Our “Escape Room” short was graded with M31 from the Osiris Pack to get the classic Teal/Orange look.
VisionColor LUTs are very true to the real deal, and they are created with care to achieve a very high level of accuracy across all camera platforms. I’d like to get this out of the way as well: this post is not sponsored by or paid for by VisionColor. I personally tracked down CEO Jonathan Ochmann so I could ask him a few questions about the creation of these LUTs and why they seem to be so versatile - that’s just how much I like them. I’ve always been very excited by how LUTs have added ease of availability to accurate film-style color curves and looks to all digital filmmakers. I’ve used both of the VisionColor packs ( Osiris and Impulz) many times throughout my career - certainly more often than any other LUT packs I’ve come across.
They look great on LOG footage, Rec 709 footage, photos - anything you can throw them at. If you haven’t heard of them or have never used them yourself, you owe it to yourself to give them a shot. I’m going to get this out of the way quick: I’m a big fan of VisionColor LUTs. If you haven’t heard of VisionColor LUTs, chances are you’ve seen them in action more than a few times in videos and films.
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