ICARUS MAVIC PRO LUTs for D-Cinelike and D-Log


ICARUS brings out the best in your DJI MAVIC PRO   D-LOG and D-Cinelike footage

Current version is v2.2

 


THE PROBLEM

The MAVIC’s camera is quite capable, but its image processing leaves something to be desired. It starts with the fact that you can’t create custom a white balance and here is no Tint adjustment. Images will be inevitably magenta unless you go for Auto White Balance. Whenever I shoot in log I prefer to use a preset white balance instead of custom creating them in-camera. If the video file is flexible enough, one can manipulate the white point in post production. It’s not RAW but it’s enough for most needs.

 

ICARUS was born from the need to have a dependable, realistic and flexible starting point for D-LOG and D-Cinelike images

 


 

DESIGNED TO MATCH REALITY, CALIBRATED USING NATURAL LIGHT SOURCES

All color charts were shot under direct sunlight at 45º without any interfering reflections from the surrounding objects. This scene represents daylight as it should be, a mix of direct sunlight and atmospheric blue.

 


PAINSTAKINGLY  BUILT USING REFERENCE SOFTWARE, COLOR GRADING MONITORS AND CUSTOM PROCESSES

Using colorcharts and software  is just the beginning of the process. Creating realistic LUTs that serve a multitude of situations is done by constantly filming and watching media sent from all over the world. The media we receive regularly is analysed on our reference monitor and existing or upcoming LUTs are tested and improved

 


THE RESULTS

BEFORE/AFTER SAMPLES and FEATURE BREAKDOWN

 



This LUT aims at providing a balanced correction for most situations where video is delivered on the internet

DESIGNED FOR:
– Well exposed video
– Quick, simple, one pass correction

 


Frame by Michael Craft.
White clouds close to pure white are neutralised, overall color balance is achieved and natural contrast is restored

 


Frame by Paulo Cunha Martins. Strong magenta cast in the shadows is removed, greens are natural and cyan to white gradation in the sky is restored. 

 


Frame by Paulo Cunha Martins
White point is neutralised, tonal gradation from cyan to pure white is restored and warm tones on the horizon are retrieved.



This LUT changes the color without altering the contrast response. These provide a neutral starting point for any subsequent contrast adjustment.
 

DESIGNED FOR:
– Very high contrast footage

– Minimal codec strain 
– Regular contrast footage with custom contrast curves placed after the LUT is applied

 


Frame by Paulo Cunha Martins

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - Flat - frame by Paulo Cunha Martins

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - Flat - frame by Paulo cunha Martins


Provides an S curve contrast, smooth roll-off in the highlights and muted saturation.

BEST SUITED FOR:
– High saturation footage

– Subtle film simulation

Film Contrast 1 for moderate contrast enhancement

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - Film Contrast 1 - frame by Alex Zavalny

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - Film Contrast 1 - frame by Paulo Cunha Martins

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - Film Contrast 1 - frame by Paulo Cunha Martins

 


Extended S curve contrast, pushed highlights and muted saturation.

BEST SUITED FOR:
– High saturation 
– Dark footage
– Enhanced film simulation

 

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - Film Contrast 2 - frame by Paulo Cunha Martins

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - Film Contrast 2 - frame by Paulo Cunha Martins

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - Film Contrast 2 - frame by Paulo Cunha Martins


This low key LUT restores contrast, breaks through hazy atmosphere and helps with over-exposed video.

BEST SUITED FOR:
– Over-exposed footage

– Overcast or misty atmosphere

 

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - sRGB - Low Key - frame by Ólafur Haraldsson

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - sRGB - Low Key - frame by Alex Zavalny

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - sRGB - Low Key - frame by Geert-Jan Windt



For under-exposed video or low contrast, dark scenes we’ve created a high key LUT.

BEST SUITED FOR:
– Under-exposed footage
– Low contrast images

 


Frame by Ólafur Haraldsson


Frame by Crisanto Guevara

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - sRGB - High Key - frame by Ólafur Haraldsson


For video that has been exposed to the right.
Available for D-LOG only.

BEST SUITED FOR:
– Well exposed images

– Grading applied before the LUT
– Excellent caucasian skintones


 


For video that has been exposed to the right. An added saturation curve has been added for enhanced color boost without compromising already exposed colors. 
Available for D-LOG only.

BEST SUITED FOR:
– Well exposed images

– A quick turnaround without any subsequent grading
– Hazy or low contrast landscapes 





BEST SUITED FOR:
– Luscious, saturated and contrasty landscapes
– A quick turnaround without any subsequent grading

Designed to get the most vivid image out of your MAVIC without compromising image quality. Dynamic range is preserved while contrast is greatly enhanced. Extra midtone contrast reveals texture and volume in rocks. Greens gain volume and atmospheric haze contributes to a greater notion of space. Saturation is kept under control, avoiding channel clipping and unnatural tones. No other commercially available LUT offers such a degree of control over landscape imagery. 

To fine tune the color output using this LUT, simply adjust exposure and curves before applying it. In Premiere, for example, load the LUT in the creative panel and make any necessary adjustments in the Basic tab and Curves tab. In DaVinci Resolve, add a node before another node containing the LUT.











 


ICARUS includes a calibrated LUT for tungsten lighting, providing that the camera is set for tungsten White Balance

 


ICARUS V.2 DJI MAVIC PRO D-LOG Tungsten WB - Contrast 1 - frame by Paulo Cunha Martins

At ISO3200,  ICARUS does a good job at controlling noise while keeping the greyscale fairly neutral

 

ICARUS V.2 DJI MAVIC PRO D-LOG Tungsten WB - Contrast 1 - frame by Paulo Cunha Martins

 


What’s included

D-LOG (+1;-1;0)
6 Sunny white balance LUTs
6 Auto white balance LUTs
3 Tungsten white balance LUTs

D-Cinelike  (+1;-1;0)
6 Sunny white balance LUTs
6 Auto white balance LUTs
3 Tungsten white balance LUTs

Contrast Curves
8 Auxiliary contrast curves

 


ALL PREVIOUS VERSIONS OF ICARUS from V1.0 to V1.3 ARE ALSO INCLUDED IN THE DOWNLOAD

 


Camera Settings

The camera must be adjusted to these settings in order to get the best results. Lower in-camera contrast settings can be used for increased manoeuvrability in the luminance range in post.  Saturation can also be dialled according to the captured scene, overcast days, for example

D-Log or D-Cinelike 
+1 Sharpness 
-1 Contrast 
0 Saturation
Sunny White Balance is recommended

 


FAQ’s

Q: I just bought ICARUS, Am I eligible for updates?
A: All existing customer will receive updates for FREE

Q: Which LUTs should I use, .33 or .64?
A: The method used in the creation of these LUTs outputs .64 point precision. Theoretically you’ll get better colour accuracy but the visual difference is negligible in 8 bit video. The main point to refer is that currently, Adobe Premiere has problems with .64 LUTs, so in the case of this NLE, use .33.

 


Application – READ CAREFULLY

Being a corrective primer and not a stylistic LUT, ICARUS should be placed at the beginning of the effects chain, meaning that you should adjust the exposure and contrast after applying the LUT. If there is a need to optimize dynamic range or overall contrast for a given LUT, adjust the highlights and shadows or curves before the LUT but set the adjustment node/layer to modify luminance components only. After this initial operation, you  can confidently apply any stylistic color grading until you achieve the desired look.


These LUTS are available in .cube file format, compatible with various NLE’s. 

 

 

In Adobe Premiere, place the LUTs in the Creative tab and do your toning in  the Basic Correction tab
Load the LUTs in Lumetri. Use .33 cubes. Premiere has issues with .64
Use a third-party LUT loader such as FCPX LUT Loader at the beginning of your effects chain
Load as an external LUT in a node or as input LUT at the beginning of your effects chain

 


Trial

De you want to see these LUTs in action before you decide to purchase? Send me a short video file with the correct camera settings as stated above  and I’ll get back as soon as possible with a corrected version

 


Get the LUTS here

Current version is v2.2

.cube files in 33 and 64 point curves