ICARUS MAVIC PRO LUTs

 


 

 


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

 


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

 


D-LOG to sRGB LUTs

ICARUS V.2 DJI MAVIC PRO D-LOG Sunny WB - sRGB - frame by Michael Craft

 

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

 

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


 This pack includes LUTs without contrast transformation. These provide a neutral starting point for any subsequent contrast adjustment

 


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

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


Includes two filmic contrast curves

 


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

 

Film Contrast 2 for deeper contrast and saturated tones

 

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


Exposing to the right is common practice with log video. Sometimes a quick turnaround is needed so we’ve created a low key LUT that restores contrast, breaks through hazy atmosphere and helps with over-exposed video

 

 

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.

 

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

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

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


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 (recommended); -1 Contrast; 0 Saturation

 


All existing customer will receive updates for FREE

 


Application – READ CAREFULLY

By being corrective and not stylistic LUTS, ICARUS should be placed halfway through the effects chain, meaning that you should adjust the exposure and contrast before applying the LUT. This way, you set the video levels on the original file so that it better matches the chosen LUT. They will generally look desaturated, that is not a problem, but simply boost saturation in the desired areas. After this initial operation, you  can confidently apply any stylistic color grading until you achieve the desired look.


These LUTS were developed in 64 and 33 point cubes in .cube file format compatible with a vast majority of 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.
Use a third-party LUT loader such as FCPX LUT Loader at the end of your effect chain
Load as an external LUT in a node or as input LUT

 


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 v2.1

.cube files in 33 and 64 point curves