KineMINI Experimental Look Groups (download)

A place to discuss your Kinefinity workflow.
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Sun Aug 31, 2014 12:08 pm

NOTE: These look groups are EXPERIMENTAL, use them at your own risk. Neither this forum or Dan Hudgins will be held responsible if anything goes wrong. It is YOUR responsibility!

NOTE: If you have any questions, comments or feedback on these files, please leave a comment below & I will forward them to Dan.

Download the files HERE

From Dan Hudgins:
I have made new look groups for testing to emulate ARRI LOG-C (KineLOGC), Sony S-Log(1), S-Log2, S-Log3, (KineLOGS1, KineLOGS2, KineLOGS3) Canon CLOG (KineLOGC), and a revised Cineon film log KineLOGF, and revised Rec709 (Kine709B).

The new look groups are experimental and only the luma is calibrated, yet to be done is making extra 3D-LUT to match the color gamut for saturation and hue, that will require a change to the monitoring path to support two 3D-LUT, one for emulation tweak and the other for user look, but if Cheng can hold out and get that in the firmware, then things should drastically improve as to the range of color look options.

So be sure to tell people the experimental look groups are for testing, also they put a different matrix in the DNG header, so the results will be less saturated, that is to allow for better DCI-P3 and ACES down-stream use, so more saturation would need to be added in grading.

In addition to that, the new groups are only ISO 800 curve, so the ISO range with analog again applies is 800 to 51200 although speeds over 3200 should be used with caution at 4K and you need to see how your workflow de-noise deals with the camera's output (be sure to make a dark field mask, as "only" my program does masking in post, for other work-flows you should dark field mask in the camera).

To load the new *.LK5 files use these steps,

1) Turn the camera on

2) Copy the *.LK5 files to an empty USB drive on your computer (normally FAT32 format).

3) Put the USB drive in the camera

4) Go to the LUT menu I think and select load use files.

5) The camera will then say "N many user files loaded"

6) Pull the USB drive out of the camera.

7) Turn the camera off, wait a minute and turn it back on.

8) You should now see the new look groups in the cameras look group menu.

Be sure to take the USB drive out before re-booting, NEVER boot with the USB drive in as that re-sets the camera to default and you may see Chinese menus!

In addition to the *.LK5 look group files for use in the camera are some conversion *.cube files that convert the look group output to Rec709 with various matrix and levels of saturation DO NOT try to load those into the camera now as the camera firmware does not support them yet, you can apply those *.cube files in your workflow if you normalize the data correctly first, as in the Speed Grade and Cineform raw codec workflow options. The BMP files show you what you should end up with for some of the various options.

The order of operation for the LUT should only be,

1) curve.cube from shot folder if you are grading from linear DNG raw data as in the Speed Grade workflow

2) monitoring matching 3D-LUT, this has the name of the look group and some camera setting data in its filename. The "h" value is the headroom between I think 18% gray and ADC clip, which translates to the lowest ISO curve EI, the actual EI is the lowest ISO for that curve times the analog gain for the green channel, in other words the ISO 800! curve times 2x green analog gain will show ISO EI 1600 on the camera menu.

3) The *.cube files in the attached files which act as a kind of ODT to convert the log look groups to Rec709 for viewing on a monitor.

4) Any additional user looks you want to apply which are designed for Rec709 legal limits input.

The gamut emulation *.cube files would go between steps 2 and 3, but have not been developed yet, when the camera supports emulation *.cube files anyone with 3D-LUT generating software should be able to make their own emulation *.cube files as well, the point of the look group is to normalize mid-tone level, normally to 46% or 40.7%, so that the ISO converts into fixed "density" on the monitor, as shooting film at its rated ISO EI would.

If the LUT process the data out of order, the results will not match what is expected.

There is a BMP frame saved in each shot folder that is a snap-shot of what the monitoring should have looked like, that is what you should see after step 2 above, the look group ISO normaized output, and that is what the Cineform raw codec should show if you load the shot folder monitoring matching mirror LUTs into the Cineform raw codec, etc.

Eventually I may fill out those look groups to have the full set of *.LK5 from ISO 80 to 2560 in 1/3 stops rather than just ISO 800, but that is a lot of work so I made the most used speed first to see what people think of them in their industry standard format work-flows.

People can make their own *.LK5 with the free programs on my web site, although the process is a bit involved at this point and there is no documentation about that since I was just doing this for the camera development, which keeps changing the internal design, so I have to revise things all the time and there were no "outside" people using the cameras originally, as this has been going on for about 7 years now...

Best wishes for success in your projects,


Let me know if you have any questions about the attached files.

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Joined: Mon Aug 25, 2014 5:36 pm

Wed Sep 03, 2014 5:37 am

These are really awesome, thanks for posting. Ive loaded them in my camera and will see if i can do a comparison if I can find some time soon.

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Wed Sep 03, 2014 3:51 pm

That would be awesome Rob :). I look forward to seeing it!

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