Hey folks!

We have released update 3.1.1 for the Professional Package. Please login into your account and go to Downloads page to get the latest package.

The focus of update 3.1.1 was introducing RED IPP2 workflow tailored color grading and monitoring LUTs. Update 3.1.1 allows you to apply LUTs directly on REDWideGamutRGB Log3G10 footage before making any conversion into Rec709 or P3.

A quick recap

While we have introduced support for IPP2 workflow long time ago, and we even offer free REDWideGamutRGB Log3G10 log conversion LUTs, update 3.1.1 introduces LUTs designed to be used DIRECTLY on REDWideGamutRGB Log3G10 footage BEFORE any log conversion into Rec709 or P3.

Advantages of using IPP2 tailored LUTs

By utilizing custom IPP2 LUTs in your workflow, all your color grading decisions, including LUTs, take place in a wide standardized color space (namely REDWideGamutRGB) eliminating out-of-gamut edits.

Moreover, as all your color edits take place in a wide standardized color space, should you later on (after your grade is finished) decide to go from Rec709 to P3 you would simply change the conversion LUT at the very end of your pipeline and all your color grading decisions would carry through!

There’s no more need to re-grade your footage for different outputs.

Additionally, by being able to apply LUTs directly on REDWideGamut Log3G10 footage, you can take advantage of the newest debayering and highlight algorithm improvements in the latest beta versions of REDCine-X software.

A quick example

Traditionally, you would first convert your log footage into a workable space such as Rec709 or P3. As this narrows the color gamut you’re working with, theoretically your edits could cause out-of-gamut colors which in turn cannot be displayed in your color space of choice.

While this is rare, and most color controls in various color grading software won’t go beyond gamut (and our LUTs make sure you don’t go out of gamut as well) it’s possible to loose information in your image if you’re not careful.

But what’s worse, as you’re applying the log conversion at the beginning of your pipeline, once you’re finished with the grade, it’s impossible to go from Rec709 to P3 and vice versa without regrading the footage.

IPP2 tailored LUTs change this.

As IPP2 LUTs are designed to work with REDWideGamutRGB Log3G10 footage, you apply them directly to your wide gamut standardized color space making sure no out of gamut edits can occur. More importantly, when working with IPP2 LUTs we leave the log conversion for the very end making the transition from Rec709 to P3 and vice versa seamless as all your color edits happen in REDWideGamutRGB before it’s narrowed down to Rec709 or P3.

With IPP2 LUTs simply change the log conversion LUT at the very end of your pipeline to go from Rec709 to P3 for example and you’re good to go.

Here’s a sample REDWideGamutRGB Log3G10 grab courtesy of Abandon Visuals. This wonderful grab is from a short named ‘The Underdog‘ directed by Jonny Mass and lensed by Jared Fadel.

Here is the same image after being normalized into Rec709.

And here is the same image with Matar teal and orange LUT from the Professional Package applied to it. This workflow showcases the traditional way of grading a log footage.

Now let’s have a look at the new workflow using IPP2 LUTs. Let’s begin once again with log image.

This time, we’ll apply to it directly IPP2 tailored Matar teal and orange LUT from the Professional Package.

Initially it looks very different, but we still need to add to it log conversion from REDWideGamutRGB Log3G10 into Rec709. This time however, it’s done as the very last step. Here is our final image.

The result is identical to our previous grade but approaching it IPP2-way allows us to have far greater control over the final image.

Can anyone use the new IPP2 tailored LUTs?

No. IPP2 LUTs are tailored specifically for RED DSMC2 cameras utilizing the new IPP2 workflow, namely your footage must be of REDWideGamutRGB Log3G10 type.

As always, should you have any questions please contact us.


Goran Ljubuncic is a leading fashion photographer, director of photography and a director based in Tel Aviv, Israel. He has years of experience shooting, directing, retouching and color grading campaigns and ads for clients such as Lacoste, Adidas, M.A.C, Lexus, Gillette, Bourjois, Pupa, Speedo, Fornarina, Nudie Jeans, Wrangler, Timberland, and Lee among many others. He is the founder and CEO of Lutify.me.


  1. Comment by rud.laga

    rud.laga Reply September 25, 2017 at 22:14

    If you could do the same with Sony Slog3 Fs7 CineEI, it will be very nice too!

    • Comment by Goran Ljubuncic

      Goran Ljubuncic Reply September 26, 2017 at 10:39


      Sony’s S-Gamut3 and S-Gamut3 Cine are not as nearly as wide as RWG to allow that kind of functionality but we’re considering other spaces as well.


  2. Comment by T

    T Reply October 8, 2017 at 09:59

    It’s my understanding that IPP2 can work on any Red R3D footage, Red One, Epic, Dragon, DSMC 1, DSMC2 (In Post Production)?

    • Comment by Goran Ljubuncic

      Goran Ljubuncic Reply October 8, 2017 at 10:17

      Yes most definitely. The IPP2 workflow is in very simplified terms a new debayering of .r3d files so yes you can debayer any existing .r3d file using the new process. That new process however, requires a new kind of treatment and that’s where the IPP2 tailored LUTs come into game.

  3. Comment by Evan

    Evan Reply October 30, 2017 at 19:42

    Can we use one of RED’s own IPP2 conversion LUT or should we use the supplied Lutify conversion LUT?

    • Comment by Goran Ljubuncic

      Goran Ljubuncic Reply October 30, 2017 at 19:45

      Yes of course. The LUTs will work equally well with either our or RED’s conversion LUTs.

  4. Comment by jc.gellidon

    jc.gellidon Reply November 1, 2017 at 17:44

    Any chance with SLOG2 / SLOG3 in the near future?

    • Comment by Goran Ljubuncic

      Goran Ljubuncic Reply November 1, 2017 at 20:59

      Unfortunately S-Gamut is not nearly wide enough to offer similar functionality. Additionally the number of possible permutations is too large to make it a viable product. We would have to maintain at least 4 separate sets of LUTs. Having said that, we have something very nice in our sleeves that will be dropping soon 🙂

  5. Comment by Nick

    Nick Reply October 15, 2018 at 19:02

    Hi, color newbie here! This sounds interesting but I feel like I don’t have enough knowledge to fully understand the advantage of converting at the very end (as opposed to the “traditional” grading workflow that you described first, something I’ve been doing for years now when assisting my colorist).
    Any additional info or resources would be greatly appreciated, thanks in advance!

    • Comment by Goran Ljubuncic

      Goran Ljubuncic Reply October 16, 2018 at 10:54

      Hey Nick, if you first convert your footage into P3 or Rec709 primaries from that point on you’re effectively working with a limited color gamut. For most uses that should be fine, but sometimes you may find yourself limited by that. By making the conversion at the very end of your workflow, all your color decisions and edits take place in a wide RGB gamut not limiting your output in anyway, but more importantly, should you wish to output for Rec709, P3 or Rec2020 all it would take is to change the log conversion at the end and there would be no need to make a re-grade as it often would be required if the conversion is done as the first step. I hope this helps.

  6. Comment by Matt

    Matt Reply January 23, 2019 at 00:26

    I recently used one of your IPP2 viewing LUTS on my Red Gemini during a shoot, and when I brought the footage into Premier I noticed premier brought the LUT in with it and even applied the LUT before the conversion to REC 709 in the Master Effects tab where you can control all of the Red RAW settings. I usually just color in Premier and I’m wondering if it’s ok to just keep this viewing LUT turned on or do I need to disable it and replace it with the “Color Grading” version of the LUT? Thanks!

    • Comment by Goran Ljubuncic

      Goran Ljubuncic Reply January 23, 2019 at 13:23

      Hello Matt, yes you can keep it, no need to replace.

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