Nikon has just unveiled an exciting new tool for videographers: four new creative LUTs (Look-Up Tables) designed for their Nikon Z series cameras. These LUTs, developed in collaboration with RED, mark an important milestone in Nikon's efforts to become more competitive in the video and cinema space.
The partnership comes after Nikon’s acquisition of RED on April 8th, 2024, for $85 million. While the acquisition initially sparked enthusiasm, there has been little evidence of RED’s technology or color science making its way into Nikon products—until now. These LUTs are the first tangible result of this collaboration, offering Nikon video shooters a taste of RED’s iconic color science.
Here’s a quick breakdown of the four new creative LUTs:
Achromic: A low-contrast monochrome LUT for black-and-white filmmaking.
Film Bias: Warm colors with satisfying contrast, perfect for a classic film look.
Film Bias Bleach Bypass: High contrast with desaturated tones, offering a grittier, more dramatic feel.
Film Bias Offset: Deeply warm and nostalgic colors, with a vintage vibe.
For more details on this release, you can check out Nikon's official press release here, or download the LUTs directly here.
Source: Nikon Europe (@NikonEurope, YouTube)
My Take on Nikon x RED's New LUTs: A Game-Changer for Beginner Videographers
As someone who is relatively new to videography, I’ve always struggled with exposing and color grading footage from my Nikon cameras. With the release of these creative LUTs, Nikon has given me a helpful tool to ease the process. The fact that these LUTs are specifically designed for Nikon cameras, and in collaboration with RED, makes them even more valuable.
I understand that LUTs aren't a "one size fits all" solution. Proper exposure still matters. But they’ve provided me with a great starting point for my video work. After spending some time learning how to properly expose for N-LOG, I tried out each of these LUTs to see how they fit my personal style.
Here’s my breakdown:
Film Bias & Film Bias Offset: These two are easily my favorites. As someone who loves warm tones in both photos and videos, these LUTs align perfectly with my vision. They give my footage a film-like aesthetic, with deep, nostalgic colors that make scenes feel vibrant yet natural. I see myself using Film Bias Offset slightly more often due to its extra warmth, but both are excellent for my projects.
Achromic: This one, a low-contrast monochrome LUT, didn’t excite me as much. I don’t do a lot of black-and-white videography, but I can see its appeal for more emotional or dramatic scenes—maybe something like wedding videos where mood and tone are critical. For now, it’s not something I’ll reach for often.
Film Bias Bleach Bypass: Honestly, this LUT was a bit too much for me. The high contrast and desaturated look felt harsh and drained a lot of color from the footage, which doesn’t align with my personal style. However, it could be useful in specific projects that call for a grittier, more intense aesthetic.
Even though I’m still learning the ins and outs of videography, these LUTs have already simplified the process for me. The best part? They’re free, designed for Nikon cameras, and they bring a touch of RED’s famous color science to my footage. While more experienced videographers may not see this as groundbreaking, for beginners like me, it’s a great resource that speeds up the learning curve.
In conclusion, while I might not use all four LUTs, Film Bias and Film Bias Offset are now permanent fixtures in my workflow. I’m excited to see what Nikon and RED will bring next as this partnership develops—hopefully, more innovations and tools for those of us just getting started in video.
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