Skips the interesting question of how the LUT tables are made, but still nice introduction to the topic.
I guess to make film simulation, you could photograph bunch of color calibration targets (eg IT8) in different lighting conditions with both the film and digital sensor, and then try match them somehow. That is assuming the film is still available.
Film is definitely still available, and you can use a target to as a starting point for a LUT, though the workflow is not straightforward. The core of the problem is that you're only sampling a fraction of the number of colors in the LUT, so to derive the rest of the LUT entries, you need to interpolate and extrapolate.
The trick is which algorithm you use to take the sparse 3D mesh of the calibration target and warp/interpolate the rest of the values. Trilinear would be the most naïve (and lowest quality) approach.
There's a ton more detail about how to actually match digital to film in Steve Yedlin's blog [1], including a cool video of sparse color interpolation in 3D (toward the bottom of the page).
Comments
Skips the interesting question of how the LUT tables are made, but still nice introduction to the topic.
I guess to make film simulation, you could photograph bunch of color calibration targets (eg IT8) in different lighting conditions with both the film and digital sensor, and then try match them somehow. That is assuming the film is still available.
Film is definitely still available, and you can use a target to as a starting point for a LUT, though the workflow is not straightforward. The core of the problem is that you're only sampling a fraction of the number of colors in the LUT, so to derive the rest of the LUT entries, you need to interpolate and extrapolate.
The trick is which algorithm you use to take the sparse 3D mesh of the calibration target and warp/interpolate the rest of the values. Trilinear would be the most naïve (and lowest quality) approach.
There's a ton more detail about how to actually match digital to film in Steve Yedlin's blog [1], including a cool video of sparse color interpolation in 3D (toward the bottom of the page).
[1] http://www.yedlin.net/NerdyFilmTechStuff/index.html
[2] http://www.yedlin.net/OnColorScience/index.html
Cinematographer Roger Deakins has a podcast and one of the episodes is with the colour scientist he works with, Joachim Zell.
https://teamdeakins.libsyn.com/joachim-jz-zell-color-scienti...
Lots of good info in that episode regarding LUTs, ACES and colour in film & tv.