One-dimensional lookup table that independently remaps each color channel (R, G, B) in post-production for tone, gamma, and white point adjustment without cross-channel color shifts.
A 1D LUT (one-dimensional lookup table, also 1D Look-Up Table) is a color grading tool used in editing and post-production. It assigns a fixed output value to each input value of a single color channel—for example, a specific red-gray is converted to a brighter red-gray. Red, green, and blue are processed by their own characteristic curves, meaning the channels are treated separately and independently.
Unlike a 3D LUT, which links color and luminance in a three-dimensional color space, a 1D LUT cannot map cross-channel relationships. Therefore, it can make red brighter or blue darker, but it cannot shift a hue from red towards orange or from blue towards turquoise, nor can it specifically control saturation.
The 1D LUT operates as a pure value table: each possible input value receives a predefined output value. This determines what it is suitable for and what it is not:
| Task | Possible with 1D LUT? |
|---|---|
| Tone / Brightness per channel | Yes |
| Gamma and contrast adjustment | Yes |
| White balance and color balance | Yes |
| Hue shift | No |
| Specific saturation control | No |
| Complex creative look | No (3D LUT required) |
Because each characteristic curve contains only a limited number of control points, interpolation occurs between table entries. The number of entries depends on the chosen bit depth—common table sizes are 1,024 entries per channel (10-bit) or 4,096 entries per channel (12-bit).
Typical applications are technical transformations rather than creative grades: setting white balance and contrast, gamma corrections, and efficient tone conversions, for example, from a log signal to Rec. 709. In practice, a 1D LUT is often combined with a 3D LUT—the 1D LUT handles the one-dimensional tone/transfer curve, and the 3D LUT handles the actual color look. For the final creative grade, colorists generally opt for a 3D LUT, as a 1D LUT alone cannot capture the nuances of a look.
As a cinematographer, I use 1D LUTs daily for quick on-set monitoring, especially when we're shooting in S-Log3 or other log modes. They give me an immediate, realistic impression of the final image without affecting the raw data. For simple gamma corrections or matching different camera systems, they are unbeatable in efficiency.
From a director's perspective, I value 1D LUTs as the first creative step in image design – they help me, together with the cinematographer, define a basic mood right there on set. Even though they offer fewer possibilities than 3D LUTs, they allow for quick decisions on contrast and overall brightness. In collaboration with post-production, they serve as a solid starting point for more complex color grading processes.
1D LUTs mean time savings and cost efficiency for me in post-production, as they enable standardized workflows and require less processing power. They significantly reduce the complexity of the technical acceptance of footage from different cameras. Especially on projects with tight budgets or short post-production timelines, they are an important tool for cost-effective yet professional image processing.
1. Was beschreibt „1D-LUT" am besten?
2. Zu welchem Department gehört „1D-LUT"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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