Everything old, is new again
The new trend in digital production is reverting back to the look of film. In recent years, the resolution capabilities of digital cameras have dramatically increased, now you can capture more dynamic range than ever before. But digital images are just that ... digital, lacking the color and personality of film.
SpeedLooks are designed by industry professionals for cinematographers, editors and colorists to achieve the overall character and beauty of 35mm film, all with the click of a button. SpeedLooks are compatible with all DSLR, Mirrorless and digital cinema cameras, as well as editing and color grading programs on the market. SpeedLooks are available in six narrative categories; Clean, Big, Blue, Gold, Matrix and Artistic.
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Digital Film Stock (DFS) is the last piece of the puzzle in achieving the look of film. DFS LUTs are a result of three years of research and development. They accurately map the beautiful colors of the most popular film stocks for all digital cameras. DFS comes in both Linear (REC 709) and LOG formats. You even have the flexibility of using them on-set to previsualize your look. All LookLabs camera patches are included to perfectly match your LOG footage.
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"Totally incredible how the LookLabs LUTS alter the image and gives it a huge high-end look like you have been to the best grading suite."
Frequently Asked Questions
What is a 3D LUT?
In the film industry, 3D lookup tables (3D LUTs) are files used to map one color space to another. Commonly used to make a calculated map of image colors so the preview monitor will match the final digitally projected image or release print of a movie.
VFX artists were the first to use 3D LUTs in more of a creative way, for film emulation. They would use LUTs to blend composited CG elements more smoothly with film. The problem was these LUT’s were so unstable, converting film color space to Rec. 709 was not much use because of the color artifacts they would bring to the video. Then colorists started looking at LUTs in a different way, using them during color grading to save and share their looks with other artists. This was the basis for SpeedLooks.
About LookLabs Color Science
Our approach to color science and look creation is a mix of old school and new school. We start with scanning both black and white and color negative 35mm film stocks. Doing both for our recipe is very important. Much like the older 3 strip Technicolor approach we begin by creating stable red blue and green channels by using curves extracted from the B/W film. We then introduce color and the film emulsion personality of our color film scans. This approach allows us to build very stable looks that give consistent results regardless of the camera used.
VS-LOG (Virtual Speed LOG) and our camera patches is the other major ingredient in our SpeedLooks special sauce. By creating a virtual baseline LOG state we can now match all cameras. This allows us to guarantee consistent, beautiful, filmic looks every time you use them, regardless of the camera used.
DFS and SpeedLooks vs Film Emulation LUTs
The problem with most pre-installed or purchased film emulation LUTs, is that film color space does not directly translate to REC.709 color space. What generally happens after applying these LUTs is that you may like the way its dealing with some colors but generally are not happy with other resulting colors. This is why many workflow suggest you color correct above the LUT so you can create secondary’s to fix the problems.
LookLabs has removed this hassle by eliminating color artifacts and by creating LUT’s with beautiful narrative palettes that are stable, precise and accurate.
Products LOOKLABS LUTs Supports
DaVinci Resolve (Full & Lite), Adobe Speedgrade, Adobe Premiere CC, Adobe AfterEffects CS6/CC, Adobe Photoshop CS6/CC, Final Cut Pro X*, Avid 8, Shake, Pandora Revolution/Pixi, CineForm Studio Premium, Nuke, Scratch, Film Master, Quantal Pablo, BaseLight, Motion 5