Ozark Season 2 - Exploring the Look & Color Palette

Oct 16, 2018

In its much-anticipated second season, Ozark continues to follow Marty Bryde (Jason Bateman) and his family as they navigate the murky waters of life within a dangerous drug cartel. This is a dark Netflix series…literally and physically.

"I had the pleasure of watching Season 2 in Dolby Vision HDR 4K on my OLED LG and what a pleasure it was" stated Jeff August, lead colorist at LookLabs. "The show really embraces the high dynamic range of today’s cameras. One location the family comes back to throughout the show is their house. The inside is always dark and is surrounded by large bright windows. What I love about the scenes is they expose for the windows and let the actors fall into the shadows. This creates incredible mood which adds to the darkness of the show. This technique is used throughout the show and simply looks amazing!"

The show emphasizes a dark green/blue palette which can easily be achieved in Davinci Resolve (especially with its new LUT browser) using SpeedLooks Matrix LUT's. "I always suggest blending in the strength of our LUTs to create the right feel. This can easily be done easily in Resolve by applying a SpeedLook LUT to a node, then go the Key menu and adjust the Key Output (think of it in this case as a transparency slider). Going with 60 percent is a good place to start. Enjoy the show and have fun recreating the look with SpeedLooks."


DFS, SpeedLooks and our intermediate VS-LOG process combined with our exclusive camera patch technology offers a total workflow solution for your color correction needs. Color by LookLabs … revolutionizing the digital production world… one image at a time, all with the click of a button. Find out more at looklabs.net/

What's New for Premiere Pro and After Effects

Oct 14, 2018

Adobe has gone through and improved its tools to ensure they work better with the rest of their creative tools as well as with all third party tools. Adobe says the emphasis this time is to streamline workflows and eliminate tedious tasks. They are also adding more power to their computer graphics tools and streaming animation tools including characterizer, which enables users to make their own puppets using photographs. Probably the most important message from Adobe at IBC this year was an almost offhand statement about offering optimized outputs for every platform. On the face of it, that hardly seems revolutionary. Adobe and its competitors have to offer a variety of output formats to meet the keep up with the rapidly changing digital media landscape and to create content that goes where the audience is. But, Adobe also promises to enable creators to customize their content for their target platforms and that includes new formats like immersive.

To read the complete article from Graphic Speak, click on this link: https://gfxspeak.com/2018/10/03/premiere-effects-t... or this Adobe blogpost with more details and goodness: https://theblog.adobe.com/storytelling-with-smarte...

For more on Premiere, check out this video from Adobe:


Or, more on After Effects:


DFS, SpeedLooks and our intermediate VS-LOG process combined with our exclusive camera patch technology offers a total workflow solution for your color correction needs. Color by LookLabs … revolutionizing the digital production world… one image at a time, all with the click of a button. Find out more at looklabs.net/

LookLabs Spotlight: Noir SL-3522

Sep 23, 2018

At LookLabs we bring the look of professional cinema right to your workstation. We used the scans from the most popular negative film stocks to create SpeedLooks. One of the stocks we scanned is Kodak 's stunning black and white 5231 Plus X B&W, which was used to create the dramatic look of such films as; Schindler’s List (1993), Memento (2000) and I’m not there (2007). LookLabs was determined to create a black and white emulation as deep and rich as the film stock itself.

SpeedLooks NOIR SL-3522 emulates the look of this crisp, high contrast black and white film stock while not “de-saturating” the picture. The result is natural looking black and white footage from LOG or rec709 color space. NOIR can also be used with a combination of other SpeedLooks to create a custom black and white look with unique contrasts and detail. This video gives an example of footage with NOIR SL-3522 applied.


There are some great options when working with SpeedLooks NOIR SL-3522. Listen to SpeedLooks creators Jerome Sabourin and Jeff August discuss how you can push this look to achieve even better results.


DFS, SpeedLooks and our intermediate VS-LOG process combined with our exclusive camera patch technology offers a total workflow solution for your color correction needs. Color by LookLabs … revolutionizing the digital production world… one image at a time, all with the click of a button. Find out more at looklabs.net/

Adobe Reveals Creative Cloud Feature Updates

Sep 19, 2018

Adobe has released details on the new features that will be added to its Creative Cloud software suite by year’s end, including new animation options in After Effects and Character Animator, improved noise-reduction and reverb-removal tools in Adobe Audition, and expansions of motion-graphics and color-grading options in Premiere Pro. Adobe also underscored the continuing development of Project Rush, described as a “cross-device video editing app” for online content creators. It’s said to incorporate features from Premiere Pro and After Effects to create Premiere-compatible projects. Like the latest Creative Cloud updates, Adobe said, Project Rush is set to be available later this year.

To read about the full suite of offerings on it's way, here's the link to learn more from studiodaily.com and writer Bryant Frazer: http://www.studiodaily.com/2018/09/adobe-reveals-c...


DFS, SpeedLooks and our intermediate VS-LOG process combined with our exclusive camera patch technology offers a total workflow solution for your color correction needs. Color by LookLabs … revolutionizing the digital production world… one image at a time, all with the click of a button. Find out more at looklabs.net/

Blackmagic Raw, a new open-format codec

Sep 18, 2018

AMSTERDAM — At IBC 2018, Blackmagic Design announced the public beta of Blackmagic RAW, a new codec that combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats. Blackmagic RAW is an intelligent format that gives users high-quality images, performance, cross platform support and a free developer SDK.

The Blackmagic RAW public beta can be downloaded for use with Ursa Mini Pro cameras via the Blackmagic Camera 6.0 Beta Update. In addition, DaVinci Resolve 15.1 Update, which includes support for Blackmagic RAW, is also available free of charge from the Blackmagic Design Website (www.blackmagicdesign.com).

Blackmagic RAW has been in development for years and is a next generation codec that features multiple new technologies, such as an advanced de‑mosaic algorithm, extensive metadata support and highly optimized GPU and CPU accelerated processing. It can be used from acquisition throughout post production for editing and color grading, all from a single file.

Read the full release from Post Magazine at this link: http://www.postmagazine.com/Press-Center/Daily-New...

Or, check out this review from Studio Daily at this link: http://www.studiodaily.com/2018/09/blackmagic-desi...


DFS, SpeedLooks and our intermediate VS-LOG process combined with our exclusive camera patch technology offers a total workflow solution in Davinci Resolve for all your color correction needs. Color by LookLabs … revolutionizing the digital production world… one image at a time, all with the click of a button. Find out more at looklabs.net/


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