Apr 24, 2017
Tragedy strikes on April 15, 2013 when two bombs explode during the Boston Marathon. In the aftermath of the attack, police Sgt. Tommy Saunders (Mark Wahlberg), FBI Special Agent Richard DesLauriers (Kevin Bacon) and Commissioner Ed Davis (John Goodman) join courageous survivors, first responders and other investigators in a race against the clock to hunt down the suspects and bring them to justice. "I saw this movie at a theatre and was glad I did, I lost myself watching on the big screen with it’s incredible sound and gritty filmic look. It is an excellent movie and I highly suggest it to everyone" states LookLabs chief colorist Jeff August.
"Patriots Day definitely has a consistent HDR film look with lots of beautiful details in the highlights and milky blacks. Our soon to be released new product, DFS (Digital Film Stock), would be the go to set of LUTs to achieve this look instantly. DFS includes the most popular Kodak and Fuji film stocks used today and in the past. DFS works with all digital cameras making it the most flexible LUT package on the market." Watch for a release date soon.
Check out looklabs.net/ to learn more about SpeedLooks and how you can easily achieve a great color finish on your next project.
Apr 13, 2017
The RGB color model is an additive color model in which red, green and blue light are added together in various ways to reproduce a broad array of colors. The name of the model comes from the initials of the three additive primary colors, red, green and blue.
The main purpose of the RGB color model is for the sensing, representation and display of images in electronic systems, such as televisions and computers, though it has also been used in conventional photography. Before the electronic age, the RGB color model already had a solid theory behind it, based in the human perception of colors.
RGB is a device-dependent color model: different devices detect or reproduce a given RGB value differently, since the color elements and their response to the individual R, G and B levels vary from manufacturer to manufacturer, or even in the same device over time. Thus an RGB value does not define the same color across devices without some kind of color management process.
Typical RGB input devices are color televisions, image scanners, video games and digital cameras. Typical RGB output devices are television sets of various technologies such as CRT, OLED, LCD, plasma and mobile phone displays to name a few. Color printers on the other hand are not RGB devices, but subtractive color devices - typically the CMYK color model.
Understanding the history of the RGB color model is important to grading artists in the finishing of images and how the audience for their work perceives color. This technical paper written by Andreas Brinck and posted on the Gamasutra website, can be a slow read and at times difficult to follow, but nonetheless worth your time to gain some insight into color. Here's the link to the article: http://www.gamasutra.com/blogs/AndreasBrinck/20161...
Visit looklabs.net/ to learn more about SpeedLooks and how you can easily achieve a great color finish on your next project.
Apr 11, 2017
Set ninety-seven years after a nuclear war has destroyed civilization, when a spaceship housing humanity's lone survivors sends 100 juvenile delinquents back to Earth in hopes of possibly re-populating the planet. The fourth season of the CW Television Network’s sci-fi hit show is now on and half way through the season. When it comes to the look of the show…well, it looks amazing and there are a vast number of different color palettes used throughout. "If I were grading this show I would start by using SpeedLooks Blue and Matrix." says LookLabs chief colorist Jeff August. "The Matrix look is the most dominant look (used in exteriors) and gives the show a nice post-apocalyptic feel. The interiors rely on a blue feel with warmer skin tones… SpeedLooks Blue will easily get you this look and feel.
If you like Sci-fi, be sure to put this on your watch list, the season concludes later this month but is also available anytime on Netflix - check out the Season 4 trailer.
With SpeedLooks and our full array of camera patches, LookLabs offers total workflow solutions - the digital production playing field has been leveled. Visit looklabs.net/ to learn more about SpeedLooks and how you can easily achieve a great color finish on your next project.
Apr 6, 2017
Personality, character, feel, beauty … all words we use to describe the unique look of film. LookLabs color correction technology, SpeedLooks, revolutionized the industry by bringing the unique look of film to digital projects. We are the industry leader. That’s why the world’s two largest non-linear editing companies, Adobe Premiere and Avid, both carry our suite of products opening up the world of color correction to editors everywhere.
There are two common color spaces for recording video. Rec. 709 and LOG. Log allows for maximum color manipulation in post-production. But logs vary from camera to camera. No two are the same. That’s were LookLabs color science comes in. Our software is designed specifically for each camera we test. We create a unique camera patch LUT for every camera. Once that camera patch LUT is applied in a grading application or non-linear editor, the camera’s original log image is transformed into what we call VS-log or, Virtual Speed LOG. If you are recording in REC. 709 we have you covered with our Universal camera patch.It translates REC. 709 to VS LOG.
LookLabs has revolutionized the production world for directors, DPs, colorists and editors. Now virtually any combination of cameras can be used in production and our camera patches will create one consistent look. Fine color correcting can still be done even with the camera patch applied. This is where SpeedLooks come into play. Once the camera patch is applied, leveling out the image in VS-Log, an overall SpeedLook can be layered onto your footage. Those looks that instantly tell the audience they are watching an epic drama or science-fiction film.
All of our SpeedLooks emulate the look and feel of 35 mm film. Everything from film Noir to a big blockbuster look is available. And every look creates beautiful and even skin tones. Flawless faces especially close up. SpeedLooks can even be applied in the field so you know what your going to look like even before making the first edit.
SpeedLooks and camera patches, LookLabs offers total workflow solutions.
The digital production playing field has been leveled. Visit looklabs.net/ to learn more about SpeedLooks and how you can easily achieve a great color finish on your next project.
Apr 4, 2017
What is HDR? Why does it matter? Will it last? And how should we handle it? Colorist and blogger Kevin Shaw casts some light onto the brights and darks of this technology. We’ve been hearing about ‘HDR’ since 2014, and it’s clearly an important and much debated development in the industry. Rather confusingly, HDR has come to mean two quite different things:
1. The use of multiple exposures merged together to capture a wider dynamic range than is usually possible, or
2. The use of a display with significantly brighter whites and, usually, deeper blacks to display a higher dynamic range than the current standards (rec 709 and DCI P3).
Clearly, some clarity is needed. The first definition – HDR capture – is also known as Photo HDR or HDR imaging (HDRi); this article won’t discuss that. Instead, we are going to look at HDR displays – in particular, why they are here, how they are different and why they are better.
Kevin Shaw has over 30 years of experience as a colorist, and
works all over the world grading feature films, commercials and TV
shows. He has been teaching colorists for over 2 decades, created the da
Vinci Academy in 1998, and co-founded the International Colorist Academy in 2009 and co-founded Colorist Society International in 2016. Check out Kevin's in-depth article on HDR at this link: http://www.finalcolor.com/hdr/
HDR Landscape by NavyJoe11
Visit http://looklabs.net/ to learn more about SpeedLooks and the great color finish you can easily achieve.