Brawl in Cell Block 99 - The Blue/Green Look

Dec 27, 2017

Bradley Thomas (Vince Vaughn) is a hardworking man. Following his wife's miscarriage, they admit the spark isn't there anymore and decide to have a baby. After being fired from his job, he turns to his friend who hires him as a drug dealer. A trade goes bad and he ends up in prison, the only problem is that a gang has kidnapped his wife and they will do an experimental operation on the baby unless Thomas kills one of the inmates in cell block 99. Bradley will not stop at anything until his wife is safe again.

Given the promise of the title, it’s surprising how long it takes to get to this point — it’s over an hour before we see a prison and even then, it’s not yet Block 99. But now we’re inside, the film starts to mutate from the gritty drama of its first hour, to a balls-out, grindhouse-inspired thrill-ride, where arms can be snapped in two and Don Johnson is a sadistic prison warden.

"First off, be warned this is a very violent movie but, violence with a story telling purpose. It had a very small theatrical run in the US so I highly suggest picking it up on Blu Ray to watch it" states LookLabs' Jeff August. "The other reason I love this movie is its very unique color palette, check out some of the frame grabs below and you will see a very unique Blue-Green combination look. This feel was what LookLabs was after when creating the SpeedLooks Matrix package. If you want to achieve this look you simply need to apply SpeedLooks Matrix Blue. It will get you 90% there, to finish it out, I suggest playing with the LUTs strength by adjusting its transparency to dial in just the right amount. Have fun with it - you'll be amazed how easily you can achieve this deadly look."

Check out the official trailer for a closer look and see how blue-green can twist your mind and take you on a thrill-ride:


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/

Dolby Vision: Enhancing Today's Viewing Experience

Dec 26, 2017

Current consumer video delivery and cinema standards are based on the limitations of old technologies and require altering the original content before it can be reproduced for playback—dramatically reducing the range of colors, brightness, and contrast from that captured by modern cameras. Dolby Vision changes that, giving creative teams the confidence that images will be reproduced faithfully on TVs, PCs, and mobile devices that feature Dolby Vision.

Dolby Vision is a natural complement to Dolby Atmos®. It gives movie, television, and game creators the tools they need to create experiences that preserve the creative intent and let consumers experience truly immersive content without compromise. For manufacturers of televisions, game consoles, personal computers, and mobile devices, Dolby Vision unlocks the full capabilities of their hardware and creates a premium experience that can increase use and enjoyment of these products.

Dolby Vision™ transforms the way you experience movies, TV shows, and games with incredible brightness, contrast, and color that bring entertainment to life before your eyes. By fully leveraging the maximum potential of new cinema projection technology and new TVs’ display capabilities, Dolby Vision delivers high-dynamic-range (HDR) and wide-color-gamut content. The result is a refined, lifelike image that will make you forget you are looking at a screen.

The Dolby Vision workflow is very similar to existing color-grading workflows. The goal is to preserve more of what the camera captured and limit creative trade-offs in the color grading and mastering process. The goal of the Dolby Vision grading process is to capture the artistic intent in the reference grade.

Check out this very useful introductory article by Mark Doonegan, "Dolby Vision and HEVC, an Introduction" at this link: http://blog.beamr.com/2016/06/08/dolby-vision-and-...

Another great primer on Dolby Vision (HDR, workflow etc.) is this white paper from Dolby Labs: https://www.dolby.com/us/en/technologies/dolby-vis...

Year End Sales Event.... Shop Now and Save!

Dec 21, 2017

Now through December 31st, save 50% on SpeedLooks Complete and DFS Complete from Color by LookLabs. SpeedLooks and DFS were designed by industry professionals for cinematographers, editors and colorists to achieve the character and beauty of 35mm film, all with the click of a button.

SpeedLooks works with all DSLR, Mirrorless and digital cinema cameras, as well as editing and color grading programs. SpeedLooks Complete includes our 6 main categories and all variants; Clean, Big, Blue, Gold, Matrix and Artistic. In total you get 69 variants for one low price. During our Year End Sales Event, you can purchase SpeedLooks Complete for just $49, that's a $50 savings.

DFS LUTs 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, all LookLabs camera patches are included to perfectly match your LOG footage. The DFS bundle includes 19 LUTs that perfectly emulate the most popular Kodak and Fuji film stocks. During our Year End Sales Event, you can purchase DFS Complete for just $69, that's a $50 savings.

If you are an original SpeedLooks purchaser, haven't upgraded recently and, are looking to buy the latest, consider our Year End Sales Event Super Bundle - purchase SpeedLooks Complete and DFS Complete for an amazing price of $99 - a $159 dollar value, you save $60. To purchase the SUPER BUNDLE, go to our homepage, scroll down, click on the "Buy Now" button selecting either the WIN/MAC or Autodesk options following which, you'll be taken directly to your shopping cart for checkout.

LookLabs Staff Pick: The Crown Season 2

Dec 17, 2017

The second season of the Netflix original series The Crown, is now streaming with ten new episodes. The Crown follows the political rivalries and romance of Queen Elizabeth II's reign and the events that shaped the second half of the 20th century. The first season established that this was a series to watch. Incredible story telling combined with amazing cinematography and stunning wardrobe makes for a second season to watch.

On viewing The Crown, you will notice how beautiful the colors are. The show has a distinct look to it that feels like it was shot on FUJI film. We know it is shot digitally (Sony F55) so how do you achieve this look of film? "I would suggest starting your color grade with our new FUJI LUTs included in our latest product release DFS (Digital Film Stock) using it as your base grade. After using a DFS Fuji LUT you will instantly see the subtle personality and pallet come to life" states LookLabs colorist Jeff August. "I start every color grade by applying different DFS and SpeedLooks LUTs in combination with each other - I like to start with a base look of Kodak or Fuji and then adding a more narrative look from our SpeedLooks collection and blend them until I get the look I’m going for. Once I establish the look I can apply it to the entire timeline and start making my shot to shot adjustments to give it a perfect finish, all so easy when you have the right chemistry to start with".

Check out the beauty of The Crown in this official trailer from Netflix.


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/

Color Grading Animated Short Film "Skin for Skin"

Dec 12, 2017

A dark allegory of greed and spiritual reckoning, "Skin for Skin" is set during the early days of the North American fur trade. In 1823, the governor of the largest fur-trading company in the world travels across his dominion, extracting ever-greater riches from the winter bounty of animal furs. In his brutal world of profit and loss, animals are slaughtered to the brink of extinction. But one day, the balance of power shifts, and the forces of nature exact their own terrible price.

The National Film Board of Canada, in association with Fifteen Pound Pink Productions, came to LookLabs for the color grade on this animated short film. Finishing was completed with a blend of SpeedLooks and DFS to give it an incredibly beautiful and consistent color narrative and film like look.

Directors Carol Beecher & Kevin Kurytnik have created a visually stunning contemporary myth about the cost of arrogance and greed.Produced by Bonnie Thompson (NFB) and Carol Beecher (Fifteen Pound Pink Productions). Executive produced by David Christensen (NFB). "Skin for Skin" has won several film festival awards including the Grand Jury Award Best Short Film at the Edmonton International Film Festival and Best Overall Short at the Calgary International Film Festival. Big news as both festivals are Oscar qualifying.

Check out this grading vignette to see the end result.....


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/


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