Luts

I’m subtle when it comes to a look. I don’t want anyone to notice what they like about an image. I want them to feel it.

I love “the film look”. In my opinion, just about every modern camera’s rec709 profile is the exact opposite of that, and if you want “the digital look” just shoot in your camera’s most basic setting. Broad and vague I know but I think you know where I’m going with all of this.

I’ve done a lot of both hands-on and intellectual research into what makes actual film look and feel so good and as you may know, there’s a lot going on. At the most basic level, different films skew and interpret certain colors differently than digital. Highlight roll off and shadow detail can be glorious. Above all else, there’s an x-factor most of us can’t explain.

These days, I’m trying mimic certain traits I love about film. I’m also trying to take the digital edge off of my footage. In 2020, I believe we’re all hungry for anything tactile – analogue. I’m trying to do this with my luts.

These luts are designed to be applied to your rec709 footage in it’s final stage. Once you’ve got your levels and white balance looking right, then you can apply these luts.
Every lut pack will come with four luts: 1) color and levels 2) color only 3) hard 4) soft.

Kenya – Our trip to Kenya to shoot a film for Remember Nhu was an absolute dream. In the coloring process I wanted to translate the peace and freshness I felt while I was there, not to mention the dust in the atmosphere. I think that dust ended up killing my camera but that is a separate topic. Greens, yellows and blues skew towards hues I find most appealing and as always, if you choose the standard lut you’ll get a slightly softer curve.