ABOUT LUTS / MISC
Code can free us from the limitations of tools within a grading software and create strokes that otherwise would not be possible.
It can be difficult to objectively judge the quality of a LUT being provided when applied to real-life footage. For me personally, I think the easiest way to analyze a LUT is using a Test Chart.
…with thoughts on viewing distance and compression.
A STUDY ON
I wanted to make this little „Supercut“ video about film grain, so we can analyze film grain first before trying to replicate it. A small excerpt from the film is enough to analyze the grain, and that’s what this video is all about. In detail, I have selected steady shots, mostly filmed on a tripod and I also tried to find scenes where we can observe highlights, midtones, shadows and skin tones.
Halation is a characteristic of celluloid film when a bright light bounces back a few times exposing the film a second time only affecting the red layer (and a bit of the green layer) of the film resulting in a reddish/orange glow. The Halation tint may be different based on white balance adjustments / color grading.
Here are some stills from movies and TV shows with lens characteristics like chromatic aberration, lens distortion and Petzval field curvature.
LOOKS / MISC
In this blog post, I show you how to apply a „Kodak 2383 D55“ LUT to your footage. Furthermore, I share my thoughts about other elements of film like Halation, Gate Weave, Grain, Flicker, Film Damage and more.
“The Lighthouse” was shot on Kodak’s Eastman Double-X black-and-white 5222 film stock with a Panavision Millennium XL2 and 1930s-’40s Baltar lenses. Cinematographer Jarin Blaschke also used custom filters that emulated early-1900s orthochromatic stock, which was sensitive to ultraviolet, blue and green light, but not red. So skin tones appear way darker.
This blog post is a collection of links paired with my own experiences and tips that will hopefully help you to evolve your color grading skills.