Music plays a big part in this one and the client hand-picked a couple of songs from a local LA band…the soundtrack really set the mood for the piece.

In Paul’s words: “The client is a local LA footwear designer (we have worked together before and that video is on my site as well) and for this project we decided to go for a loose alien/matrix/man from space theme… and unlike the first video which was all about showing product, I had absolute freedom to not show the product at all for a very loose story. To learn more how LUTs are used to emulate film, and for some indispensable tips for adding these LUTs into your workflow, we highly recommend picking up a copy of Alexis’s “Color Correction Handbook” and accompanying “Color Correction Look Book”. In communication via email, Alexis added, “After using your LUTs on a few projects, I find them much subtler and more useful than other film emulation LUTs I’ve used.” Of the result, he says: “Clearly, the normalizing LUT produces a more neutral result, while the Koji LUT adds much more character out of the gate.” In the “Using LUTs to Emulate Film” section of the accompanying “Color Correction Look Book”, Alexis compared Koij 2383 against a typical ARRI normalizing LUT. We gave him an early version of our Koji 2383 stock to try out. He is no stranger to color workflows, and when he decided that the subject of film emulation deserved its own section in the second edition of his handbook, he approached the Koji team to provide examples.Īlexis wanted to study carefully the effects of a single print LUT and make specific recommendations about how LUTs can be used. In addition to the highly respected “Color Correction Handbook”, Alexis wrote the DaVinci Resolve 9, 10, and 11 manuals for Blackmagic, the RED Final Cut Studio Whitepaper for RED, and the Color 1.0 and 1.5 user manuals for Apple.

Film emulation luts for davinci resolve