So it would definitely require prior colour correction, or 'negative film emulation'. Even if all the material has been converted to the same colour space using colour management, the result of applying print film LUTs or powergrades would be different for film scans, Arri, BlackMagic, Sony etc.

That is why people often complain about 'yellowish/brownish greenery' after applying the LUTS, while in films we see wonderful greens: deep emerald, jade, and teal. The print film look cannot be universal for all input material, something which is not often discussed. The modern scene-referred workflow would be the way to go.Īnother side is creative (although technical as well.). And if a director would like a print film look for digital distribution (even if the material was truly shot on film!), the traditional print LUTs would be limiting. It would be necessary to use true film emulation LUTs for preview during the initial colour correction. Say, if a director wants to go through the interesting new filmout process by Fotokem, creative looks LUTs would be useless.

One side is technical, if I am right in understanding from the director/cinematographer's standpoint. I think there is a lot of mysteries and misconceptions around 'the print film look', that's why I am interested in digging in The elusive film aesthetic is wonderful: rich contrast, gentle highlight rolloff, deep colours, beautiful skintones, ideal perceptual balance between sharpness and softness, somehow the image looks more three-dimensional.

Film emulation luts for davinci resolve