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LookLabs SpeedLooks Complete

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Look creation for film and video has never been easier, more creative or flexible than with SPEEDLOOKS COMPLETE

Our LOG and Linear SpeedLooks have been combined into one affordable package. SpeedLooks are 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.


Highlights

SpeedLooks works with all DSLR, Mirrorless and digital cinema cameras, as well as editing and color grading programs on the market. SpeedLooks Complete includes our 6 main categories and all variants; Clean, Big, Blue, Gold, Matrix and Artistic. In total you get over 50 variants for one low price.

SpeedLooks now includes all previous releases of SpeedLooks Linear and LOG as well as all camera patches for LOG video workflows. Our Linear SpeedLooks LUTs are a simple and easy way to create beautiful filmic images using one LUT. Designed for quick color correction, these LUTs work on all REC.709 footage. Our LOG LUTs provide a comprehensive two LUT process to color grading using our intermediate VS-LOG combined with our exclusive camera patch technology. Perfect for anyone working with LOG footage, SpeedLooks Complete works in all editing and color correction software that supports LUTs.

What is a 3D LUT?

In the film industry, 3D lookup tables (3D LUTs) are files used to map one color space to another. Commonly used to make a calculated map of image colors so the preview monitor will match the final digitally projected image or release print of a movie.

VFX artists were the first to use 3D LUTs in more of a creative way, for film emulation. They would use LUTs to blend composited CG elements more smoothly with film. The problem was these LUT’s were so unstable, converting film color space to Rec. 709 was not much use because of the color artifacts they would bring to the video. Then colorists started looking at LUTs in a different way, using them during color grading to save and share their looks with other artists. This was the basis for SpeedLooks.

About LookLabs Color Science

Our approach to color science and look creation is a mix of old school and new school. We start with scanning both black and white and color negative 35mm film stocks. Doing both for our recipe is very important. Much like the older 3 strip Technicolor approach we begin by creating stable red blue and green channels by using curves extracted from the B/W film. We then introduce color and the film emulsion personality of our color film scans. This approach allows us to build very stable looks that give consistent results regardless of the camera used.

VS-LOG (Virtual Speed LOG) and our camera patches is the other major ingredient in our SpeedLooks special sauce. By creating a virtual baseline LOG state we can now match all cameras. This allows us to guarantee consistent, beautiful, filmic looks every time you use them, regardless of the camera used.

DFS and SpeedLooks vs Film Emulation LUTs

The problem with most pre-installed or purchased film emulation LUTs, is that film color space does not directly translate to REC.709 color space. What generally happens after applying these LUTs is that you may like the way its dealing with some colors but generally are not happy with other resulting colors. This is why many workflow suggest you color correct above the LUT so you can create secondary’s to fix the problems.

LookLabs has removed this hassle by eliminating color artifacts and by creating LUT’s with beautiful narrative palettes that are stable, precise and accurate.

looklabs speedlooks examples

 

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looklabs speedlooks ecample 3

SpeedLooks

SpeedLooks SL-3500 Clean 2

  • Clean Fuji A HDR
  • Clean Fuji A LDR
  • Clean Fuji A NDR
  • Clean Fuji B
  • Clean Fuji B Soft
  • Clean Fuji C
  • Clean Kodak A HDR
  • Clean Kodak A LDR
  • Clean Kodak A NDR
  • Clean Kodak B
  • Clean Kodak B Soft
  • Clean Kodak B Ultrasoft
  • Clean Kodak C
  • Clean Kodak C HDR
  • Clean Straight HDR
  • Clean Straight LDR
  • Clean Straight NDR
  • Clean Neutral Start

SpeedLooks SL-3522 Artistic

  • Bleach HDR
  • Bleach LDR
  • Bleach NDR
  • Cross HDR
  • Cross LDR
  • Cross NDR
  • Iron HDR
  • Iron LDR
  • Iron NDR
  • Noir 1965
  • Noir HDR
  • Noir LDR
  • Noir Nouvelle
  • Noir Nouvelle Red
  • Noir Red Wave
  • Noir Tri-X

SpeedLooks SL-3527 Blue

  • Blue Cold
  • Blue Day4Nite
  • Blue Ice
  • Blue Intense
  • Blue Moon
  • Blue Steel

SpeedLooks SL-3528 Gold

  • Gold Heat
  • Gold Orange
  • Gold Rush HDR
  • Gold Rush LDR
  • Gold Rush NDR
  • Gold Tobacco
  • Gold Western

SpeedLooks SL-3530 Matrix

  • Matrix Blue
  • Matrix Green
  • Matrix Mars

SpeedLooks SL-3535 Big

  • Big
  • Big HDR
  • Big LDR
  • Big Minus Blue

Camera Patches

  • A7S SLOG 3
  • ARRI ALEXA
  • BMC DNXHD
  • BMC PRORES
  • BMC RAW 3200K
  • BMC RAW 5600K
  • BMC
  • CANON 1D
  • CANON 5D UEX
  • CANON 5D
  • CANON 7D UEX
  • CANON 7D
  • CANON C300
  • CANON C500
  • F-55 SLOG 3
  • FS7 SLOG 3
  • GOPRO 3200K
  • GOPRO 5800K
  • NIKON D800 UEX
  • NIKON D800
  • PANASONIC HPX3700
  • REDLOGFILM
  • DRAGONLOGFILM
  • SLOG2
  • SLOG3
  • UNIVERSAL
  • VARICAM VLOG

Compatibility

DaVinci Resolve (Full & Lite), Adobe Speedgrade, Adobe Premiere CC, Adobe AfterEffects CS6/CC, Adobe Photoshop CS6/CC, Final Cut Pro X*, Avid 8, Shake, Pandora Revolution/Pixi, CineForm Studio Premium, Nuke, Scratch, Film Master, Quantal Pablo, BaseLight, Motion 5, Autodesk FLAME, LUSTRE and SMOKE.

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