Look creation for film and video has never been easier, more creative or flexible
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. SpeedLooks works with all DSLR, Mirrorless and digital cinema cameras, as well as editing and color grading programs. SpeedLooks Complete includes our 6 main categories and all variants: Clean, Big, Blue, Gold, Matrix and Artistic. In total you get over 65 variants for one low price.
SpeedLooks Complete includes all previous releases of SpeedLooks Linear and Log as well as all camera patches for LOG video workflows. Our SpeedLook LUTs are a simple way to create beautiful filmic images using one LUT. Designed for quick color correction, these LUTs work on all REC. 709 footage. For finishing of LOG footage, first select one of the camera patches included in this package then, add a SpeedLooks LUT to complete the process. If source footage is unknown, select the Universal patch, it works on all LOG footage. The ARRI Alexa camera patch is a good alternative to the Universal patch. Be adventurous, try various camera patches to see what result you get and go with what matches your intended outcome.
SpeedLooks LUTs are a simple way to create beautiful filmic images using one LUT. Designed for quick color correction, these LUTs work on all REC. 709 and LOG footage. For finishing of LOG footage, first select one of the camera patches included in this bundle then, add a SpeedLooks LUT to complete the process.
For finishing of LOG footage, select a camera patch from the 28 provided in all three Color by LookLabs products. If source footage is unknown, select the Universal patch, it will work on all LOG footage. The ARRI Alexa camera patch is a good alternative to the Universal patch. Be adventurous, try various camera patches to see what result you get and go with what matches your intended outcome.
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 Complete Before and After Examples
LookLabs Super Bundle
If you are an original SpeedLooks purchaser, haven’t upgraded recently, looking to buy the latest or, simply want to own it all – consider purchasing the LookLabs Super Bundle. You get SpeedLooks Complete and DFS Complete all, for much less than if you were to buy them separately. This way, you’ll have all the flexibility and the tools you’ll ever need to create that prefect grade for your next project.
In this tutorial, LookLabs colorist Jeff August shows you how to use SpeedLooks for color grading in AVID Media Composer. He demonstrates easy to follow workflows for both Studio Linear and Studio LOG and will have you grading like a pro in minutes.
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