If you don’t want a crazy aesthetic, but want a little more pop - try this.
It’s relatively neutral, but has slightly more contrast than s709, without crushing your blacks or losing highlights. You can throw this on most anything and it’ll look good.
We’ve found most 709 LUTs to be too low contrast and boring for our style, and most creative luts to be way too surreal to be practical. This LUT is based off of Kodachrome 2383 film with some creative license.
This LUT is one of our favorites for monitoring, and is most often what we apply to footage when pulling selects or frames (It’s also what Evan’s been using on all his reels). We use this across all the latest Sony sensors including A7iv, A1, FX6, FX9, and the Venice, and has also been used by customers on Canon, Arri, and Blackmagic footage. It is created by Colorist Quinton Brogan.
If you don’t want a crazy aesthetic, but want a little more pop - try this.
It’s relatively neutral, but has slightly more contrast than s709, without crushing your blacks or losing highlights. You can throw this on most anything and it’ll look good.
We’ve found most 709 LUTs to be too low contrast and boring for our style, and most creative luts to be way too surreal to be practical. This LUT is based off of Kodachrome 2383 film with some creative license.
This LUT is one of our favorites for monitoring, and is most often what we apply to footage when pulling selects or frames (It’s also what Evan’s been using on all his reels). We use this across all the latest Sony sensors including A7iv, A1, FX6, FX9, and the Venice, and has also been used by customers on Canon, Arri, and Blackmagic footage. It is created by Colorist Quinton Brogan.