Deep blacks, rich colors, this LUT smells like right mahogany.
Bold, brave, and unashamed about what it is. It’s not going to be a fit for every project - but when it fits, it amplifies everything.
One of our goals with any lut is to provide a strong look in one single step. 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 Fuji Eterna 400T 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.
Deep blacks, rich colors, this LUT smells like right mahogany.
Bold, brave, and unashamed about what it is. It’s not going to be a fit for every project - but when it fits, it amplifies everything.
One of our goals with any lut is to provide a strong look in one single step. 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 Fuji Eterna 400T 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.