LUT files for on-set monitoring and color grading. Designed for use with files from the VENICE motion picture camera.
Made in partnership with Picture Shop
Josh Pines Family of LUTs
This collection of LUTs was designed for the Sony VENICE 2 by legendary color scientists Josh Pines (Saving Private Ryan, Forrest Gump, The Revenant) and Chris Kutcka (Kill Bill, Pirates of the Caribbean), and colorist Jason Fabbro (Captain Marvel, Thor:Ragnorak, Ready Player One).
Lo Con Base LUT
The Lo Con Base LUT is a low-contrast base LUT that's intended to be modified and graded. It offers a low-contrast starting point and has the S-curve built into it. This base LUT is designed for DITs and DPs who want to create their own LUT or look development for each project.
Developed by Picture Shop Senior Colorist Jason Fabbro (Captain Marvel, Thor:Ragnorak, Ready Player One), this look was created using the Lo Con Base LUT. It offers slightly more contrast and saturation, while the reds and highlights have been pulled down to look less digital.
Also developed by Jason Fabbro, this look was also created using the Lo Con Base LUT. It offers more warmth to skin tones in addition to added contrast and saturation. Like Look 1, the reds and highlights have been pulled down to look less digital.
HDR versions of the Josh Pines family of LUTs created in the Rec. 2020 PQ color space.
Lo Con Base LUT
The Lo Con Base LUT is a low-contrast base LUT that's intended to be modified and graded. It offers a low-contrast starting point and has the S-curve built into it. This base LUT is designed for DITs and DPs who want to create their own LUT or look development for each project.
Developed by Picture Shop Senior Colorist Jason Fabbro (Captain Marvel, Thor:Ragnorak, Ready Player One), this look was created using the Lo Con Base LUT. It offers slightly more contrast and saturation, while the reds and highlights have been pulled down to look less digital.
Also developed by Jason Fabbro, this look was also created using the Lo Con Base LUT. It offers more warmth to skin tones in addition to added contrast and saturation. Like Look 1, the reds and highlights have been pulled down to look less digital.
Picture Shop Senior Colorist and Director of Creative Workflow Tony D’Amore (Fargo, Elementary, Daredevil, Mayans MC) has developed these LUTs designed specifically for the Sony VENICE cameras.
D’Amore Daylight
Designed by Picture Shop Senior Colorist and Director of Creative Workflow Tony D’Amore (Fargo, Elementary, Daredevil, Mayans MC), this daylight base LUT cools off the blacks and warms up the highlights to give better color separation off the sensor so the image is a little closer to what the DP’s naked eye might see on-set. Then during the grade this base LUT provides a better starting point which saves time and opens creative possibilities.
The look LUT pushes the color separation a bit further than the daylight LUT by adding a warm shift to the highlights and mids for rich skin tones; then I’ve offset the warm shift by cooling off the blacks to help maintain good color separation.
Made in partnership with Picture Shop
