When Looking Into 3D LUTs, Consider Yielding to ImpulZ

by Karin GottschalkLeave a Comment

Photographing in color has been possible about as long as photography itself with the first attempts being made around 1850. The science of color photography as we know it has existed since Kodachrome was released to the public in 1935. That is almost 80 years of accumulated knowledge about how color film effectively communicates information and emotion.

That deep, intimate knowledge is what I find most attractive about using film simulation software products. There are fundamentally two different approaches – 3D Look Up Tables (LUTs) for use in NLEs or standalone or plug-in software like Film Convert.

3D LUTs are unique in that they can do their job in-camera as well as post-production. Recent monitor/recorders such as the Atomos Shogun, Convergent Design’s Odyssey7Q  and devices like SmallHD’s DP7-PRO field monitors allow cinematographers to see a close approximation of how their footage will look when graded.

That is a much surer process than seeing one thing on the monitor while relating it to another thing in your mind’s eye. It also makes for good relations with your director especially if they are less experienced with the intricacies of image acquisition and grading than you and their other technical colleagues.

The tone and color properties of 3D LUTs vary just as much as the film stocks from which they are generated. Lighting and shooting for the final look of your footage is a real advantage and offers you choices, and constraints, that aid your creativity.

3D LUT sets that go beyond Generic Rec. 709 and Generic LOG to account for your specific cameras and picture styles are even more advantageous. VisionColor’s ImpulZ 3D LUTs sets come in three flavours suited to budget and need – Basic, Pro and Ultimate.

ImpulZ also for current trends in cameras and now supports the popular Sony A7S with an input patch for its version of the Slog 2 picture profile. That eliminates workarounds like applying the input patches of other Sony cameras like the F3 as some have been doing with varied success.

ImpulZ includes LUTs simulating and derived from some of the most popular film stocks of the analog era, including Fujifilm and Kodak products as well as the less well-known Color Implosion negative film made by ADOX Photo Werke GmbH in Berlin.

While promising that you will be able to “make your videos look like film”, ImpulZ grants you the benefit of film’s visual beauty and emotional intensity.

World’s Finest LUT Library – 35mm Negative and Film Print LUTs

These are the 3D LUTs you have been Google’ing for! Make no mistake about it, ImpulZ is the world’s finest library of motion picture film LUTs emulating 35mm celluloid film. visionCOLOR a filmmaking resource company has partnered with me to bring you the same 35mm “look” found in the Hollywood DI process!

Featuring some of the world’s most sought after still and motion picture Kodak and Fuji film negatives. ImpulZ LUTs (also available at  VisionColor) accurately achieves the color and look of analog film for your camera and for your software. With 3 versions to choose from, Basic, Pro and Ultimate, ImpulZ is scalable to fit your needs and your budget.

I use these LUTs in my professional work and so you have my personal promise and assurance that these won’t disappoint or your money back!

ImpulZ™ – Teaser

Which version should I choose?

If you’re shooting with an HDSLR or Micro 4/3 camera using no particular picture style or color profile then I suggest the Basic. But if shooting with the Blackmagic Cinema 2.5K/Blackmagic Pocket Camera or any other camera with a picture or color profile loaded (i.e. ProLost Flat or SLog2), then I suggest the Pro version. And if you’ll be shooting with the Arri Alexa, RED, BMC 4K/URSA, C100/300/500 or Sony F55/F65, then I suggest the Ultimate.

Will they work in my software?

ImpulZ LUTs are in the most popular .cube format and so they will work in MOST editing and grading apps. This includes DaVinci Resolve, Adobe SpeedGrade, Adobe After Effects, Adobe Premiere Pro CC, AVID Media Composer and Apple FCP X and Apple Motion 5 with my LUT Utility plugin. Plus they will work in many high-end finishing and compositing apps.

ImpulZ Quick Start Guide and Overview

About ImpulZ

This unique collection of meticulously generated film emulation LUTs brings the subtle beauty of the worlds best analog film stocks from Kodak®, Fuji® and more to the realm of digital cinematography and color grading. We hand selected some of the most sought after still and motion picture 35mm negative films to generate color accurate conversions for a large number of digital cameras and color spaces. ImpulZ™ is not just any other collection of one-click-make-awesome presets – it’s a complete toolkit to transform the way you’ll approach color grading!


ImpulZ™ breaks down the limitations of standard color correction tools with 30.000+ individual color transformations per film stock – in real time. Simply by integrating our 3D LUTs into your grading workflow you can turn every LUT compatible application into the most streamlined and flexibile film emulator ever – there’s no longer any third party software or plugin standing between you and giving your movie the exact look you always wanted. With ImpulZ‘s 3 distinct output gammas including industry standard Cineon LOG you’re always in complete control of the grade!

Learn more about ImpulZ LUT (also available at VisionColor).

(cover photo credit: snap from Color Grading Central)

Karin Gottschalk

Karin Gottschalk

Karin is a documentary moviemaker, journalist, photographer and teacher who conceived and cofounded an influential, globally-read, Australian magazine of contemporary art, culture and photography. While based in Europe, contributing to the magazine and working in advertising, she visualised a future telling the same sorts of stories with a movie camera and audio recorder. Now back in her home base in Sydney, Karin is pursuing her goal of becoming an independent, one-person, backpack multimedia journalist and documentary moviemaker. Mentorless and un-filmschooled, she is constantly learning and sharpening up her skill set.
Karin Gottschalk

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