LookLabs Updates SpeedLooks 4 Cinematic LUTs Sets with 5 Camera Patches & Premiere Presets

by Karin Gottschalk1 Comment

Earlier this year Calgary-based production and post-production house Jump Studios released version 4.0.2 of its popular SpeedLooks cinematic 3D LUT collections, SpeedLooks Studio LOG and SpeedLooks Studio Linear.

The upgrade added five new camera profiles to support more recently-released cameras like Sony’s A7s mirrorless hybrid, RED’s RED Dragon, the Sony F-55 and FS-7 professional camcorders and Panasonic’s VariCam production cameras.

Version 4.0.2 also brings with it a range of new presets for the Premiere Pro non-linear editor, especially exciting now that Adobe has boosted Premiere Pro’s color grading capabilities.

SpeedLooks Studio LOG 4 is designed for a 2-LUT color grading workflow – camera profile LUT then cinematic looks LUT – for use with flat log footage in an NLE or grading suite.

SpeedLooks Studio Linear allows editors to quickly and easily add cinematic looks to DSLR or Rec.709 footage with a single LUT.

SpeedLooks supports a wide range of color grading software and NLEs including Blackmagic DaVinci Resolve full and lite, Adobe Speedgrade, Premiere Pro, After Effects and Photoshop, Apple’s Final Cut Pro X, Motion, Avid, Quantal Pablo, BaseLight, Nucoda FilmMaster, Nuke, Scratch and more.

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LookLabs’ SpeedLooks 4.0.2 contains five new camera profiles, marked in green above – for the Sony A7s, RED Dragon, Sony F-55, Sony FS7 and Panasonic Varicam.

SpeedLooks 4 contains 53 different filmic 3D LUTs grouped into 6 sets:

  • Big, for the look of blockbuster Hollywood feature films.
  • Clean, a favorite for dailies and crisp, clean looks indoors and out.
  • Blue, for crime shows and thrillers heavy on the darkside. Gold, for heat and tungsten-lit intensity.
  • Matrix, so evocative of the movies that helped put Sydney on the international sci-fi moviemaking map.
  • Artistic, which includes the bleached-out, monochrome and cross-processed looks so invaluable in war movies, period dramas and creatively-overloaded short films and music videos.

Although SpeedLooks’ clients rarely inform them about specific movie and TV projects using their 3D LUTs, I often see productions that I could swear have been graded using LUTs from either SpeedLooks collection.

Given the modern tendency to use several types of cameras in productions now, SpeedLook’s camera profiles aka patches prove an invaluable first step in getting camera originals looking as similar as possible before adding mood, emotion and a high class effect with SpeedLook’s looks LUTs.

The SpeedLooks team has recently been compiling user feedback about their LUTs in practice and the responses have been illuminating – see the SpeedLooks Q&A Part 1 post in their blog.

I had just received a loaner Sony A7s camera equipped with Sony Zeiss Vario-Tessar FE 24-70mm F4 lens so took it into the city for a baptism by dark and cold. I set the camera at 3200 ISO and S-Log 2 and shot a series of clips of people going about their business. The camera’s flip-up/down viewfinder and non-DSLR looks meant nobody paid attention no matter how close I was to them. I am looking forward to the arrival of the A7s’ successor later this year, especially if it features a minimum ISO of 800 for use with S-Log 2, 5-axis in-body image stabilization and onboard 4K recording. This still frame from footage processed using the Sony A7s camera patch and SpeedLooks 3535 Big HDR LUT.

I had just received a loaner Sony A7s camera equipped with Sony Zeiss Vario-Tessar FE 24-70mm F4 lens so took it into the city for a baptism by dark and cold. I set the camera at 3200 ISO and S-Log 2 and shot a series of clips of people going about their business. The camera’s flip-up/down viewfinder and non-DSLR looks meant nobody paid attention no matter how close I was to them. I am looking forward to the arrival of the A7s’ successor later this year, especially if it features a minimum ISO of 800 for use with S-Log 2, 5-axis in-body image stabilization and onboard 4K recording. This still frame from footage processed using the Sony A7s camera patch and SpeedLooks 3535 Big HDR LUT.

I was after a much warmer look for footage shot in this very open and not particularly warm nor inviting inner city mall food court so chose LookLabs’ SpeedLook 3528 Gold Western LUT on top of their Sony A7s camera patch.

I was after a much warmer look for footage shot in this very open and not particularly warm nor inviting inner city mall food court so chose LookLabs’ SpeedLook 3528 Gold Western LUT on top of their Sony A7s camera patch.

I am becoming reacquainted with the possibilities of monochrome color grading for stills and movie footage after far too long away from great analog films like Kodak Tri-X, Kodak Panatomic (which I used to process as a reversal film for projection) and Polaroid Type 55. I applied SpeedLooks 3522 Noir Tri-X LUT over LookLabs’ Sony A7s camera profile.

I am becoming reacquainted with the possibilities of monochrome color grading for stills and movie footage after far too long away from great analog films like Kodak Tri-X, Kodak Panatomic (which I used to process as a reversal film for projection) and Polaroid Type 55. I applied SpeedLooks 3522 Noir Tri-X LUT over LookLabs’ Sony A7s camera profile.

LookLabs updates SpeedLooks 4 cinematic LUTs sets with 5 camera profiles & new Premiere presets. Click To Tweet

SpeedLooks V4 Demo Reel

LookLabs SPEEDLOOKS Version 4

Via LookLabs:

Look creation for video has never been easier, more creative or flexible than with SPEEDLOOKS Version 4.

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 work with all DSLR and digital cinema cameras, non-linear editing, and color grading programs on the market.

Our new UNIVERSAL camera patch works with all DSLR footage including the Sony A7s and Panasonic GH4. We’ve updated and added to SpeedLooks, including more versions of our most popular look, CLEAN, plus a greater variety of our other narrative looks.

Learn more about SPEEDLOOKS Version 4 Here.

(cover photo credit: snap from Karin Gottschalk)

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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