FILMIC V1
5 STANDARD PROFILE LUTS
5 LOG PROFILE LUTS
In Filmic Volume 1, I’ve focused on creating 5 quality looks for both standard and log profiles based on the most popular complementary color scheme, teal and orange. These 10 LUTs will give your footage a beautiful grade with ease.
FILMIC V1
In Filmic Volume 1, I’ve focused on creating 5 quality looks for both standard and log profiles based on the most popular complementary color scheme, teal and orange. These 10 LUTs will give your footage a beautiful grade with ease.
Includes Standard & LOG versions of the following:
Includes Standard & LOG versions of the following:
DENVER
Denver is the most neutral LUT in the pack and is a great choice for giving your shot a more natural but stylized look. It's a high contrast look that keeps your greens relatively green with teal and green subtly present in the shadows.
RENO
Reno is one of my favorites in the volume 1 pack. I created the look to have more contrast with faded blacks, desaturated greens that slightly swing towards yellow and a peachy hue of orange. It’s a subtle teal and orange look with a lot of character.
BOULDER
Boulder creates a vibrant teal and orange look with brighter and more saturated oranges. The look also keeps control over the different shades of blue in your shot so your blue hues stay color accurate. This look is fantastic for your sunrise and sunset footage.
CORONADO
Coronado adds some mood with increased contrast and muted oranges while accentuating the blue/teal in your shot. This look is great if you have a lot of orange or red in your shot because it will keep these hues at a more neutral tone while helping your blues to become more of a focus.
VEGAS
Vegas is full on teal and orange. No holding back on this one. This look achieves a complimentary color scheme the most and is a similar color grade to what filmmaker Sam Kolder uses.
Includes Standard & LOG versions of the following:
DENVER
Denver is the most neutral LUT in the pack and is a great choice for giving your shot a more natural but stylized look. It's a high contrast look that keeps your greens relatively green with teal and green subtly present in the shadows.
RENO
Reno is one of my favorites in the volume 1 pack. I created the look to have more contrast with faded blacks, desaturated greens that slightly swing towards yellow and a peachy hue of orange. It’s a subtle teal and orange look with a lot of character.
BOULDER
Boulder creates a vibrant teal and orange look with brighter and more saturated oranges. The look also keeps control over the different shades of blue in your shot so your blue hues stay color accurate. This look is fantastic for your sunrise and sunset footage.
CORONADO
Coronado adds some mood with increased contrast and muted oranges while accentuating the blue/teal in your shot. This look is great if you have a lot of orange or red in your shot because it will keep these hues at a more neutral tone while helping your blues to become more of a focus.
VEGAS
Vegas is full on teal and orange. No holding back on this one. This look achieves a complimentary color scheme the most and is a similar color grade to what filmmaker Sam Kolder uses.
FILMIC V2
5 STANDARD PROFILE LUTS
5 LOG PROFILE LUTS
Filmic Volume 2 has 10 LUTs designed to quickly give you unique and rich, film-inspired looks. Not only will these looks quickly help your films look great, but you may find yourself using these for commercial work as well.
FILMIC V2
Filmic Volume 2 has 10 LUTs designed to quickly give you unique and rich, film-inspired looks. Not only will these looks quickly help your films look great, but you may find yourself using these for commercial work as well.
Includes Standard & LOG versions of the following:
MAI
Is it hot in here or is it just Mai? Mai is an 'earthy' look with warm tones in shadows, decent contrast with slightly lifted blacks, and a solid choice for golden hour.
JACO
If saturation and vibrant yellows and blues are what you desire, then Jaco should be your go-to. This look will increase the vibrancy of colors in your shot and push a little warmth into them without adding too much contrast.
PAPUA
Shhh, this is my favorite look in the Volume 2 pack. Don't tell. Dark greens, vibrant oranges, and an overall rich look to help your shots stand out from the crowd. This look is a similar style to one I've used in my travel films.
SAIGON
Saigon packs a cinematic punch with high contrast, darker greens and blues, and lively yellows for a nice film look.
DALAT
This look does a great job of keeping your talent's skin tones looking great while adding a bit of blue and green in your shadows to create some color separation. This is a very neutral cool look and can easily make your commercial work look phenomenal.
Includes Standard & LOG versions of the following:
MAI
Is it hot in here or is it just Mai? Mai is an 'earthy' look with warm tones in shadows, decent contrast with slightly lifted blacks, and a solid choice for golden hour.
JACO
If saturation and vibrant yellows and blues are what you desire, then Jaco should be your go-to. This look will increase the vibrancy of colors in your shot and push a little warmth into them without adding too much contrast.
PAPUA
Shhh, this is my favorite look in the Volume 2 pack. Don't tell. Dark greens, vibrant oranges, and an overall rich look to help your shots stand out from the crowd. This look is a similar style to one I've used in my travel films.
SAIGON
Saigon packs a cinematic punch with high contrast, darker greens and blues, and lively yellows for a nice film look.
DALAT
This look does a great job of keeping your talent's skin tones looking great while adding a bit of blue and green in your shadows to create some color separation. This is a very neutral cool look and can easily make your commercial work look phenomenal.
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Frequently asked questions
Frequently asked questions
What software is compatible with these LUTs?
These LUTs are compatible with:
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Final Cut Pro
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Adobe Premiere Pro
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Davinci Resolve
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Adobe After Effects
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Sony Vegas
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Any other software that can load a LUT
Do I need a certain camera to use these LUTs?
I designed these to work with most major camera brands. I tested them on Sony A7siii footage, Panasonic GH series footage, Go Pro footage, iPhone footage, and Canon R5 footage. You may need to make some minor tweaks to the looks to fit your shot/camera look, but they should work well.
Standard versions of the different looks have been created so if your camera doesn't shoot in a LOG profile, you can still apply the look.This is beneficial for those that want to add the LUTs to phone footage, GoPro footage, and other DSLR/Mirrorless cameras that don't offer LOG.
What's included in the packs?
With the purchase of both packs, you will receive 20 LUTs in a .cube format.
I've also included a quick thank you video, an exclusive tutorial video showing how to make the most of these LUTs in your editing software. I also go over when to use the different versions of each look and I've included basic tutorial videos on how to apply LUTs onto your footage in Davinci Resolve, Final Cut Pro, and Adobe Premiere.
When should I use the standard version and when should I use the LOG version?
If you shot in a standard profile like S-Cinetone on the A7siii, Cine D on the GH5, or you purchased these LUTs to use on iPhone or Go Pro footage (just as an example), you’re going to want to use the standard LUTs.
If you shot in a LOG profile, which I recommend you do if your camera has that ability, use the LOG LUTs of each look. This will convert your footage to a Rec 709 color space and add a creative look. If your LOG image is pretty contrasty from the start, like if you’re using D-log from a DJI drone, you may want to use the standard LUT option because using the LOG LUT may add a bit too much contrast and saturation. Just test them out and see what works best and shoot me a message on my contact page if you have further questions.
Will you teach me how to use these LUTs?
Definitely! Included in your purchase is an exclusive tutorial explaining when to use the standard version and when to use the LOG version of these LUTs and how you can use these LUTs to the best of their abilities.
For those unsure of how to apply LUTs onto footage, I've also included basic tutorials on how to do so in Davinci Resolve, Final Cut Pro, and Adobe Premiere.