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Hollywood films & Print Film Lut (1 reply and 3 comments)

Flashsta
3 months ago
Flashsta 3 months ago

Hi, 

If shooting 35mm film and not intending to transfer to a Print stock do mainstream Hollywood films still use Print LUTs to finish and deliver or do they create their own contrast curves? I guess my real question is when I watch a film shot on film do they digitally make it look like it was transferred to print stock? 

hope this makes sense. 

cheers 

dmullenasc
3 months ago
dmullenasc 3 months ago

It’s not that the print emulation LUT is supposed to make things look like they were transferred to a print stock and rescanned— nor do they limit what you can do creatively with contrast — they just exist in case you are going to laser record your digital master to intermediate dupe stock and make a print while also releasing the movie digitally. So the color space is limited to what print stock delivers (which is not that limiting but it is a substractive color system, not an additive system like digital projection.) But if in your D.I. you opted for a very low-contrast and desaturated look, both the film-out and the digital cinema masters would reflect that. My point is that the print emulation LUT isn’t about limiting your color-correction to what RGB printer light adjustments can do when making a print off of a negative in a pure photochemical approach.

Flashsta
3 months ago

Thanks for your reply.

How did you create the contrast curve for “The Love Witch” for digital release. Contrast and pivot tools?

Flashsta
3 months ago

Also did you try to match 2383 print?

dmullenasc
3 months ago

We color-timed the movie photochemically, made prints, and then struck a color-timed IP for video transfer.

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