Hollywood films & Print Film Lut (1 reply and 3 comments)
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.
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.
Thanks for your reply.
How did you create the contrast curve for “The Love Witch” for digital release. Contrast and pivot tools?
Also did you try to match 2383 print?
We color-timed the movie photochemically, made prints, and then struck a color-timed IP for video transfer.