Tungsten-balanced film reacts to lamps and bulbs in its own way, and this Analogica Lab LUT recreates the slower 200T variant.
A golden amber cast, mild separation between colours and soft, creamy contrast. Brights fade cleanly, faces look smooth without digital edge, and darker areas carry a faint texture. It feels analog and nostalgic, yet the clip remains open to further grading.
One universal cube file crafted by an Italian colourist, readable in Resolve, Final Cut, Premiere and After Effects, and suited to Rec.709 footage from mainstream, cinema and drone cameras.
Digital sensors often flatten the glow of lamps after sunset. Analogica Lab's emulation of the 500T cinema stock restores it. Colour feels l...
Analogica Lab
An Italian colourist at Analogica Lab built this node tree to make DaVinci Resolve Studio footage behave like 16mm Fuji cinema film. What yo...
Analogica Lab
Fujicolor C200 is a budget film with a lot of charm: highlights tilt golden without turning orange, midtones feel softly nostalgic and shado...
Analogica Lab
Fuji Super 16 film has its own kind of warmth, with creamy highlights, gentle contrast and convincing skin. Analogica Lab's 16mm Fuji LUT re...
Analogica Lab
250D is Kodak's daylight cinema stock, loved for how kindly it treats people. Analogica Lab distilled its colour into one hand-built cube fi...
Analogica Lab
Old Kodachrome slides gave reds an almost emotional pull. Analogica Lab rebuilt that colour structure: thick, saturated hues, strong contras...
Analogica Lab
Tungsten warmth, buttery highlight roll-off and a soft, low-contrast base: Analogica Lab's PowerGrade moves digital footage toward the amber...
Analogica Lab
For decades, Kodak Vision3 2383 print film defined how cinema colour looked on screen. Analogica Lab's LUTs recreate that print character fo...
Analogica Lab