by Gamut
Nobody gets excited about colour conversion, but get it wrong and the footage suffers. Gamut's BaseLUTs for the OM-1 Mark II handle that step quietly and correctly.
Tones are mapped so faces look warm rather than plastic, brights stay clean without a cyan fringe and the darker areas keep their texture. Contrast is even and the roll-off smooth.
The outcome is accurate, neutral footage: something to grade from, not a look you have to fight.
Documentary and lifestyle work, weddings and portraits, commercial and travel projects and fast social edits. Load them in Resolve, Premiere, Final Cut or any cube-capable editor, then add creative looks on top.
Ether is Gamut's most dreamlike palette. Bright areas turn a glowing, almost misty cyan, the middle range cools toward blue, and the darkest...
Gamut
A wedding moves through many moods, and Dolce is designed to follow all of them without breaking continuity. Six moods 01 : clean and true t...
Gamut
Filmmaker Brady Bessette and Gamut set out to recreate an old print rediscovered in a shoebox. Highlights turn warm and slightly hazy, shado...
Gamut
Orange-and-teal is the colour scheme of action cinema and big commercials, and Faction is Gamut's version of it. Firm contrast, clear separa...
Gamut
Eric Floberg named the five looks after Chicago neighbourhoods, and they share one rule: cinematic colour that never fights the scene. Avond...
Gamut
Fujifilm's F-Log2 is deliberately flat, and Gamut's conversions for the X100VI and X-T5 start right there. They produce a clean, filmic pict...
Gamut
Log recording keeps every bit of information but none of the colour you want to show. Gamut's Canon pack handles the tedious first step, map...
Gamut
Canon's own log conversions tend to give skin a pinkish lean and flatten the brights too early. Gamut's BaseLUTs fix the starting point inst...
Gamut