by Tom Noske
Tom Noske bundled the grades he personally reaches for most often.
Every look has a variant for standard-profile footage and another for flat log recordings, so you just pick the one that matches your camera settings.
They were checked on Canon, Sony, Blackmagic, ARRI and RED material.
A forty-five-minute lesson where Tom shows his own grading routine, how he adapts a look to different clips and how conversion files help you squeeze the most from log.
Runs in any app that loads cube files, including Photoshop for stills.
Think of an old cinema print projected well: rich but gentle contrast, highlights that fade instead of clipping, and faces that stay warm. T...
Tropic Colour
Sony's S-Log3 is notoriously tricky: a look that sings on one clip can fall apart on the next. Faces come first This edition was refined acr...
The biggest films are often shot on 65mm and IMAX stock. Cinecolor's Large Format pack draws on that look. What it simulates Analog processi...
Cinecolor
Acidbite aimed GRITTY at editors who want their footage to hit hard. The look Heavy contrast, rich blacks, a tactile texture and bright, ene...
AcidBite
Cinecolor's Twilight collection is dedicated to the edges of the day: the golden hour, the blue hour and that last glimmer after sunset. Wha...
Cinecolor
Lumix log footage is all potential and no polish. Gamut's kit supplies the polish: neutral whites, honest complexions and reds that behave....
Gamut
A famous neon-noir science-fiction franchise inspired this trio of grades. Three moods Cold : steely blues of rainy, neon-soaked streets aft...
Hollywood LUTs
Shortstache wanted people to understand colour, not just copy it. This DVLOP release pairs a short course with the tools to put it into prac...
DVLOP