Glad you are, JackNapier! I hope it lives up to your expectations.
Anyway, I’ve been fooling around with the film look LUTs on DaVinci Resolve, and I’ve narrowed my selections down to just four.
I’ll start by showing a small example of the 4 LUTs using Arnold’s head before I show examples for the main course. Our first LUT is the DCI-P3 Fujifilm 3513DI D65 LUT. That is a mouthful, so to simplify it, I’m just going to call it the DCI Fuji:
Next is the DCI-P3 Kodak 2383 D65 LUT. Just call it the DCI Kodak to keep it simple:
Next is the Rec709 Fujifilm 3513DI D65 LUT. Yeah. They all have names that long. Let’s just call it the Rec709 Fuji. Not to be biased, but this one’s my favorite:
And finally, we have the Rec709 Kodak 2383 D65 LUT. Or just the Rec709 Kodak:
Before we begin, yes, all 4 LUTs are overly bright. That is normal. This will give out an indication of what the black levels will look like underneath. Don’t panic, the winner will be color corrected.
I will be placing all the examples below under spoiler tags, so that this already long post is made shorter. Click the expand tabs to see the examples.
Let’s begin by showing off 2029 downtown L.A.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
Here’s what the T-800’s red viewport looks like.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
This shot of the T-800 grabbing the shotgun shows the balance between orange and blue.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
This shot of John Connor prepping up his ride shows the warmer side of all 4 LUTs.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
The opening shot of Sarah Connor’s dream sequence from the Special Edition is a very low contrast shot, giving an indicator over how the LUTs handle gamma.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
This shot of Sarah Connor’s dream sequence is another example of the balancing between warm colors (Red, orange and yellow) and cool colors (Green and blue).
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
The Galleria’s white exterior reveals the color tones of all 4 LUTs.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
This shot from John Connor’s POV shows the contrast and dynamic range of all 4 LUTs.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
This shot shows how each LUT handles T2’s blue color scheme.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
Here’s a shot that shows off some of the cooler tones of each LUT.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
While we’re at it, let’s see how the CGI of the T-1000 is handled.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
This one shows the varying skin tones contrasted with the blue color scheme.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
This shot of Sarah Connor arming up at Enrique’s showcases the film at its brightest.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
…Followed by this shot showcasing the film at its darkest. Again, I will correct the black levels, but this reveals what tones the black levels will take on when it’s finished.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
The Dyson family household shows the differences between white and blue for all 4 LUTs.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
And finally, I end this with a popular shot of the T-1000.
DCI Fuji
DCI Kodak
Rec709 Fuji
Rec709 Kodak
Hopefully, that will give you an idea of what each LUT does to the movie. Which one’s your favorite?