Supports a wide variety of log camera and working spaces including ARRI (including Alexa 35), RED, BlackMagic, Sony, DJI, Panasonic, Z CAM and Canon.
Designed for the most common log variations and working spaces, and supports all industry standard display spaces including HDR and DCI P3.
Every technical component of the looks (LMTs) are shaped by color scientists to ensure the image does not quantize, clip or clamp.
Compatible with both node-based and color managed workflows, including ACES and DaVinci YRGB Color Managed.
Former Color Scientist, Kodak
The goal with my contribution to Cinelook was to get the absolute best side-by-side display of digital with real film. With about ten thousand patches for intermediate recorder film out and print, the result showed a virtually indistinguishable comparison with real film, except for the film projector jitter.
Watch Cullen Kelly use Cinelooks density controls to create more cinematic color tones, bring out texture and add depth to the image.
Watch Cullen Kelly use Cinelooks compression and volume controls to reduce sharp edges and create a painterly cinematic look.
Watch Cullen use the Shadow Volume Control to create a strong contrast with textured shadows.