Jannik Altgen

Thanks for being clear about this I like the "we'll match that look using controls" approach

Hey Thomas, as someone who doesn't use LUTs much (except for transforms or maybe on set monitoring), I don't quite get your question. There are some companies out there who say they scan filmstock and build the LUTs from that. I suppose you can do that with pure maths without using Resolve, based on response curves. While it's cool that you can technically use them if you 100% want to emulate a specific stock when mixing with material shot on actual film, I've not yet had a good reason to hunt for "amazing" LUTs, and I find I've become a better colorist for doing more manual adjustments.

2.4 is basically TV 2.2 for web, if you find 2.4 to low. We deliver for TV and web with a 2.4 Rec709 and clients are fine with it.

@Jeremy Dulac you can achieve this a couple of ways, basically in a Lift-Gamma-Gain way of thinking you can raise the Lift significantly so your blacks rise from the bottom to maybe 15-20% of the waveform. Then you probably need to lower the mids to create adequate contrast and compress the blacks. Another way to achieve this is by, as Emily suggestesd, using curves. You can raise the overall black point and then give a dent to the mids to achieve a similar alteration.