There was a time when I bought into the promise of LUTs (Lookup Tables). Like so many other editors, I couldn’t resist the idea of a tool that would color-grade my footage with a single click. LUTs promised to transform raw footage into cinematic masterpieces effortlessly.
A LUT that can make my footage look like The Matrix? Count me in! And now that I think about it, I’ve always wanted my corporate training videos to have the look and feel of Mad Max: Fury Road.
I spent a lot of hard-earned dollars on these LUTs. But looking back, I can’t think of a single purchase that wasn’t a complete abomination. Not one Matrix, Mad Max, or even Moonrise Kingdom LUT matched its promised inspiration. Yet I continued to buy them because, for some reason, I held onto the hope that LUTs were like a T.J. Maxx clearance rack; one simply had to wade through piles of garbage to find anything remotely wearable. I continued my search, downloading every LUT imaginable. There were LUTs designed to copy blockbuster movies, LUTs for making daytime look like nighttime (and vice versa), LUTs for comedies, dramas, Sci-Fi films, movies set in the 1970s—you get the idea.
What Are LUTs?
The word LUT is an acronym that stands for “Lookup Table;” a term that frustratingly offers few clues to the layman colorist.
I prefer the definition proposed by veteran colorist Cullen Kelly on his excellent YouTube channel. According to Kelly, “A LUT is a thing that does a thing.”
Simple, right?
LUTs, like us humans, come in all different shapes and sizes, and they do a lot of different things. For example, there are “Camera LUTs,” which are used at the beginning of the color-correction process. These LUTs are essential for adjusting LOG footage so that the color-correction tools work properly.
For the purposes of this blog post, I will be referring to “Look LUTs.” These LUTs are essentially just a color filter meant to be added late in the color correction pipeline (or in some cases, replace that pipeline altogether). For the most part, they’re no different than the ridiculous sepia-toned filters that dominate Instagram—just as worthless and just as destructive to the source image.
Why Do LUTs Miss the Mark?
So why do these LUTs so often miss the mark? In other words: I added a Royal Tenenbaums LUT to my footage, so why doesn’t my footage look like a Wes Anderson film?
The truth is that you probably just have a crappy LUT, designed by a snake-oil salesman preying upon our collective desire as filmmakers to make our films look like, well, films. But how does one spot these LUTs?
Red Flags for Bad LUTs
1. It’s Free
It’s true that you get what you pay for, especially when it comes to LUTs.
2. It Comes Without Documentation
Finding a decent LUT is a lot like adopting a pet or buying a car—you really should ask for documentation. When you purchase a LUT from a reputable source, odds are they’ll provide you with a PDF that goes into vivid detail on what the Lookup Table looks up: What exactly does it do to your blacks? Your reds? Blues? Where does it integrate into a Da Vinci Resolve color pipeline? How about Adobe Premiere?
3. It’s Not Tuned to Specific Cameras
Imagine buying a suit off the rack and expecting it to fit perfectly without any tailoring. Quality LUTs are often designed with specific camera profiles in mind. If a LUT isn’t tuned for your camera, the results can be unpredictable and often disappointing.
Recommendations for Good LUTs
I would hate to end this post without pointing you, the reader, in the direction of some very good LUTs. These LUTs were designed by reputable colorists and I have found them to be well worth the cost.
1. Phantom LUTs by Joel Famularo
Oh boy, do I love these LUTs. Veteran colorist Joel Famularo has created something truly extraordinary with his super-popular Phantom LUTs, which are currently available for BlackMagic, Panasonic, Sony, Arri Alexa, and DJI cameras. He also offers LUTs for iPhone 15, RED, and Canon footage.
It’s worth noting that the Phantom LUTs are not technically Look LUTs, as they can only be applied to LOG footage shot for specific cameras. However, they’re so dang pretty that it would be a crime to not include them on this list.
Noam Kroll has crafted a LUT for nearly every color scenario, and I have yet to find one that disappoints. I have to give a special shoutout to his “Genre Looks” pack – as I mentioned above, I’ve downloaded a lot of LUTs that promised to deliver the look of a specific genre. Whether it’s Comedy, Drama, Horror, or Sci-Fi, Kroll’s LUTs actually deliver on that promise. Kroll’s LUTs frequently go on sale, so be sure to sign up for his newsletter.
3. Voyager LUTs by Cullen Kelly
As mentioned above, Cullen Kelly’s YouTube channel is an amazing resource for amateur colorists looking to up their game. Cullen has several videos that go into step-by-step detail on how his proprietary LUTs can fit into your color pipeline. If you’re just getting started with DaVinci Resolve, and have no idea where to start, look no further.
Final Thoughts
No LUT is going to work if the source footage is problematic. Applying even the best LUTs to underexposed, unbalanced footage is going to result in some messy grades.
And while quality LUTs can be a useful tool in the color-grading process, they are not a magic bullet. True color grading requires a nuanced understanding of color theory, your footage, and the story you're trying to tell. A LUT can’t replace the skill and artistry of a good colorist. So, the next time you’re tempted by the allure of a new LUT promising to transform your footage into a cinematic masterpiece, remember: there’s no substitute for doing the work yourself.
Joseph Fandel (Producer/Editor) has lent his expertise to hundreds of projects throughout the U.S. that encompass iconic names from a wide variety of corporate and lifestyle industries. His work in the hospitality industry has spanned 14 James Beard award-winning concepts and 15 Michelin-starred Chefs. Outside the hospitality industry, his work has run the gamut from prominent media groups like Tribune Media and Time Out Media to major players in the architectural and creative fields. Through his work, Joseph has gained exclusive access to extraordinary cultural institutions like the Art Institute of Chicago, the Field Museum, the Lyric Opera House and Central Park, NYC.
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