Magnum Opus

A collection of looks inspired by my favorite characteristics of various film stocks and legacy processing techniques, including color negative and slide films from Kodak, Fuji and Agfa, motion picture negative stocks re-spooled for stills photography and classic Technicolor 2 and 3 strip color separation processes. Hybridized, modernized, refined and refined some more.

Vibrant. Vivid. Surreal.

The resulting Frankenfilms are grouped into color negative (C-41), color positive (E-6), motion picture negative (ECN-2), and Technicolor (TC) categories. The letter/number naming convention is related to the corresponding developing chemicals for each type of film. The color negative and color positive categories each contain classic (C), modern (M) and classic/modern hybrid (X) variations. The motion picture film category contains daylight balanced (D), Tungsten balanced (T) and daylight/tungsten hybrid (X) variations. The Technicolor process category contains 2-strip (TS), 3-strip (3S) and two/three strip hybrid (X) variations. There is also a master hybrid that amalgamates all of my favorite complementary characteristics into one sexy beast.

The Looks

Features:

13 looks + look modifiers for fine tuning to taste
Seamless look matching between photo and video assets when using both the photo and video editions (available as a bundle or separately)
Subtractive saturation modeling, deep rich colors
Gentle saturation compression in high saturation, edge of gamut areas
Smooth, film like highlight rolloff and toe compression
Mid grey preserved so your exposure doesn't go wonky as you audition and apply the looks
Strong color harmony built into palettes and complementary split toning schemes
Emphasis on pleasing skin tone treatment on all skin tones

iPhone support for both Apple Raw photos and Apple Log footage
Covers almost any software and workflow
Built with quality external tools to overcome limitations of native tools and make smooth, clean manipulations with no artifacts or breakage

Built to high end motion picture colorist standards and best practices
Thoroughly tested and refined
Photo Edition looks are applied as profiles post native tools so your sliders are left freed up for a clean and focused shot matching workflow
Video Edition includes both grading and monitor version LUTs for context during production for more deliberate lighting, exposure and production design decisions

Emphasis on POP.

The emulations were built using third party and custom tools that utilize advanced color science to allow for more nuanced manipulations of the color gamut using the cleanest methods possible so there is no breaking or artifacting of the image. The built-in tools in raw conversion software and even the color grading tools in most nonlinear editors for video aren’t based on math that allows for broad stroke, clean look development and they also tend to perform their operations in a way that looks very digital and... meh. Lots of testing and revisions were done on an obscene amount of images/footage and a year and a half of real world use before release.

A challenge I also wanted this product to solve was to more easily maintain consistency in the look between photo and video assets from the same project. Different toolsets, working color spaces and gamma curves often make it difficult to make these mediums have a cohesive look when working on a project that has both photo and video. The Video Edition also includes monitoring LUTs (Lookup Tables) to be able to monitor through the look during capture, allowing for lighting and production design decisions to be made on set while viewing through the context of the look, providing another level of control and consistency during production.

Bunny_Point Richmond Shoot_Spet 2021-964_EDIT_3000px.jpg

Alexis_Studio Shoot_July 2023-024_3000px.jpg

Duffy_Solo PR Shoots_Oct 2023-108_3000px.jpg

Dianna_Alhambra Shoot_Sept 2022-062_3000px.jpg

Dezmine_Denair Shoot_Sept 2021-207_3000px.jpg

Cali Sweets_LA Shoots_Dec 2023-221_3000px.jpg

Dezmine_Denair Shoot_Sept 2021-768_REMIX_3000px.jpg

Elle_Tonggs Shoot_Oct 2021-381_REMIX_3000px.jpg

Dezmine_Denair Shoot_Sept 2021-108_3000px.jpg

Cassava_Glendale Shoot_Sept 2021-1496_REMIX_3000px.jpg

Christine_Glendale Shoot_March 2023-165_3000px.jpg

Amaya_Studio Shoot_June 2023-062_3000px.jpg

Being Bitter with Nadia and Jenny-047_3000px.jpg

Christine_Glendale Shoot_March 2023-206_3000px.jpg

Included:

Photo Edition

Capture One Styles

Six camera manufacturer versions — Canon, Fujifilm, Leica, Nikon, Sony, iPhone (If your camera isn’t explicitly supported, you can use whichever version looks best)
Non RAW versions for jpegs, tiffs, pngs, etc.
Layer-based look modification styles for tweaking to taste
Tone profile styles for dynamic range control

Lightroom & Adobe Camera Raw Presets

All cameras and color spaces supported by LR/ACR — separate manufacturer versions not necessary
Look modification presets with amount slider support for tweaking to taste
Tone profile presets for dynamic range control

LUTs for Photoshop, Affinity Photo & Other LUT Compatible Software

Versions for sRGB, Adobe RGB, ProPhoto RGB color spaces in x65 point precision

User Guide

Video Edition

Scene Referred LUTs

Versions for common scene referred working spaces in x65 point precision — Davinci Wide Gamut/Intermediate, Arri LogC3 & LogC4, ACEScct 1.3

Display Referred LUTs

Versions for Rec. 709 Gammas 2.4 & 2.2 in x65 point precision

Camera to Output transform/Look all-in-one LUTs

Versions for most major camera manufacturer log color spaces in x65 point precision — Arri LogC3 & LogC4, Red Log3G10, Sony S-Log3, Canon C-Log3, Blackmagic Design Film Gen5, Panasonic V-Log, Z Cam Z-Log2, DJI D-Log & D-Log M, Fuji F-Log & F-Log2, Nikon N-Log, Apple Log (More color spaces supported with color space transforms into intermediate spaces)

Monitoring LUTs