Vision4

A collection of looks inspired by Kodak Vision3 motion picture film stocks, developed using reference charts and other data sets from 250D and 500T negative stocks and 2383 print stock. Classic cine-moodiness sprinkled with a little extra seasoning.

Vibey. Creamy. Dreamy.

Film stocks vary in their final look due to many variables in the processing pipeline such as their photochemical development treatment, scanning process, printing or alternative negative to positive conversion if not using a traditional print stock, so not only is an empirical 1:1 match not actually all that possible but it also wasn’t my intention with this set of looks. I wanted to take all of my favorite characteristics of these film stocks, refine or exclude the things I don’t love so much about them and build a library of variations to reflect some of the rendering possibilities. I also included some personal preferences for how to color grade these stocks during the digital intermediate stage such as some color palette tweaks and skin tone refinements. I named it Vision4 to represent an evolution onward from Vision3.

The Looks

Features:

20 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 MOOD.

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.

Paisley and Dashawn_Maternity Shoot_Nov 2021-072_EDIT_3000px.jpg

Lindsey and Riah_AZ Shoot_Dec 2023-111_3000px.jpg

Ruby and Duffy_Duo PR Shoots_Oct 2023-120_3000px.jpg

Stacia_VC Shoot_April 2021-029-EDIT_3000px.jpg

Shiksa_Studio Shoot_April 2024-113_3000px.jpg

Stacia_Truckee Shoot_Aug 2021-1084_EDIT_3000px.jpg

Sonia_Mirror Room Shoot_Feb 2022-216_3000px.jpg

Phoenix_Egyptian Shoot_July 2021-441_EDIT_3000px.jpg

Sunni_Alhambra Shoot_Sept 2022-144_3000px.jpg

Shonda_Tempe Shoot_March 2023-339_3000px.jpg

Savannah_Studio Shoot_Aug 2021-298_EDIT_3000px.jpg

Ravyn_Seattle Loft Shoot_Nov 2021-356Proc_3000px.jpg

Linda_Spa Day for a Lucky Car_April 2023-043_3000px.jpg

Meliz and Sonia_Gold Shoot-EDIT 21_3000px.jpg

Lindsey_PNW Coast Shoots_Aug 2024-1307_3000px.jpg

Soula_Studio Shoot_April 2024-005_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