Show LUTs
On narrative projects, the look of a film is defined on set and refined in finishing, but it passes through many stages in between. When those stages are working from a neutral or placeholder image, such as a vanilla camera manufacturer LUT, decisions are made without the proper visual context, often leading to inefficiencies, rework, and late-stage compromises.​
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I work with directors, DPs, and producers to define a project’s visual language early and carry it consistently through set, editorial, and finishing. A show LUT isn’t a stylistic add-on — it’s a practical tool that saves time, reduces rework, and helps the film arrive at a stronger final image.
On Set
​​A custom show LUT allows the DP to:​
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Light for the final image and make clearer exposure decisions
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Add fill light appropriate for a more contrasty image, resulting in greater shadow detail and reduced noise
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Better trust the image on a calibrated monitor, reducing second-guessing and allowing setups to move faster
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Create dailies that more closely represent the final look
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Results in faster decision-making on set, smoother shooting days, and tangible schedule and budget savings.
Editorial & VFX
​​​With a show LUT in place:
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Editorial cuts against a representative image
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Creative decisions align with the intended tone
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Alllows for earlier engagement with VFX
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Reduces iterations, revisions, and late-stage fixes saving both time and money.
Colour Grading
​​Because the visual language is established early:
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Look development is largely solved before grading begins
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Colour sessions are more focused
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Time is spent enhancing what was shot, not fixing avoidable problems
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The look is protected from “Temp Love” — Carrying the show LUT from set through editorial ensures the final grade feels like a natural continuation rather than a jarring creative departure. This preserves the creative intent, reduces pushback, and helps approvals move faster.
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Leads to more efficient grade and produces higher-quality final result.
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