Technicolor Look Collection

Colorist Anne Boyle

Filmography highlights: The Princess Switch: Switched Again, The Truth About the Harry Quebert Affair, The Little Prince.

• Technicolor_AB01_cool_fpe_r709: Cool with popped cyan and an overall lower saturation, this look retains skin tone with film emulation in the tone curve.
• Technicolor_AB02_cool_d65_r709: Cool with popped cyan and an overall lower saturation, this look retains skin tone.
• Technicolor_AB03_warm_fpe_r709 Warm with a yellow bias and soft saturation, this look retains a pleasing skin tone. It contains film emulation.
• Technicolor_AB04_warm_d65_r709: Warm with a yellow bias and soft saturation, this look retains a pleasing skin tone.
• Technicolor_AB05_aged_tinted_fpe_r709: Reminiscent of hand tint photography, this look is aged and tinted. It contains film emulation.
• Technicolor_AB06_aged_tinted_d65_r709: Reminiscent of hand tint photography, this look is aged and tinted.

 

Colorist Doug Delaney

Filmography highlights: Your Honor*, Black Monday*, Captain Marvel

• Technicolor_DD01_classic_fpe_r709: Informed by a bit of film print emulation, this look is naturalistic in tone and contrast.

 

Colorist Jason Fabbro

Filmography highlights: Making a Murderer, Servant, Lost Transmissions.

• Technicolor_JF01_fogged_color_pull_fpe_r709: Upping the lower end of the signal and fogging the blacks, this look is subtly desaturated with increased highlight contrast.
• Technicolor_JF02_cool_color_push_fpe_r709: The overall color cast of this look is shifted toward blue/cyan with boosted saturation and increased contrast.
• Technicolor_JF03_silver_color_pull_fpe_r709: In this look, the color saturation is substantially reduced, while the contrast is heavily pushed.
• Technicolor_JF04_color_push_d65_r709: Both the color saturation and contrast are significantly increased to create this bold look.
• Technicolor_JF05_super_silver_color_push_d65_r709: The color is desaturated in some areas, while boosted in others. Contrast is applied with a soft toe and shoulder.
• Technicolor_JF06_cool_push_d65_r709: The color cast of this look is shifted toward blue/cyan, while the contrast is increased to create an overall cooler feel.

 

Colorist Maxine Gervais

Filmography highlights: Between Two Ferns: The Movie*, Richard Jewell, Pacific Rim

• Technicolor_MG01_golden_lush_fpe_r709: This look has a romantic, overall warmth with rich, saturated colors. It contains film print emulation.
• Technicolor_MG02_golden_lush_d65_r709: This look has a romantic, overall warmth with rich, saturated colors.
• Technicolor_MG03_grit_cold_fpe_r709: This look is dramatic, tense and stylized with cyan blacks, warm mid-tones and cold highlights. It has film print emulation.
• Technicolor_MG04_grit_cold_d65_r709: This look is dramatic, tense and stylized with cyan blacks, warm mid-tones and cold highlights.
• Technicolor_MG05_silver_sat_fpe_r709: With high contrast and cold, desaturated colors, this look mimics ‘ENR’ from the film days. Contains film print emulation.
• Technicolor_MG06_silver_sat_d65_r709: With high contrast and cold, desaturated colors, this look mimics ‘ENR’ from the film days.

 

Colorist Sparkle**
Filmography highlights: The Orville, Supernatural, The Big Bang Theory

• Technicolor_SA01_warm_fpe_r709: Influenced by film print emulation, this look provides a warm, yellow tone.
• Technicolor_SA02_cool_fpe_r709: This look conveys a bit of moodiness with a cool feel and cyan tone.
• Technicolor_SA03_golden_fpe_r709: A distinct golden tone gives this look a quintessential “magic hour” feel.

 

*Shot on Sony VENICE

** Sparkle is the name that colorist Steven P. Arkle has been using for much of his thirty-year career at Technicolor.

If I use one of these files for on-set monitoring, will the look be “baked in”?

When shooting X-OCN or XAVC, the .art look will not be baked into the captured image. The .art file name is stored as metadata in the mxf file and can be easily accessed during the post process. It is possible to bake the look into the ProRes/MPEG50 file for in-camera dailies if desired.

 

What post-production software supports the Technicolor Look Collection for VENICE?

Any software that supports .cube files can read a file from the Technicolor Look Collection.

 

Can I use these looks in my final master?

Yes, much like the S-CinetoneTM look for FX9 and FX6, these looks can be utilized as the final grade for projects that don’t have the time or budget for a custom color grade.

 

Can the Technicolor Look Collection files be used in other Cinema Line cameras?

The .art in-camera files only work with VENICE, but the .cube files can be applied in post to any camera using Slog3/SGamut3.cine. that color reproduction is not completely same as VENICE but this makes it possible to easily match footage from VENICE, FX9, FX6, and Alpha cameras in your post-production workflow.

 

What is an .art file?

ART stands for Advanced Rendering Transform. Sony’s custom .art files utilize VENICE’s internal processing power to improve the quality of on-set monitoring, as compared to 3D LUT (.cube) files. You must be running firmware V6.0 or higher to utilize .art files.

 

Which VENICE outputs support .art files?

You can apply the .art look to SDI 3 and 4, the Viewfinder and HD Monitor (not previously possible with LUTs)

 

Are .art files Full or Legal range?

The .art files provided in the Technicolor Look Collection will provide a Legal range output. When creating your own .art files, you have the option to select Full.

 

How can I convert my own LUTs to .art files to take advantage of this technology?

You can convert 3D LUT (.cube) files to .art files in Sony Raw Viewer.