* NOTE – Use the following LUTs with the following cameras:
FS7 LUTs: FS5, FS7, A7III, A7RII, A7RIII, A7RIV, A7SII, ZV1, ZV-E10, A6400, A6500

This LUT pack was developed alongside Joel’s ARRI Amira over hundreds of hours of testing and side by side comparison footage. As well as the ‘Neutral’ LUT which emulates ARRI’s ALEXA Rec709 LUT, there are 4 other stylised LUTs included.

These LUTs are designed to deliver:

1) An organic, smooth and gentle highlight roll-off that mimics Alexa in it’s highlight rendering to give an overall organic and naturalistic feel to the footage.

2) Natural skin tones designed to render contrast levels on skin like an ARRI Alexa.

3) Naturalistic, organic and classic colours.

4) Rich but not crushed shadows so that these LUTs can be used in low light scenes as well as broad daylight.

5) Commensurate exposure levels with the input footage that didn’t shrink the dynamic range of the camera by blowing out the highlights and crushing the shadows and that didn’t radically change the ‘brightness’ or ‘darkness’ of the footage one way or the other.

The 5 LUTs Described Below:

LUT 1) Neutral – A neutral ARRI look – no colour cast or ‘look’ – just the classic ALEXA Rec709 look developed for my Fs7 alongside my ARRI Amira.

LUT 2) Tungsten – A slightly warmer golden cast designed to be utilised for subjects bathed in tungsten light.

LUT 3) Ice Blue – Blue, colder cast with punchy, deep blues (looks amazing on subjects with blue eyes).

LUT 4) Jamaica – Green and gold cast – distinctive, rich, filmic greens and beautiful golden skintones.

LUT 5) Utopia – the most filmic look of the LUTs, with blood red reds and filmic blues and greens. It’s my personal take on what Utopia would look like.

The ‘Film Look’ LUT Pack contains 6 LUTs inspired by real film stocks designed to give your S-Log Footage the Film Look. The emulations are based on my own research and subjective impressions of the film stocks listed.

The 5 LUTs Described Below:

LUT 1) ‘Vision’ – Modelled on Kodak Vision 5274

• Shot on: The Matrix, Lord of the Rings Trilogy, Gladiator

• The most colour accurate stock with accurate blues, slightly cool greens, accurate skin tones which slightly skew pink/gold

• Strong contrast and filmic subtractive colour model in saturation

• Gentle roll off and rich, smooth fall off in shadows

• Skews green in shadow areas and when underexposed

• Classic film character but less stylised than any other stock

LUT 2) ‘Eastman’ – Modelled on Kodak Eastman 5247

• Shot on: Apocalypse Now, Bladerunner, Alien, ET

• Vintage, dated Kodak look and feel.

• Saturation strongest in mids and falls off in shadows and highlights.

• Greens skew warm, blues slightly turquoise, gold/pink skin-tones.

• Smoother contrast than modern stocks.

LUT3) ‘Eastman RM’ – Variation on Kodak Eastman 5247 (Introduced Jan 2022)

• Classic Eastman Look but modernised (Orange & Teal)

• Greener in cast than the more magenta original Eastman 5247

• Modelled on the Re-Graded versions of classic films from 70s & 80s

LUT 4) ‘Vision Teal’ – Variation on Kodak Vision 5274 (LUT# 1)

• Subtle Orange/Teal colour scheme.

• More stylised version of ‘#1 Vision’. Less realistic – ‘prettier’.

• Greens are slightly warmer, blues slightly turquoise and skin more golden.

• Overall lift in saturation and contrast compared to ‘Vision’ but still balanced.

• Can elevate a dull scene with its look but not overpower a rich scene.

LUT 5) ‘Eterna’ – Modelled on Fuji Eterna 8563

• Shot on: Captain Phillips, Wall Street: Money Never Sleeps, The Butler

• Overall smoother contrast and rolloff compared to Kodak.

• Rich but not overpowering colours and saturation characteristics.

• My go-to for Fashion and Beauty but can work with almost anything.

• Very flattering skin-tones.

• Greens are cool and rich, skin is golden, blues skew turquoise and modern, colour accurate yellows compared to Kodak.

LUT 6) ‘Bleach’ – Modelled on Fujifilm Super F 8552

• Shot on: Munich, War of The Worlds, Crash

• Modelling the Bleach Bypass process for strong contrast and low saturation.

• Aggressive, gritty look – halfway between black and white and colour film.

• Great for War Films, Crime, Urban Fashion.

• Works especially well with heavy film grain.

Enjoy and I’d love it if you could credit my LUTs when used for public or commercial work :)

The images below are taken from video projects that were colour graded with Phantom LUTs.