Color grading looks

Every recognisable film look is a handful of specific moves — a curve here, a hue shift there, or a real negative and print. These pages show exactly which ones, and let you apply each look to your own photo in the browser. For the film stocks themselves, see film emulation.

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Teal and Orange

Push shadows toward teal, keep skin warm and orange, and you get the most recognisable colour scheme in modern cinema. It works because teal sits opposite orange on the colour wheel, so skin separates from everything behind it without touching saturation.

6 steps · free LUT included

Bleach Bypass

Desaturated, high-contrast, and slightly metallic — bleach bypass keeps the silver in the film print instead of washing it out, giving you a black-and-white image layered underneath a colour one. Harsh, gritty, and instantly readable as 'serious'.

6 steps · free LUT included

Faded Film

Lift the blacks so nothing reaches true black, mute the colour, and let the shadows go slightly milky. It reads as old film stock that has sat in a drawer for thirty years — nostalgic, soft, and forgiving of imperfect footage.

6 steps · free LUT included

Golden Hour

Low sun means warm highlights, long shadows and a gentle glow that wraps the subject. Graded rather than shot, it is a careful warm push in the highlights, a cool hold in the shadows, and a soft highlight roll-off that keeps the warmth from turning orange.

6 steps · free LUT included

Moody Blue

Cool the whole frame toward blue, hold just enough warmth in skin to keep people alive, and control contrast so the darkness reads as deliberate rather than underexposed. The default look of thrillers, night exteriors and anything that should feel tense.

6 steps · free LUT included

High Contrast

Deep blacks, bright highlights and a steep midtone slope. Done carelessly it clips everything and looks cheap; done properly it is the most reliable way to make footage feel expensive on a small screen.

6 steps · free LUT included

Black and White

Removing colour is the one thing a black-and-white conversion should not do first. The good version decides how each colour becomes a shade of grey — which is exactly what coloured filters did on black-and-white film — and only then discards the colour.

6 steps · free LUT included

Kodak 2383

Kodak 2383 is the print film most cinema releases were projected from, and its look — dense blacks, cool shadows, warm highlights and a firm contrast curve — is a large part of what people mean by "the film look". Luttie's Cinema Print is shaped after its published sensitometry, so you can put a negative through it and see the result on your own image.

6 steps

Portra 400

Portra 400 is Kodak's professional colour negative for portrait and wedding photographers, and its look is gentle: soft contrast, warm and natural skin, highlights that turn pastel rather than clipping. Luttie's Portrait 400 is shaped after it, and it defaults to the scan look, because a scanned negative is what people mean by "the Portra look".

6 steps

Fuji Eterna

Eterna was Fujifilm's motion picture negative, loved for restraint: low saturation, soft contrast and cool, slightly green-leaning mids. Luttie's Soft 500 is shaped after it, for footage that should feel like cinema without shouting.

6 steps

Kodak 500T

Kodak Vision3 500T is the fast tungsten-balanced cinema negative behind most film shot at night, and CineStill 800T is the same film respooled for stills cameras. The look is a soft, forgiving toe, clean cool shadows and warm practical lights. Luttie's Tungsten 500 is shaped after it.

6 steps

Kodak Vision3 250D

Vision3 250D is Kodak's daylight-balanced cinema negative: clean, neutral colour and huge latitude, the stock behind a great deal of film shot outdoors. Printed for projection, it gives you the classic daylight cinema look. Luttie's Daylight 250 is shaped after it.

6 steps

Kodak Ektar 100

Ektar 100 is Kodak's most saturated colour negative: vivid, clean colour and more contrast than a portrait film, made for landscapes and travel. Luttie's Vivid 100 is shaped after it, for photos that should pop the way film does rather than the way a saturation slider does.

6 steps

Want the file rather than the recipe? The free LUT library has ready-made .cube files for most of these, and the Pro packs bundle them by genre and camera.