KITE

5247

RESILIENCE IN COLOR

5247

KITE

a high-fidelity CINEMA LUT

The KITE_5247 LookUp Table: A tool for visual artists to enhance the look of their cinema camera's images by applying a color profile ( based on interpolated data) to evoke the feel of a lauded film stock, Kodak's Eastman Color II.

The Eastman Color II Negative

The Shining. Alien. Ran. The Deer Hunter. Apocalypse Now. Star Wars. E.T. Annie Hall. Close Encounters of the Third Kind.

For a moment in cinema for almost a decade, one film stock from Kodak reigned supreme. From 1974 to 1983, Eastman Kodak's 5247 Eastman Color II Negative was the medium of art and artists. A 100T stock, the sheer excitement of it's technical achievements had some wondering if it would make the cheaper 16mm format look so good it would give 35mm motion picture film a run for its money in the commercial and television worlds.

5247 wasn't just a look or filter, it was a resilient stock that could handle the wide lexicon of visual language required by its adapters. The rich aesthetic and color reproduction allowed for so many great films to carve out their own stories from the emulsion without copying ther same style. A bedrock for their visuals.

INTRODUCING

A ONE-LUT SOLUTION TO YOUR VISUAL STORYTELLING

Many color grading options online offer packages of tens or hundreds of LUTs for different lighting situations to be applied like instagram filters, with little regard for consistency, latitude, color reproduction, or contrast. As a result, their looks break apart in bright sunlight or deep shadow, in highly saturated RGB lighting or rich neon colors. The KITE_5247 LUT is designed like a film stock, and offers resilient contrast and color reproduction in all lighting environments.

To play, press and hold the enter key. To stop, release the enter key.

KITE_5247 LUT vs Arri 709

KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247 KITE_5247

Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709Arri 709 Arri 709 Arri 709 Arri 709Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709Arri 709 Arri 709 Arri 709 Arri 709Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709Arri 709 Arri 709 Arri 709 Arri 709Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709 Arri 709Arri 709 Arri 709 Arri 709 Arri 709Arri 709

BEST USED BY

ditS

Simple LUT format for on-set viewing, with CDL adjustments before the LUT for optimal color fidelity. Simple transcodes for one-light dailies.

Cinematographers

One LUT for camera tests, on-set viewing, and post production, easily manage your color pipeline from prep to print.

Colorists

Start off your color timing from a robust base that doesn't require minute adjustments shot-to-shot.

editors

A great alternative for temporary visuals instead of LOG, giving high-quality film look and intent to images

Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC Arri LogC

KITE_5247 LUT vs RAW Footage

RAW Footage

The KITE_5247 LUT is optimized for Arri LogC. A color transform node in the editing or coloring program of choice can conform multiple camera formats into this space, or you can use one of the provided transform LUTs.

Coloring Node

All of your adjustments will be made here, before the LUT node. This allows the most accurate mapping of any adjustments to the image into the proper reproduction of 5247, never stepping out of an image that wouldn't be possible on 5247.