One LUT
AUSTIN KITE
cinematographer
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.
KITE_5247 LUT vs Arri 709
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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
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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.
LUT
The 5247 LUT maps all your adjustments and LogC footage into an emulation mapped to Rec1886 viewing.
MULTIPLE ON-SET VIEWING OPTIONS
Different flavors of KITE_5247 that let you utilize a different tone curve or film print emulation without destroying the underlying color science
Standard (KITE_5247_ST_LogC)
Low Contrast (KITE_5247_LC_LogC)
Film Contrast (KITE_5247_FC_LogC)
Film Print Emulation (KITE_5247_FPE_LogC)
Flat Log (KITE_5247_LOG_LogC)
Arri LogC
INTO DATA
DEEP
All creative LUTs end up as data points, but not all LUTs start there. The 5247 LUT is based off of a combination of pure data and artistic cultivation; different negative and print film stocks are rigorously broken down into data points based on their Xxy coordinates and translated into a cineon log space, their metameric fallacies and accomplishments for each data point then being interpreted through simple math with scattered data interpolation to create an approximation of the photochemical characteristics into a digital space.
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Different films from the different stocks are then analyzed, and the most approximate reproductions are then applied through machine-learning and even more interpolation. 5247 may no longer be available as a film stock, but that doesn't stop the generations of photochemical processes that came after it from helping to craft a high-fidelity interpretation.
The addition of different tone curves and film print emulations gives you the flexibility of viewing different interpretations of footage on-set or through dailies quickly while still enjoying the rich color profile of 5247.
KITE_5247 LUT
includes
ARRI PACKAGE
$60.00
5x
5247 Looks
Standard
Low Con
Film Contrast
Film Print
Log
5x
Arri AMLs
Standard, Low Con, Film Contrast, Film Print, Log
CINEMA PACKAGE
$70.00
5x
5247 Looks
Standard
Low Con
Film Contrast
Film Print
Log
2x
Sony Venice, FX6, FX9
Slog3.CineGamut
RED IPP2: Helium, Monstro, Komodo, Gemini, etc
Log3g10
ADVANCED PACKAGE
$55.00
5x
5247 Looks
Standard
Low Con
Film Contrast
Film Print
Log
2x
C100, C300, C500
Canon Log 2, Canon Log 3,
Blackmagic Design
About the Creator
Austin Kite is a freelance cinematographer based out of LA and NYC with a Master of Fine Arts in Cinematography. He started creating LUTs in 2018 through a data-driven process after becoming frustrated with the available marketplace and accuracy for LUTs based on film stock, and started shooting test charts and mapping XY coordinates to celluloid as a kind of "coffee shop hobby." He now has mapped over 7 different film stocks and refined 4 different custom hybrid stocks.
© 2022 by AUSTIN KITE
Austin Kite Cinematography