{"title":"Featured","description":"","products":[{"product_id":"the-severance-look-professional-lut-for-filmmakers","title":"OW Cinema Looks No. 3  - Corporate Divide LUT","description":"\u003ch2 class=\"p1\"\u003eA cool, controlled cinematic look inspired by the visual world of Severance\u003c\/h2\u003e\n\u003cp class=\"p2\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eCorporate Divide is an original cinematic look inspired by the restrained, clinical colour world associated with \u003cem data-end=\"1022\" data-start=\"1011\"\u003eSeverance\u003c\/em\u003e. Cool environmental tones, controlled saturation and clean skin-tone separation create an image that feels precise, architectural and subtly detached.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eIts character comes from separation. Skin and warm practicals remain present inside cooler environments, whites retain enough neutrality to keep modern interiors believable, and the shadows carry more of the palette than the highlights. This makes the look distinctive while leaving the image readable across narrative, commercial and editorial work.\u003c\/p\u003e\n\u003ch3 class=\"p1\"\u003eWhat you will notice\u003c\/h3\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eCooler architectural and environmental colour with clean, controlled neutrals.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eRestrained warm tones that remain separated from the surrounding palette.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eDenser shadows that add structure without forcing the whole image into heavy contrast.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  A quieter, more deliberate relationship between blue, green and neutral surfaces.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eA precise, slightly detached atmosphere that can remain subtle or become more pronounced through the Extra Blue variant.\u003c\/p\u003e\n\u003ch3 class=\"p1\"\u003eHow it was designed\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eCorporate Divide is an authored colour design rather than a film-stock reproduction. The look is built around the contrast between institutional coolness and protected warmth: environments become more controlled, while faces and selected practical sources retain enough separation to keep the image human. The palette is intentionally architectural, but it is not limited to office interiors or one genre.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe standard and Extra Blue versions provide two levels of environmental emphasis. The standard version is the more adaptable starting point. Extra Blue pushes the cooler side of the design further when the production, lighting or art direction can support a stronger statement.\u003c\/p\u003e\n\u003ch3 class=\"p1\"\u003eBest suited for\u003c\/h3\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eNarrative work with controlled interiors, modern architecture or emotionally detached spaces.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eCommercial, fashion and editorial imagery that benefits from clean cool colour and restrained warmth.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eOffice, healthcare, technology and institutional environments where neutral surfaces are part of the visual design.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eProjects that need a recognisable authored palette without an aggressively baked contrast curve\u003c\/p\u003e","brand":"offwhitecolor","offers":[{"title":"Default Title","offer_id":49432156537170,"sku":"","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0819\/7344\/4946\/files\/01_Severance_Image-1.png?v=1726233007"},{"product_id":"kodak-vision3-250d-cineon-film-emulation-lut","title":"OW Digital Film Stocks No.03 — Kodak Vision3 250D \/ Cineon","description":"\u003ch2 class=\"p1\"\u003eA daylight negative response, not a baked film filter\u003c\/h2\u003e\n\u003cp class=\"p2\"\u003eKodak Vision3 250D is valued for daylight colour that feels clean without becoming clinical: natural skin-tone relationships, measured saturation and a negative response that holds brightness and colour together. Reproducing that character requires more than warming the image or softening contrast. Many film-look LUTs compress the image into a stylised finish. This emulation was developed from scanned 250D negative data to recreate the stock’s underlying Cineon response as a practical grading starting point.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe selected camera-log version maps your footage into the 250D-derived Cineon representation. From there, it can feed a print-film emulation such as Kodak 2383 or another Cineon-to-display stage. The result is not intended to lock the image into one finished aesthetic. It gives you a film-derived negative response that still leaves room for exposure, balance, print choice and creative grading.\u003c\/p\u003e\n\u003ch3 class=\"p1\"\u003eWhat you will notice\u003c\/h3\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eClean daylight colour with measured saturation rather than a global colour boost.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eNatural separation between skin tones, foliage, skies and warmer environmental colour.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eA denser negative-style tonal structure that remains open to further grading.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eControlled highlight transitions designed to work as part of a negative-to-print pipeline.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eA film response that feels integrated with the image rather than applied as a surface effect.\u003c\/p\u003e\n\u003ch3 class=\"p1\"\u003eHow it was developed\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eThe emulation is based on direct data from scanned Kodak Vision3 250D negatives. The tonal curve and colour relationships were translated into a Cineon-based digital response, then adapted for the supported camera log profiles. The development priority was not to exaggerate recognisable “film” traits, but to preserve the relationships that make the stock useful: colour separation, density and a controlled response across the image.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThis is a reference-led reproduction, not a claim to recreate every variable of a complete photochemical process. Exposure, processing, scanning, print stock and display all influence the final result. The LUT provides the negative-emulation stage so those later choices remain available within the workflow.\u003c\/p\u003e\n\u003ch3 class=\"p1\"\u003eBest suited for\u003c\/h3\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eDaylight narrative, documentary, commercial and lifestyle footage.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eImages that benefit from natural skin tones and clear environmental colour separation.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eColorists using a Cineon negative-to-print workflow in DaVinci Resolve or another grading application.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eCreators who want a film-derived starting point without a heavily baked final look.\u003c\/p\u003e","brand":"offwhitecolor","offers":[{"title":"SLOG-3","offer_id":50270999282002,"sku":"","price":30.0,"currency_code":"EUR","in_stock":true},{"title":"Blackmagic Design Generation 5 Color Science","offer_id":50281423176018,"sku":"","price":30.0,"currency_code":"EUR","in_stock":true},{"title":"Arri LogC3","offer_id":50281439658322,"sku":"","price":30.0,"currency_code":"EUR","in_stock":true},{"title":"DJI D-Log M","offer_id":50281439691090,"sku":"","price":30.0,"currency_code":"EUR","in_stock":true},{"title":"IPP2","offer_id":50281439723858,"sku":"","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0819\/7344\/4946\/files\/1.4.2_1.4.2.png?v=1741092835"},{"product_id":"dji-osmo-pocket-3-d-log-m-to-s-log3-conversion-lut","title":"OW Technical — DJI Osmo Pocket 3 D-Log M → S-Log3 Conversion LUT","description":"\u003ch2 class=\"p1\"\u003eBring Pocket 3 D-Log M into an S-Log3-based workflow\u003c\/h2\u003e\n\u003cp class=\"p2\"\u003eDJI Pocket 3 D-Log M does not behave like Sony S-Log3. Treating the two as interchangeable can produce inconsistent contrast, saturation and highlight behaviour, while creative LUTs designed for S-Log3 may not respond as intended. This conversion maps Pocket 3 D-Log M into the S-Log3-based working space encoded by the LUT, creating a more predictable technical starting point for grading and mixed Sony \/ DJI timelines.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThis is a technical conversion, not a finished creative look. Apply it before S-Log3 creative LUTs or look development, then continue with normal shot balancing, camera matching and output colour management. It streamlines the workflow; it does not claim to make the Pocket 3 sensor identical to a Sony camera.\u003c\/p\u003e\n\u003ch3 class=\"p1\"\u003eWhat the conversion enables\u003c\/h3\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eMore predictable contrast and colour behaviour when Pocket 3 footage enters an S-Log3-based pipeline.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eImproved compatibility with creative LUTs and monitoring tools designed for the specified S-Log3 output.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eA clearer starting point for matching Pocket 3 material with Sony S-Log3 cameras in mixed-camera edits.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eRetention of the usable highlight and shadow information present in correctly exposed D-Log M footage.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eA repeatable technical first stage instead of rebuilding the same manual approximation on every project.\u003c\/p\u003e\n\u003ch3 class=\"p1\"\u003eHow it works\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eThe LUT performs a log-to-log transformation from DJI Osmo Pocket 3 D-Log M into the defined Sony S-Log3-based output. Gamma and colour-gamut relationships are mapped together so the converted image can enter the intended Sony workflow before the creative grade. Because this is a technical step, correct input footage is essential: the LUT should only be used on Pocket 3 material recorded in D-Log M.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe conversion cannot remove differences caused by sensor response, lens transmission, exposure, white balance, lighting or in-camera processing. Those variables still need to be matched shot by shot. Its purpose is to remove one predictable colour-space mismatch so the remaining grading work begins from a more consistent base.\u003c\/p\u003e\n\u003ch3 class=\"p1\"\u003eBest suited for\u003c\/h3\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eFilmmakers combining DJI Osmo Pocket 3 footage with Sony S-Log3 cameras.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eEditors and colorists who already use S-Log3 creative LUTs or monitoring workflows.\u003c\/p\u003e\n\u003cp class=\"p4\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eDaVinci Resolve, Premiere Pro and Final Cut Pro timelines that need a repeatable Pocket 3 input stage.\u003c\/p\u003e\n\u003cp class=\"p5\"\u003e•\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eTravel, documentary, commercial and creator productions where the Pocket 3 functions as a compact second camera.\u003c\/p\u003e","brand":"offwhitecolor","offers":[{"title":"D-Log M","offer_id":50521174475090,"sku":"","price":10.0,"currency_code":"EUR","in_stock":true}]},{"product_id":"fuji-vivid-500t-cineon-film-emulation-lut","title":"OW Digital Film Stocks No.04 — Fujifilm Vivid 500T \/ Cineon","description":"\u003ch2 data-section-id=\"u36ipy\" data-start=\"1405\" data-end=\"1444\" class=\"PDq2pG_selectionAnchorContainer\"\u003eEarthy colour, dense tonal structure\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp data-start=\"1446\" data-end=\"1857\"\u003eFujifilm Vivid 500T has a rich and concentrated colour response, with earthy warmth, dense tonal separation and a distinct relationship between greens, yellows, reds and skin. Although the original stock was balanced for tungsten exposure, the scanned references used for this emulation were colour-balanced during scanning. The resulting response is therefore not defined by a fixed cool or warm white balance.\u003c\/p\u003e\n\u003cp data-start=\"1859\" data-end=\"2076\"\u003eInstead, its character comes through in the way colour is distributed through the image: fuller midtones, grounded shadow colour and an earthier, more organic relationship between neutral surfaces and saturated elements. Because the film references were balanced during scanning, the emulation does not impose the original tungsten white balance as a fixed creative cast. It reproduces the scanned stock response: denser and earthier in character, while remaining responsive to the white balance and lighting of the source image.\u003c\/p\u003e\n\u003cp data-start=\"2078\" data-end=\"2378\"\u003eThis emulation was developed from real Cineon scans and colour-chart references photographed on the stock, paired with ARRI Alexa reference footage. The aim was to translate those colour relationships into a controlled digital workflow without reducing Vivid 500T to a generic blue-shadow night look.\u003c\/p\u003e\n\u003cp data-start=\"2380\" data-end=\"2643\"\u003eThe package provides two routes. The Cineon-to-Print version is designed to feed a separate print-film emulation, keeping the negative and print stages independent. The Cineon-to-Display version adds a custom display transform for a more direct standalone result.\u003c\/p\u003e\n\u003ch3 data-section-id=\"11p0xgo\" data-start=\"2645\" data-end=\"2668\"\u003eWhat you will notice\u003c\/h3\u003e\n\u003cul data-start=\"2670\" data-end=\"3124\"\u003e\n\u003cli data-section-id=\"1fs9n7c\" data-start=\"2670\" data-end=\"2750\"\u003eEarthier, more concentrated colour than the cleaner daylight response of 250D.\u003c\/li\u003e\n\u003cli data-section-id=\"1td8p9q\" data-start=\"2751\" data-end=\"2847\"\u003eDense midtones and shadow colour without forcing the image toward a single blue or green cast.\u003c\/li\u003e\n\u003cli data-section-id=\"1f8rckq\" data-start=\"2848\" data-end=\"2941\"\u003eWarm, grounded neutrals with distinctive separation between greens, yellows, reds and skin.\u003c\/li\u003e\n\u003cli data-section-id=\"my87bq\" data-start=\"2942\" data-end=\"3032\"\u003eRich saturation that remains integrated into the image rather than sitting on top of it.\u003c\/li\u003e\n\u003cli data-section-id=\"liiz58\" data-start=\"3033\" data-end=\"3124\"\u003eTwo workflow options: a modular negative-to-print route and a direct display-ready route.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-section-id=\"9rp2ul\" data-start=\"3126\" data-end=\"3149\"\u003eHow it was developed\u003c\/h3\u003e\n\u003cp data-start=\"3151\" data-end=\"3336\"\u003eThe emulation was created from actual colour-chart references photographed on Fujifilm Vivid 500T and compared with ARRI Alexa footage. Real Cineon scans informed the negative response.\u003c\/p\u003e\n\u003cp data-start=\"3338\" data-end=\"3654\"\u003eBecause the film references were balanced during scanning, the emulation does not impose the original tungsten white balance as a fixed creative cast. It reproduces the scanned stock response: denser, earthier and warmer in character, while remaining responsive to the white balance and lighting of the source image.\u003c\/p\u003e\n\u003cp data-start=\"3656\" data-end=\"3913\"\u003eAs with any film reproduction, the final image is shaped by more than the negative alone. Exposure, processing, scanning, print emulation and display rendering all contribute. The Cineon-to-Print and Cineon-to-Display options keep that distinction explicit.\u003c\/p\u003e\n\u003ch3 data-section-id=\"1hx3z6s\" data-start=\"3915\" data-end=\"3933\"\u003eBest suited for\u003c\/h3\u003e\n\u003cul data-start=\"3935\" data-end=\"4327\"\u003e\n\u003cli data-section-id=\"1wa0h0c\" data-start=\"3935\" data-end=\"4032\"\u003eNarrative, fashion, music and commercial imagery that benefits from a denser, earthier palette.\u003c\/li\u003e\n\u003cli data-section-id=\"1gg09yt\" data-start=\"4033\" data-end=\"4146\"\u003eInteriors, exteriors and mixed-light scenes where rich colour separation matters more than clinical neutrality.\u003c\/li\u003e\n\u003cli data-section-id=\"h5yj75\" data-start=\"4147\" data-end=\"4237\"\u003eColorists who want to combine the negative response with their own print-film emulation.\u003c\/li\u003e\n\u003cli data-section-id=\"1t1094\" data-start=\"4238\" data-end=\"4327\"\u003eCreators who want a direct film response through the included display-rendered version.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"offwhitecolor","offers":[{"title":"ARRI","offer_id":50480513089874,"sku":"","price":35.0,"currency_code":"EUR","in_stock":true},{"title":"Sony","offer_id":50480512893266,"sku":"","price":35.0,"currency_code":"EUR","in_stock":true},{"title":"Blackmagic","offer_id":50480512991570,"sku":"","price":35.0,"currency_code":"EUR","in_stock":true},{"title":"Bundle","offer_id":50480512860498,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0819\/7344\/4946\/files\/Photo_Album_1_-_00000007.jpg?v=1784210521"}],"url":"https:\/\/offwhitecolor.com\/collections\/bestsellers.oembed","provider":"OFFWHITECOLOR","version":"1.0","type":"link"}