{"title":"OW Sensor Archive","description":"\u003cp\u003eLooks built from the image of a specific camera era, not a film stock. Each OW Sensor Archive look measures how a generation of cameras rendered colour, contrast and highlights, from the hard clip of a 2000s CCD compact to its punchy blue skies, and rebuilds that image for modern log footage.\u003c\/p\u003e\u003cp\u003eAvailable as a LUT for any editor, and as a DCTL for DaVinci Resolve Studio that adds the camera itself: sensor texture, in-camera sharpening and details such as the orange date stamp.\u003c\/p\u003e","products":[{"product_id":"ccd-2004-lut","title":"OW Sensor Archive No.01 — CCD 2004 LUT","description":"\u003ch2\u003ePoint, shoot, 2004.\u003c\/h2\u003e\n\u003cp\u003eThe colour of a mid-2000s CCD compact camera, rebuilt for modern footage. Punchy, saturated colour, deep blue skies, vivid yellow-greens and the hard, bright highlight clipping of a small digital sensor. The digicam look that Gen Z brought back, made with the precision of a cinema grade.\u003c\/p\u003e\n\u003ch2\u003eWhat you will notice\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eA steep, video-like tone curve with deep blacks.\u003c\/li\u003e\n\u003cli\u003eHard digital highlight clipping about three stops above mid-grey, so bright skies and windows burn to clean white.\u003c\/li\u003e\n\u003cli\u003eClean, neutral whites rather than a warm film cream.\u003c\/li\u003e\n\u003cli\u003eSaturated reds and oranges, deep blue skies instead of cyan, and bright yellow-green foliage.\u003c\/li\u003e\n\u003cli\u003eSkin kept natural inside the punchier palette.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eHow to use it\u003c\/h2\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eFind the folder for your camera.\u003c\/strong\u003e Fifteen input profiles are included in one download, from Sony S-Log3 and ARRI LogC to Apple Log and Rec.709.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBalance first.\u003c\/strong\u003e Set exposure and white balance on the log footage. Exposure matters: the clip is part of the look.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eApply CCD 2004\u003c\/strong\u003e as the look stage, then set its strength with your software's LUT intensity or node opacity.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eWant the sensor texture, in-camera sharpening and the orange date stamp as well? They are in the \u003ca href=\"\/products\/ccd-2004-dctl\"\u003eCCD 2004 DCTL\u003c\/a\u003e for DaVinci Resolve Studio.\u003c\/p\u003e\n\u003ch2\u003eHow it was developed\u003c\/h2\u003e\n\u003cp\u003eCCD 2004 was built by measuring a set of photographs from CCD compact cameras made between 1998 and 2008, including Canon IXUS and PowerShot, Sony Cyber-shot, Fujifilm FinePix and Nikon Coolpix models: their highlight clipping, tone curve, saturation by brightness and the hue of skies, foliage, reds and skin. The result is an original look that reproduces those characteristics on modern log footage, working on scene-linear light after a published-specification input transform for each camera.\u003c\/p\u003e\n\u003ch2\u003eBest suited for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eMusic videos, fashion and social content with a Y2K feel.\u003c\/li\u003e\n\u003cli\u003eTravel, party and holiday footage that should feel like a found memory.\u003c\/li\u003e\n\u003cli\u003eFlash-lit or harshly lit scenes, where the hard clip looks most authentic.\u003c\/li\u003e\n\u003cli\u003eBright daylight with blue skies.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003csmall\u003eSample images: OpenEXR test images, © Industrial Light \u0026amp; Magic.\u003c\/small\u003e\u003c\/p\u003e","brand":"OFFWHITECOLOR","offers":[{"title":"Default Title","offer_id":55401687744850,"sku":null,"price":19.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0819\/7344\/4946\/files\/CCD2004_split.webp?v=1794320302"},{"product_id":"ccd-2004-dctl","title":"OW Sensor Archive No.01 — CCD 2004 DCTL","description":"\u003ch2\u003ePoint, shoot, 2004.\u003c\/h2\u003e\n\u003cp\u003eThe colour of a mid-2000s CCD compact camera, rebuilt for modern footage, together with the camera itself. Punchy, saturated colour, deep blue skies, vivid yellow-greens and the hard, bright highlight clipping of a small digital sensor. The digicam look that Gen Z brought back, made with the precision of a cinema grade.\u003c\/p\u003e\n\u003ch2\u003eWhat you will notice\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eA steep, video-like tone curve with deep blacks.\u003c\/li\u003e\n\u003cli\u003eHard digital highlight clipping about three stops above mid-grey, so bright skies and windows burn to clean white.\u003c\/li\u003e\n\u003cli\u003eClean, neutral whites rather than a warm film cream.\u003c\/li\u003e\n\u003cli\u003eSaturated reds and oranges, deep blue skies instead of cyan, and bright yellow-green foliage.\u003c\/li\u003e\n\u003cli\u003eSkin kept natural inside the punchier palette.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eThe camera, not just the colour\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eInput Profile\u003c\/strong\u003e: built-in transforms for 15 inputs, from Sony S-Log3 and ARRI LogC to Apple Log, DaVinci Intermediate and Rec.709.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSensor Softness\u003c\/strong\u003e: the slightly soft, low-resolution rendering of a small sensor.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDigital Sharpening\u003c\/strong\u003e: the crunchy in-camera sharpening halos around edges.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSensor Noise\u003c\/strong\u003e: fine luma grain plus coarser chroma blotches, strongest in the shadows, moving with your footage.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVignette\u003c\/strong\u003e: gentle corner fall-off.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate Stamp\u003c\/strong\u003e: the orange seven-segment date in the corner, with your own year, month and day.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLook Strength, Exposure, Saturation, White Balance and Highlight Clip\u003c\/strong\u003e to tune the colour.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eHow to use it\u003c\/h2\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eSelect your input.\u003c\/strong\u003e Apply the DCTL to your log footage and choose its profile under Input Profile. In a colour-managed DaVinci Wide Gamut project, choose DaVinci Intermediate.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBalance first.\u003c\/strong\u003e Set exposure and white balance before the DCTL.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eApply CCD 2004\u003c\/strong\u003e, set the Look Strength, then add as much texture and date stamp as the shot needs. The DCTL outputs Rec.709 Gamma 2.4.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch2\u003eHow it was developed\u003c\/h2\u003e\n\u003cp\u003eCCD 2004 was built by measuring a set of photographs from CCD compact cameras made between 1998 and 2008, including Canon IXUS and PowerShot, Sony Cyber-shot, Fujifilm FinePix and Nikon Coolpix models: their highlight clipping, tone curve, saturation by brightness and the hue of skies, foliage, reds and skin. The result is an original look that reproduces those characteristics on modern log footage, working on scene-linear light after a published-specification input transform for each camera.\u003c\/p\u003e\n\u003ch2\u003eBest suited for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eMusic videos, fashion and social content with a Y2K feel.\u003c\/li\u003e\n\u003cli\u003eTravel, party and holiday footage that should feel like a found memory.\u003c\/li\u003e\n\u003cli\u003eFlash-lit or harshly lit scenes, where the hard clip looks most authentic.\u003c\/li\u003e\n\u003cli\u003eBright daylight with blue skies.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003csmall\u003eRequires DaVinci Resolve Studio. Sample images: OpenEXR test images, © Industrial Light \u0026amp; Magic.\u003c\/small\u003e\u003c\/p\u003e","brand":"OFFWHITECOLOR","offers":[{"title":"Default Title","offer_id":55401687974226,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0819\/7344\/4946\/files\/CCD2004_split.webp?v=1794320302"},{"product_id":"minidv-2003-lut","title":"OW Sensor Archive No.02 — MiniDV 2003 LUT","description":"\u003ch2\u003ePress record, 2003.\u003c\/h2\u003e\n\u003cp\u003eThe colour of an early-2000s MiniDV camcorder, rebuilt for modern footage. Bright, cool video colour, milky blacks, hot reds and the hard highlight clip of a small three-chip or single-chip video camera. The home-video look of birthday parties, skate clips and holidays, made with the precision of a cinema grade.\u003c\/p\u003e\n\u003ch2\u003eWhat you will notice\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eA bright, flat video tone curve with lifted, milky blacks.\u003c\/li\u003e\n\u003cli\u003eA hard video highlight clip about three stops above mid-grey: skies and windows burn to white.\u003c\/li\u003e\n\u003cli\u003eA cool, slightly blue cast through the shadows and midtones, like auto white balance on daylight video.\u003c\/li\u003e\n\u003cli\u003eHot, saturated reds leaning towards magenta, the colour that bleeds on every DV tape.\u003c\/li\u003e\n\u003cli\u003eFoliage turned cooler and cyan-green, yellows slightly quieter, blues gathered into one clean video blue.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eHow to use it\u003c\/h2\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eFind the folder for your camera.\u003c\/strong\u003e Fifteen input profiles are included in one download, from Sony S-Log3 and ARRI LogC to Apple Log and Rec.709.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBalance first.\u003c\/strong\u003e Set exposure and white balance on the log footage. Exposure matters: the clip is part of the look.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eApply MiniDV 2003\u003c\/strong\u003e as the look stage, then set its strength with your software's LUT intensity or node opacity. For the full effect, edit in a 4:3 frame.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eWant edge enhancement, colour bleed, interlace and the REC and date overlay as well? They are in the \u003ca href=\"\/products\/minidv-2003-dctl\"\u003eMiniDV 2003 DCTL\u003c\/a\u003e for DaVinci Resolve Studio.\u003c\/p\u003e\n\u003ch2\u003eHow it was developed\u003c\/h2\u003e\n\u003cp\u003eMiniDV 2003 is built on how DV camcorders recorded an image: a video gamma curve with a knee and a hard clip, consumer auto white balance, and the DV format's 720 × 480 or 720 × 576 frame with colour stored at a quarter (NTSC, 4:1:1) or half (PAL, 4:2:0) of the luma resolution. The result is an original look that reproduces those characteristics on modern log footage, working on scene-linear light after a published-specification input transform for each camera.\u003c\/p\u003e\n\u003ch2\u003eBest suited for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eMusic videos, skate and fashion edits with a Y2K home-video feel.\u003c\/li\u003e\n\u003cli\u003eParty, festival and holiday footage that should feel like a found tape.\u003c\/li\u003e\n\u003cli\u003eBehind-the-scenes and documentary inserts that need a different texture.\u003c\/li\u003e\n\u003cli\u003eHandheld footage in daylight or harsh on-camera light.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003csmall\u003eSample images: OpenEXR test images, © Industrial Light \u0026amp; Magic.\u003c\/small\u003e\u003c\/p\u003e","brand":"OFFWHITECOLOR","offers":[{"title":"Default Title","offer_id":55404970574162,"sku":null,"price":19.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0819\/7344\/4946\/files\/cover_LUT_f83cb606-4758-45fe-98a9-8e99b70176a2.png?v=1794337604"},{"product_id":"minidv-2003-dctl","title":"OW Sensor Archive No.02 — MiniDV 2003 DCTL","description":"\u003ch2\u003ePress record, 2003.\u003c\/h2\u003e\n\u003cp\u003eThe colour of an early-2000s MiniDV camcorder, rebuilt for modern footage, together with the camcorder itself. Bright, cool video colour, milky blacks, hot reds and the hard highlight clip of a small three-chip or single-chip video camera. The home-video look of birthday parties, skate clips and holidays, made with the precision of a cinema grade.\u003c\/p\u003e\n\u003ch2\u003eWhat you will notice\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eA bright, flat video tone curve with lifted, milky blacks.\u003c\/li\u003e\n\u003cli\u003eA hard video highlight clip about three stops above mid-grey: skies and windows burn to white.\u003c\/li\u003e\n\u003cli\u003eA cool, slightly blue cast through the shadows and midtones, like auto white balance on daylight video.\u003c\/li\u003e\n\u003cli\u003eHot, saturated reds leaning towards magenta, the colour that bleeds on every DV tape.\u003c\/li\u003e\n\u003cli\u003eFoliage turned cooler and cyan-green, yellows slightly quieter, blues gathered into one clean video blue.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eThe camcorder, not just the colour\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eInput Profile\u003c\/strong\u003e: built-in transforms for 15 inputs, from Sony S-Log3 and ARRI LogC to Apple Log, DaVinci Intermediate and Rec.709.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSD Softness\u003c\/strong\u003e: the soft detail of a 480-line standard-definition picture.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEdge Enhancement\u003c\/strong\u003e: the bright halos of a camcorder's detail circuit.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eColour Bleed\u003c\/strong\u003e: DV's 4:1:1 colour, smearing sideways past edges.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVideo Noise\u003c\/strong\u003e: fine luma noise and horizontally coarse chroma noise, moving with your footage.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterlace\u003c\/strong\u003e: alternate lines shifted and darkened, like interlaced video.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e4:3 Frame\u003c\/strong\u003e: side bars for a 4:3 picture inside a 16:9 timeline.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eREC and Date\/Time overlay\u003c\/strong\u003e: the red REC dot and the white pixel-font time and date, set to any moment you like.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLook Strength, Exposure, Saturation, White Balance and Highlight Clip\u003c\/strong\u003e to tune the colour.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eHow to use it\u003c\/h2\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eSelect your input.\u003c\/strong\u003e Apply the DCTL to your log footage and choose its profile under Input Profile. In a colour-managed DaVinci Wide Gamut project, choose DaVinci Intermediate.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBalance first.\u003c\/strong\u003e Set exposure and white balance before the DCTL.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eApply MiniDV 2003\u003c\/strong\u003e, set the Look Strength, then add as much texture and overlay as the shot needs. The DCTL outputs Rec.709 Gamma 2.4.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch2\u003eHow it was developed\u003c\/h2\u003e\n\u003cp\u003eMiniDV 2003 is built on how DV camcorders recorded an image: a video gamma curve with a knee and a hard clip, consumer auto white balance, and the DV format's 720 × 480 or 720 × 576 frame with colour stored at a quarter (NTSC, 4:1:1) or half (PAL, 4:2:0) of the luma resolution. The result is an original look that reproduces those characteristics on modern log footage, working on scene-linear light after a published-specification input transform for each camera.\u003c\/p\u003e\n\u003ch2\u003eBest suited for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eMusic videos, skate and fashion edits with a Y2K home-video feel.\u003c\/li\u003e\n\u003cli\u003eParty, festival and holiday footage that should feel like a found tape.\u003c\/li\u003e\n\u003cli\u003eBehind-the-scenes and documentary inserts that need a different texture.\u003c\/li\u003e\n\u003cli\u003eHandheld footage in daylight or harsh on-camera light.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003csmall\u003eRequires DaVinci Resolve Studio. Sample images: OpenEXR test images, © Industrial Light \u0026amp; Magic.\u003c\/small\u003e\u003c\/p\u003e","brand":"OFFWHITECOLOR","offers":[{"title":"Default Title","offer_id":55404970672466,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0819\/7344\/4946\/files\/cover_DCTL_d2251d7a-031e-4f25-a5b8-d5e30fb2812e.png?v=1794337629"},{"product_id":"phone-2007-lut","title":"OW Sensor Archive No.03 — Phone 2007 LUT","description":"\u003ch2\u003eLow battery, high memory.\u003c\/h2\u003e\n\u003cp\u003eThe colour of a 2005-2008 mobile phone camera, rebuilt for modern footage. Muddy shadows, a yellow-green cast, faded colour, olive greens, washed-out skies and highlights that blow out early. The look of the first camera that was always in your pocket, made with the precision of a cinema grade.\u003c\/p\u003e\n\u003ch2\u003eWhat you will notice\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eA steep, low-dynamic-range tone curve with muddy, crushed shadows.\u003c\/li\u003e\n\u003cli\u003eHighlights that clip early, under three stops above mid-grey.\u003c\/li\u003e\n\u003cli\u003eA yellow-green cast through the midtones and warm, yellowish highlights.\u003c\/li\u003e\n\u003cli\u003eFaded, uneven colour: greens slide to olive, blue skies wash out to a pale grey-blue, reds turn orange.\u003c\/li\u003e\n\u003cli\u003eSkin kept recognisable inside the cheap-sensor palette.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eHow to use it\u003c\/h2\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eFind the folder for your camera.\u003c\/strong\u003e Fifteen input profiles are included in one download, from Sony S-Log3 and ARRI LogC to Apple Log and Rec.709.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBalance first.\u003c\/strong\u003e Set exposure and white balance on the log footage. Exposure matters: the clip is part of the look.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eApply Phone 2007\u003c\/strong\u003e as the look stage, then set its strength with your software's LUT intensity or node opacity. For the full effect, edit in a 4:3 frame.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eWant the low-resolution pixels, JPEG blocks, sharpening, lens shading and chromatic aberration as well? They are in the \u003ca href=\"\/products\/phone-2007-dctl\"\u003ePhone 2007 DCTL\u003c\/a\u003e for DaVinci Resolve Studio.\u003c\/p\u003e\n\u003ch2\u003eHow it was developed\u003c\/h2\u003e\n\u003cp\u003ePhone 2007 is built on how early camera phones made a picture: a tiny sensor with little dynamic range, a fixed-focus plastic lens, a cheap colour matrix and auto white balance that drifted towards green and yellow, all saved as a small, heavily compressed JPEG. The result is an original look that reproduces those characteristics on modern log footage, working on scene-linear light after a published-specification input transform for each camera.\u003c\/p\u003e\n\u003ch2\u003eBest suited for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eMusic videos, fashion and social content with a low-res, 2000s feel.\u003c\/li\u003e\n\u003cli\u003eNight-out, party and backstage footage that should feel like it was shot on a flip phone.\u003c\/li\u003e\n\u003cli\u003eMemory and flashback scenes in short films.\u003c\/li\u003e\n\u003cli\u003eIndoor, mixed and low light, where early phones struggled most.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003csmall\u003eSample images: OpenEXR test images, © Industrial Light \u0026amp; Magic.\u003c\/small\u003e\u003c\/p\u003e","brand":"OFFWHITECOLOR","offers":[{"title":"Default Title","offer_id":55407507800402,"sku":null,"price":19.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0819\/7344\/4946\/files\/T_Phone2007_LUT.webp?v=1794402351"},{"product_id":"phone-2007-dctl","title":"OW Sensor Archive No.03 — Phone 2007 DCTL","description":"\u003ch2\u003eLow battery, high memory.\u003c\/h2\u003e\n\u003cp\u003eThe colour of a 2005-2008 mobile phone camera, rebuilt for modern footage, together with the phone itself. Muddy shadows, a yellow-green cast, faded colour, olive greens, washed-out skies and highlights that blow out early. The look of the first camera that was always in your pocket, made with the precision of a cinema grade.\u003c\/p\u003e\n\u003ch2\u003eWhat you will notice\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eA steep, low-dynamic-range tone curve with muddy, crushed shadows.\u003c\/li\u003e\n\u003cli\u003eHighlights that clip early, under three stops above mid-grey.\u003c\/li\u003e\n\u003cli\u003eA yellow-green cast through the midtones and warm, yellowish highlights.\u003c\/li\u003e\n\u003cli\u003eFaded, uneven colour: greens slide to olive, blue skies wash out to a pale grey-blue, reds turn orange.\u003c\/li\u003e\n\u003cli\u003eSkin kept recognisable inside the cheap-sensor palette.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eThe phone, not just the colour\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eInput Profile\u003c\/strong\u003e: built-in transforms for 15 inputs, from Sony S-Log3 and ARRI LogC to Apple Log, DaVinci Intermediate and Rec.709.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLow Resolution\u003c\/strong\u003e: rebuilds the picture from a VGA or QVGA pixel grid, with optional hard square pixels.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eJPEG Compression\u003c\/strong\u003e: 8 × 8 blocks that flatten smooth areas, and colour that smears over each block.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSharpening\u003c\/strong\u003e: the crunchy in-camera sharpening of a tiny sensor.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSensor Noise\u003c\/strong\u003e: blotchy colour noise in the shadows, moving with your footage.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLens Shading\u003c\/strong\u003e: dark, magenta-tinted corners from a tiny lens.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eChromatic Aberration\u003c\/strong\u003e: red and blue fringes towards the edges.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e4:3 Frame\u003c\/strong\u003e: side bars for a 4:3 picture inside a 16:9 timeline.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLook Strength, Exposure, Saturation, White Balance and Highlight Clip\u003c\/strong\u003e to tune the colour.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eHow to use it\u003c\/h2\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eSelect your input.\u003c\/strong\u003e Apply the DCTL to your log footage and choose its profile under Input Profile. In a colour-managed DaVinci Wide Gamut project, choose DaVinci Intermediate.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBalance first.\u003c\/strong\u003e Set exposure and white balance before the DCTL.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eApply Phone 2007\u003c\/strong\u003e, set the Look Strength, then add as much resolution loss and compression as the shot needs. The DCTL outputs Rec.709 Gamma 2.4.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch2\u003eHow it was developed\u003c\/h2\u003e\n\u003cp\u003ePhone 2007 is built on how early camera phones made a picture: a tiny sensor with little dynamic range, a fixed-focus plastic lens, a cheap colour matrix and auto white balance that drifted towards green and yellow, all saved as a small, heavily compressed JPEG. The result is an original look that reproduces those characteristics on modern log footage, working on scene-linear light after a published-specification input transform for each camera.\u003c\/p\u003e\n\u003ch2\u003eBest suited for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eMusic videos, fashion and social content with a low-res, 2000s feel.\u003c\/li\u003e\n\u003cli\u003eNight-out, party and backstage footage that should feel like it was shot on a flip phone.\u003c\/li\u003e\n\u003cli\u003eMemory and flashback scenes in short films.\u003c\/li\u003e\n\u003cli\u003eIndoor, mixed and low light, where early phones struggled most.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003csmall\u003eRequires DaVinci Resolve Studio. Sample images: OpenEXR test images, © Industrial Light \u0026amp; Magic.\u003c\/small\u003e\u003c\/p\u003e","brand":"OFFWHITECOLOR","offers":[{"title":"Default Title","offer_id":55407508193618,"sku":null,"price":29.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0819\/7344\/4946\/files\/Phone2007_split.webp?v=1794402352"},{"product_id":"sensor-archive-lightroom-presets","title":"OW Sensor Archive — Lightroom Presets (CCD 2004, MiniDV 2003, Phone 2007)","description":"\u003ch2\u003ePoint, shoot, remember.\u003c\/h2\u003e\n\u003cp\u003eThree camera eras for your photos: the mid-2000s CCD digicam, the early-2000s MiniDV camcorder and the 2007 flip phone. Built from the same looks as the OW Sensor Archive LUTs, now as Lightroom presets for Lightroom Classic and Lightroom on your phone. For everyone who wants their photos to feel like a memory, not like content.\u003c\/p\u003e\n\u003ch2\u003eWhat is inside\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCCD 2004\u003c\/strong\u003e: hard digital highlight clip, deep blacks, deep blue skies, punchy reds and yellow-green foliage.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMiniDV 2003\u003c\/strong\u003e: milky blacks, bright and flat midtones, cool video colour and hot magenta-leaning reds.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePhone 2007\u003c\/strong\u003e: muddy shadows, a yellow-green cast, faded colour, olive greens and highlights that blow out early.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eEach look comes in two versions. \u003cstrong\u003eColour\u003c\/strong\u003e applies the look only. \u003cstrong\u003eCamera\u003c\/strong\u003e adds the texture of that camera: crunchy sharpening, soft detail, noise, grain and vignette.\u003c\/p\u003e\n\u003ch2\u003eWhy it looks real\u003c\/h2\u003e\n\u003cp\u003eMost \"Y2K\" presets push a few sliders. These presets carry the full colour of the OW Sensor Archive inside a creative profile, the same type of profile as Adobe's own Vintage and Artistic profiles. The tone curve, the clip and every colour shift are identical to the LUTs colourists use on video, so photo and film can share one look.\u003c\/p\u003e\n\u003ch2\u003eHow to use it\u003c\/h2\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eImport.\u003c\/strong\u003e Lightroom Classic: Develop › Presets › + › Import Presets. Lightroom on your phone: open a photo › Presets › ⋯ › Import presets, and pick the mobile zip.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eExpose first.\u003c\/strong\u003e Set exposure and white balance. Let bright skies and lamps burn: the clip is part of the look.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eApply and dial.\u003c\/strong\u003e Choose Colour or Camera, then use the Amount slider to go from subtle to full.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ch2\u003eBest suited for\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003eParty, night-out and flash photos.\u003c\/li\u003e\n\u003cli\u003eHolidays, road trips and everyday snapshots that should feel like a found memory.\u003c\/li\u003e\n\u003cli\u003eFashion, portrait and street photography with a Y2K feel.\u003c\/li\u003e\n\u003cli\u003ePhotos straight from your phone, as well as raw files from any camera.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eShooting video too? The same looks are available as \u003ca href=\"\/collections\/ow-sensor-archive\"\u003eLUTs and DCTLs\u003c\/a\u003e, with date stamps, REC overlays and low-resolution effects that Lightroom cannot do.\u003c\/p\u003e\n\u003cp\u003e\u003csmall\u003eSample images: OpenEXR test images, © Industrial Light \u0026amp; Magic. Not affiliated with or endorsed by any camera or phone manufacturer.\u003c\/small\u003e\u003c\/p\u003e","brand":"OFFWHITECOLOR","offers":[{"title":"Default Title","offer_id":55412213678418,"sku":null,"price":24.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0819\/7344\/4946\/files\/T_SensorArchive_Lightroom.webp?v=1794387812"}],"url":"https:\/\/offwhitecolor.com\/collections\/ow-sensor-archive.oembed","provider":"OFFWHITECOLOR","version":"1.0","type":"link"}