Color tools built on real math.
LUT packs and DaVinci Resolve instruments, grounded in published color science and finished by eye on real footage.
LUT packs and DaVinci Resolve instruments, grounded in published color science and finished by eye on real footage.
Ninety-two utility LUTs that handle the unglamorous work of a grade: color space transforms, exposure trims, white balance, and creative split-tones. Built for ACES 2.0 with deterministic, published math.
A thirty-four LUT catalog built the honest way: characteristic curves and color extracted from the manufacturers' own datasheets for Kodak and Fuji stocks, assembled in an ACES pipeline, and eye-validated in Resolve on real footage. No invented film data, ever.
The film negative. Restrained, low-contrast, gentle color. The foundation a print sits on, thirteen stocks.
The print stock on top: contrast, saturation, and color punch. Any negative under any print is a valid look, eight prints.
The complete scanned-film look in one LUT: a negative with the 2383 print baked in, thirteen stocks.
DCTL tools that read the image like a scope. Instruments, not looks.
Multi-space false color for exposure QC, with per-space zones grounded in the published ARRI specification. Eight signal spaces from ACEScct to PQ and HLG, with a clean Lato legend.
A test-signal generator for scope work: perfect greyscale ramp, 33-step and 65-step lattice patterns, and a probe mode for curve tracing. Free when it lands.
Wright Color is the color science line of Orange Box Productions, built by cinematographer and colorist Nathaniel Wright. Every product is built from real, published data and eye-validated in DaVinci Resolve before it ships.