Grades ranging from different cameras to client projects
Our studio and process makes a lot of difference. Check out the L-5 Imaging Grading Studio .
This video is best viewed on a device capable of 1000-nit peak brightness. It takes you on a journey from the entrance to Carlsbad Caverns, down the one-hour descent, and then around the loop.
The video was shot with an iPhone 12 Pro MAX and graded in Resolve Studio 17.
This grade was created from stock footage shot on RED and ARRI cameras. It is best viewed on a device capable of 1000-nit peak brightness.
The footage was first mapped into the ACES 1.3 color space
and then graded with the HDR tools in Davinci Resolve Studio 17.
This is a REC 709 grade from stock Sony FX6 footage.
The goal was a softer, filmic look that separated the dark performer from the dark background. There is some subtle halation on the fencing in the background. Graded in Resolve Studio 17.
This video shows a couple of sample grades from stock footage shot with an ARRI Alexa LF. The primary focus was the character's skin, followed by enriching bounce colors from background lighting.
The video was graded in Resolve Studio 17.
This footage was originally graded on the prior-generation Mac Book Pro used in the studio. The goal was a 'commercial' look from stock RED Helium 8K footage.
No LUT's or CST's were used in the grade, which was done in Davinci Resolve Studio 17.
This video presents several film looks from stock RED Dragon footage. My favorite detail was adding subtle halation in the talent's hair.
No LUT's or CST's were used in the grade, which was done in Davinci Resolve Studio 17.
This was a very challenging grade as it represented the first time I ever worked with underwater footage. The footage was shot on a Black Magic Pocket Cinema Cam 4K.
The grade brings out a lot of color in the sunken sub and offsets the diver from the background. Graded in Davinci Resolve Studio 17.
This was some more stock video taken from the Sony A7 S3 in SLog2 format. It was transferred to ACES 1.2 and then graded with the focus on a softer, more filmic look that was output
to REC 709.
Most of the focus was on the baby's skin and complimentary colors. Graded in Davinci Resolve Studio 17.
This was one of the more challenging grades I've attempted from stock footage, this time from a Canon C500 Mk II. No matter how good the camera, there are always issues with filming mulitple shots in
the dark under a variety of lighting conditions.
Graded in Davinci Resolve Studio 17.
This was a personal experiment to see just how well the Go Pro 10 functioned as an A-Cam. It's mixed with drone footage in this project that includes not only aerial shots, but footage from inside a famous mine.
Graded in Davinci Resolve Studio 17.
This footage was shot entirely handheld (run-and-gun) at the Texas State Fair as a night videography test for the iPhone 14 Pro MAX. Shots were chosen to cover a range of tests for the phone including an illustration
that lens flare dots are still with us :)
Graded in Davinci Resolve Studio 18.
A video tour of Garden of the Gods in Colorado Springs. Shot over four separate days on foot, from a Jeep Tour, and in personal vehicle. All footage was shot on an iPhone 12 Pro MAX.
The look is rich and vibrant - almost like being in a dreeam. Graded in Davinci Resolve Studio 17.
This is a throwback to the old-school WinAmp waveform visualizer. The waveform moves to the beat of background audio. This presentation is unique in that Fusion FX is mixed with color grading that is intended to accentuate
the video FX, not provide any specific look.
Graded in Davinci Resolve Studio 17 with Fusion FX.
This video starts with several example grades applied to DJI Mavic Mini footage that I shot on a very bright morning. The highlight is day-for-night where I did an evening sky replacement on the drone footage.
Graded in Davinci Resolve Studio 17
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