kesh

creative director & colourist

projects@ke5hh.com

PROFESSIONAL GRADES
FROM REAL PROJECTS

Built for a soft, organic image, these professional LUTs are accurate, versatile, and deliver the premium aesthetic big clients demand.

RETROGRADED LUT Bundle

FILM LOOK LUTs

Transform your footage instantly. Five professional LUTs plus one utility LUT, used in real brand projects. Get the cinematic look that gets clients hooked. Includes a step-by-step guide for perfect results every time. Compatible with all camera systems.

Compatible with DaVinci Resolve, Premiere Pro, Final Cut Pro, and more
$25
Get Instant Access

Instant download • Used by 400+ creators

EXPLORE THE LOOKS

Classic Film
A timeless, general-purpose film look inspired by classic Agfa stocks. Slightly faded with gentle contrast and a nostalgic tone that works reliably across most lighting conditions.

Ektar Warm
A vibrant yet controlled Kodak-style colour grade used on brand projects. Warmer than Superia Green, with rich color separation and a clean cinematic finish.

Superia Green
A Fuji-inspired profile with subtle green bias and cooler balance. Clean skin tones with a distinctly analog character, well suited to modern automotive footage.

Instant Fade
An atmospheric instant-film look with heavy fading and deeper shadows. Ideal for moody scenes, low light, and cinematic storytelling.

Chrome Fade
A faded Kodachrome-style colour grade with warm contrast and washed colors. Designed for bright, sunny conditions and classic film aesthetics.

Also included: A utility colour grade that applies film-style subtractive saturation. Adds color density and cohesion without oversaturation, ideal for refining a final grade.

TESTIMONIALS & CLIENT WORK

What creators say about these LUTs, plus work I've shot and graded for private clients, all graded with this pack.

LUCID MEDIA

Head Videographer at Ludere Studio

ive been looking for a good film LUT pack for too long, its always the ones no one knows about that are the best! These are SO good

Private client work · graded with Classic Film

Private client work · graded with Ektar Warm

WHAT'S INSIDE

Five professional colour grades, each used on real brand projects and designed to give your footage a distinct organic film look. These are the same looks that have satisfied demanding clients. Plus one utility LUT and a guide on how to correctly apply the LUTs for the best results.

These LUTs are designed to work on top of rec709 footage for maximum flexibility. It's best practice to separate creative looks from technical corrections. Simply convert your log footage to rec709 using your camera's LUT or color space transform, make your technical corrections (exposure, white balance, etc.), then apply the creative LUT.

You will receive five colour grades and one utility LUT in the industry standard .CUBE format, which makes them widely compatible with editing software.

Compatible with DaVinci Resolve, Premiere Pro, Final Cut Pro, and more

ABOUT ME

Kesh - Creative Director & Colourist

I'm a creative director and colourist working across commercial and brand projects with substantial production budgets. The colour grades here are the same ones I use in my professional work, developed and refined through real projects.

Rather than generic presets, these are working tools designed to give you a solid foundation. They're versatile enough to use as-is, or as a starting point for further refinement to match your specific vision.

Each grade has been tested across different cameras, lighting conditions, and project types. They're built to be reliable, consistent, and adaptable to your workflow.

FAQ

The best practice is to separate technical corrections from creative looks. First, normalize your footage to Rec.709 if it's in log or a different color space. Make your exposure, white balance, and basic corrections first. Then apply the creative LUT on top of properly balanced footage. This workflow ensures the LUT receives consistent input and produces predictable results. In DaVinci Resolve, this means using nodes: correction nodes first, then your creative LUT node, followed by any final refinements.

Start by matching exposure and contrast across all shots before applying your creative LUT. Use scopes (waveform, vectorscope) to ensure similar luminance levels and color balance. Apply the same LUT to all shots in the sequence, then make individual adjustments only where necessary. Pay attention to skin tones and neutral elements (grays, whites) as reference points. In DaVinci Resolve, use the ColorTrace feature to copy grades between shots, then fine-tune. The key is establishing a consistent base before the creative look.

These LUTs are designed to work on Rec.709 footage, not log. The reason is flexibility: by normalizing to Rec.709 first, you ensure consistent input regardless of your camera's log curve. Convert your log footage to Rec.709 using your camera's official LUT or color space transform, make your technical corrections, then apply the creative LUT. This methodology separates the technical conversion from the creative look, giving you more control and predictable results across different cameras and shooting conditions.

Technical LUTs convert between color spaces (e.g., log to Rec.709) and should be applied first to normalize your footage. Creative LUTs, like these film looks, add artistic character and should be applied after technical corrections. The methodology is: technical correction → exposure/balance adjustments → creative LUT → final refinements. Never apply a creative LUT to log footage expecting it to also do the technical conversion - this creates unpredictable results and limits your ability to make proper corrections.

Make adjustments in nodes after the LUT, not before. Use secondary corrections (qualifiers/masks) for specific areas rather than global changes that affect the entire image. If you need to adjust exposure, do it subtly and watch your highlights and shadows - film looks often have specific rolloff characteristics you don't want to flatten. For color adjustments, work with the LUT's color palette rather than against it. Use curves for fine-tuning contrast in specific ranges. The key is understanding that the LUT establishes the foundation; your refinements should enhance, not replace, that foundation.

Aim for proper exposure in-camera, avoiding clipped highlights and crushed shadows. Film look LUTs work best with footage that has information across the entire tonal range. When correcting exposure before applying the LUT, use your waveform monitor to ensure you're not overcorrecting - slight underexposure is often more forgiving than overexposure. The LUT will add its characteristic contrast and color response, so start with a balanced, neutral image. Avoid pushing exposure too hard in post; let the LUT do the heavy lifting for the look.