Emily Haine

At the same time, the unique palette of the print stock and the other parameters were often creative choices made by the production, so you could say that it was a part of the look development and supposed to be a great starting point for the color timers. Having said, (and what you are pointing out) it was not easy to control those elements so you could say it caused some interesting problems sometimes as well.

I think the best once are those on Filmlights site. Someone with some time/capasity should gather them in the tutorial section of this site

These images looks great, well done Mats!

Remember that most looks can be achieved with a very simple node structure and primaries only. Back in the color timing days they got only global RGB and density controls and made beautiful looking films that are used as references today. It took me years to understand the power of the basic controls. Stefan got a sixth sense and has stated several times that he can see how an image should look like. Creating great looking images is all about knowing what makes your image look good, not about what buttons to push. Many of the Company 3 colorists use simlar techniques and learn from each other. So it could be a great idea to read some of the premium articles written by the CO3 colorists (Paul Ensby, Tyler Roth, Jill Bogdanowicz) to get some insight into the way they think. I also recommend to read Trish Cahill's article as her style is really close to Stefan's and it's also loaded with technicalities.

Or format them to FAT32 / NTFS if you don't need the content.

Beautiful color palette @Nikola Stefanovic, interesting to see how you have hue-shifted all the whites in the walls to greener and bluish tones. Did you separate out those areas or was that already 'colored' by the light set-ups?