April 5, 2016 Jim Wicks

Rocket Rooster

This is the third in my continuing series showcasing LUT packages that are available for the colorist and the editor/colorist. Unlike typical online reviews, I’ve chosen to let the LUT creators speak for themselves – in their own words.

For newbies and those unfamiliar with Look Up Tables, a LUT is what some of us in the post-production community use from time to time to map one color space to another.

How do LUTs do that? Why do they do that? To save both you and me time and effort, you can learn more about LUTs here, here, and here.

Kevin Davies is a filmmaker at Whiteshore Studios, a small production house he runs with his brothers in Africa. Davies is the founder of Rocket Rooster, a small website where he sells what he calls, “all the little film and photo related bits and bobs I tinker with.”  His goal is to help to give other filmmakers affordable products that improve the quality of their videos using very easy to use solutions.

How did you come up with the name, Rocket Rooster?
I don’t really know actually. I think I thought an astronaut Rooster would be funny and so the Rocket Rooster name probably came out of that.  People seem to love the name, and I do too.

How would you classify the LUTs you sell?
I have a very large selection of emulation LUTs available but I have lots of look LUTs, too. I think emulation LUTs are becoming more popular than the look LUTs now and the Rocket Rooster name is becoming associated with film emulation more and more. I don’t mind that, I love film, I love the look.

Who were your LUTs created for; editors, novice or experienced colorists?
I think I have something any filmmaker irrespective of their experience level can use. In general the look LUTs are aimed at the editor or amateur colourist where as the emulation LUTs really need someone experienced to get them to look their best.

How do you create the LUTs?
My process has developed over time. I use several software packages to create them these days. Almost every look I create goes through a series of edits before it becomes a final LUT for sale on RR. I may use Photoshop to create the core look send that over to Speedgrade for tweaking or to Resolve but they all end up in After Effects before I publish them.

Give me a brief description for the LUT packages that you offer.
 
Cinema Colour

Cinema Colour 1 PRO
The pack that started it all, the Cinema Colour PRO pack hosts a set of very simple to use looks ranging from Cinematic to Alternative. This set is a great tool for those looking to build a quality grade from.
 
Cinema Colour 2

Cinema Colour II Extended
Based on Super 35 and super 16 film stocks, the Cinema Colour II pack features a full set of 3D LUTs that emulate both Negative and Positive Print stock. We also feature several film stock mixes and grades to make working with the pack faster and easier in your NLE or Grading Suite.
 
Monochrome

Monochrome
The Rocket Rooster Monochrome is a set of quick black and white looks ranging from film emulations to neo-vintage looks.
 
Analog Cinema

Analog Cinema 1 & 2
Both the Analog Cinema 1 and 2 are based on Rocket Rooster’s most popular photography sets, the Analog Film series. These are looks based on photographic 35mm film that ranges from vintage stocks, popular slide films and modern film.
 
GH4 Looks

GH4 Log looks
The GH4 Log set is a high end set of looks made for the Panasonic GH4 with a wide range of artistic, modern and vintage grades. The pack is aimed at Vlog -L and CineLike D shooters but can accommodate other GH4 profiles with some minor tweaks.
 
Blockbuster

Blockbuster
This set offers a quick and easy ‘HolyWood Film Look’ inspired by real grades from Blockbuster Movies.
 
Alternative Set

Alternative Set
The Alternative set boasts a range of stylistic looks great for those times when you need something different for your film.
 
Nature Looks

Nature Looks
The Nature Looks are the side kick to the Cinema Colour I pack and feature Cinematic grades balanced for nature shots.

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Jim Wicks

Jim is a recognized and well-respected member of the film preservation and post-production community. His work is seen at the movies, on Blu-ray, television, the web, and mobile devices worldwide. Color Correction & Grading services by a Pro - without the high prices or cost of a big facility. Email: jim@jimwicks.com · Phone: 1+ (561) 721-5187