For Videographers & Filmmakers
Look Match
Real software: show it a reference image, name every camera in the edit, and it generates genuine .cube LUT files — three strengths per camera, loading straight into Resolve, Premiere or Final Cut.
$19 one-time · instant download · works with Claude & ChatGPT
There's a frame you can't stop thinking about — a still from a film, a shot from somebody's short. You know exactly what you want your footage to feel like, and you have no idea which curves and wheels get you there.
Then the drone footage arrives in a different log format, so the grade you finally landed on the A-cam is wrong on every aerial in the timeline, and the edit is two looks pretending to be one.
This one is not instructions. It's working Python: a reference image goes in, and real .cube files come out — one per camera on the job.
Show it a film still or a frame you admire, name your log format, and it generates genuine .cube LUTs that load straight into Resolve, Premiere or Final Cut. Several stills of the same look blend into one look family.
› I want this look. Here's the reference. I shoot S-Log3.Name every camera in the edit and they go into one run. The look is solved once and baked per format, so the drone and the A-cam land on the same look instead of three near-misses. Two formats produce nine files, and it counts them for you.
› FX3 on S-Log3 and a Mini 4 Pro on D-Log. Matched set, please.Every run writes a -look.json recipe: the look itself, not the baked cube. Send it back next year and the same grade rebuilds bit-for-bit with the reference image long deleted — including onto a camera you hadn't bought yet.
Include one still from your actual footage and the match roughly doubles in quality. The script also reports where that frame's exposure sits in stops from mid gray, and beyond ±1.5 it stops and tells you to fix the exposure before the look.
› Here's the look and a frame of my footage. Match them.Too warm, shadows too crushed, too much colour: one bounded flag each, working range 0.2 to 0.4. Every set arrives at 100, 75 and 50 percent, and re-running writes a v2 beside the v1 already sitting in somebody's DaVinci folder.
› Slightly cooler and lift the shadows a touch.One delivery note per job, with the camera → LUT map filled in. That table is the reason nobody applies the drone LUT to the A-cam. It names the look, the formats, what the LUT does and doesn't carry, and the install line per editor.
› Write the delivery note for this matched set.This is the one skill in the store that ships as working software:
-look.json recipe, so this look outlives the jobA general chatbot describes a grade in words. This computes a transform against your camera's published log curve and writes a 33³ file, which is a different product entirely.
S-Log3 and S-Log2, C-Log3, V-Log, LogC3 and LogC4, D-Log, N-Log, F-Log and F-Log2. In a matched set the same scene value through each camera's own LUT agrees to roughly 1 of 255 through midtones and highlights, measured on the demo look.
Every file gets read back off disk and checked for node count, range, per-channel monotonicity and tonal separation, at the bar its own format sets. It exits non-zero on a bad file, so one failing camera fails the whole delivery rather than reaching a client.
Install it, then type any of these. No prompt-writing, no setup screens.
Plug and play
A skill folder and a one-page install guide. Claude and ChatGPT are both included.
About a minute, once. Then fill your profile — the same one every skill in the suite reads.
Paste the job in front of you — an email, a brief, a spreadsheet. It runs the whole workflow and hands back a finished file.
Every skill in the store ships with this section. If a tool won't tell you its limits, it's selling you something.
A small file you add to Claude or ChatGPT once. It teaches the AI you already use this specific professional workflow — so from then on, one sentence runs the whole job. No prompt writing, no new app to learn. You buy it once, download it, and it's yours. It runs inside the Claude or ChatGPT account you already have; the free tiers work too.
Ask a chatbot for a look and it writes a paragraph of colour-grading advice. Look Match generates actual .cube files — three strengths per camera, plus a before/after preview — by computing a transform against your camera's published log curve. You drag the result into Resolve, Premiere or Final Cut.
Yes, and Look Match builds them together. Name every log format in the edit and one run produces a matched set: the look is solved once and baked per camera, so the drone, the B-cam and the A-cam land on the same look. A LUT built for one log curve applied to another is the single most common reason a delivered LUT looks broken.
Every run saves a small JSON file holding the look itself rather than the baked LUT. Send it back on the next job and the identical grade rebuilds bit-for-bit, with the original reference image long deleted — including onto a camera bought after the fact. That's how a house look, a client's brand look or a series look survives the job that created it.
Ten log formats: Sony S-Log3 and S-Log2, Canon C-Log3, Panasonic V-Log, ARRI LogC3 and LogC4, DJI D-Log, Nikon N-Log, and Fujifilm F-Log and F-Log2. Each is built from the manufacturer's published transfer function rather than an approximation. Rec.709 footage is handled too.
No. Look Match is $19 once, yours to keep, updates included.
All 4 share one profile you fill in once. Get The Cinema Suite for $49 and save $27.
One held rate pays for this many times over. $19 once, yours to keep.
Get this skill — US$19