Arch Pro exists because I couldn’t find a LUT actually built for my camera that I truly loved.
Arch Pro exists because I couldn’t find a LUT actually built for my camera that I truly loved.
Arch Pro exists because I couldn’t find a LUT actually built for my camera that I truly loved.
What started as a one-man-band livestreaming problem turned into a camera-matching system built from charts, frustration, rental invoices, and a stubborn refusal to accept color that was close but not quite right.
A short history of getting color right
A short history of getting color right
From pandemic livestreams to a sensor-specific LUT system trusted by working post teams.
From pandemic livestreams to a sensor-specific LUT system trusted by working post teams.
01 / THE SCRATCH
It was born out of a little bit of frustration. During the pandemic I was helping orchestral and theatrical productions livestream their shows to share art with the world during a very scary time, and while they were thrilled with the results (and with what can be accomplished by a one-man band) I was never 100% satisfied with the image coming right out of camera.
Given the time and budget, a skilled colorist could make nearly any footage look good. I am not a skilled colorist, but I like to think I know what looks good. Pair that with being unsure of how long we’d all be livestreaming and working remote, and I decided to start down this path, mostly to scratch my own itch.
It was born out of a little bit of frustration. During the pandemic I was helping orchestral and theatrical productions livestream their shows to share art with the world during a very scary time, and while they were thrilled with the results (and with what can be accomplished by a one-man band) I was never 100% satisfied with the image coming right out of camera.
Given the time and budget, a skilled colorist could make nearly any footage look good. I am not a skilled colorist, but I like to think I know what looks good. Pair that with being unsure of how long we’d all be livestreaming and working remote, and I decided to start down this path, mostly to scratch my own itch.
It was born out of a little bit of frustration. During the pandemic I was helping orchestral and theatrical productions livestream their shows to share art with the world during a very scary time, and while they were thrilled with the results (and with what can be accomplished by a one-man band) I was never 100% satisfied with the image coming right out of camera.
Given the time and budget, a skilled colorist could make nearly any footage look good. I am not a skilled colorist, but I like to think I know what looks good. Pair that with being unsure of how long we’d all be livestreaming and working remote, and I decided to start down this path, mostly to scratch my own itch.
I wasn’t chasing a trendy grade. I just wanted the little camera to match the big stuff.
I wasn’t chasing a trendy grade. I just wanted the little camera to match the big stuff.
I wasn’t chasing a trendy grade. I just wanted the little camera to match the big stuff.
The original Arch Pro problem statement
The original Arch Pro problem statement
02 / THE MATCH
I had access to some high-end cinema cameras, so I shot reference charts with those, then shot the very same charts with my favorite camera at the time: Blackmagic’s Pocket 4K. From there it was a matter of fiddling around in the color pane of DaVinci Resolve until my little Pocket matched the big stuff.
After much learning, color warping, and considerably more frustration than I started with, I arrived at a look I loved. Things began getting back to normal. I’d get hired as the DP on a gig here and there and bring my then-nameless LUTs along for video village. Folks really liked the look. Some smaller productions asked for a copy. Neat!
I had access to some high-end cinema cameras, so I shot reference charts with those, then shot the very same charts with my favorite camera at the time: Blackmagic’s Pocket 4K. From there it was a matter of fiddling around in the color pane of DaVinci Resolve until my little Pocket matched the big stuff.
After much learning, color warping, and considerably more frustration than I started with, I arrived at a look I loved. Things began getting back to normal. I’d get hired as the DP on a gig here and there and bring my then-nameless LUTs along for video village. Folks really liked the look. Some smaller productions asked for a copy. Neat!
I had access to some high-end cinema cameras, so I shot reference charts with those, then shot the very same charts with my favorite camera at the time: Blackmagic’s Pocket 4K. From there it was a matter of fiddling around in the color pane of DaVinci Resolve until my little Pocket matched the big stuff.
After much learning, color warping, and considerably more frustration than I started with, I arrived at a look I loved. Things began getting back to normal. I’d get hired as the DP on a gig here and there and bring my then-nameless LUTs along for video village. Folks really liked the look. Some smaller productions asked for a copy. Neat!
03 / THE SYSTEM
So I packaged them up and tried my hand at selling them. Worst case: nobody buys them and I’m out a few months of hosting. To my shock, I sold over a thousand copies in the first year and received a ton of feedback and supporting footage that let me keep refining along the way. Call that Arch Pro 1.0.
That success funded the sequel: I rented a ludicrous number of cameras and made the process as scientifically consistent as possible: the same lens shooting the same color checker chart, each sensor output measured against the same high-end reference. Not one LUT stretched across every camera, but a system uniquely matched to each camera’s sensor and LOG profile.
So I packaged them up and tried my hand at selling them. Worst case: nobody buys them and I’m out a few months of hosting. To my shock, I sold over a thousand copies in the first year and received a ton of feedback and supporting footage that let me keep refining along the way. Call that Arch Pro 1.0.
That success funded the sequel: I rented a ludicrous number of cameras and made the process as scientifically consistent as possible: the same lens shooting the same color checker chart, each sensor output measured against the same high-end reference. Not one LUT stretched across every camera, but a system uniquely matched to each camera’s sensor and LOG profile.
So I packaged them up and tried my hand at selling them. Worst case: nobody buys them and I’m out a few months of hosting. To my shock, I sold over a thousand copies in the first year and received a ton of feedback and supporting footage that let me keep refining along the way. Call that Arch Pro 1.0.
That success funded the sequel: I rented a ludicrous number of cameras and made the process as scientifically consistent as possible: the same lens shooting the same color checker chart, each sensor output measured against the same high-end reference. Not one LUT stretched across every camera, but a system uniquely matched to each camera’s sensor and LOG profile.
1,000+
1,000+
1,000+
copies sold in the first year, followed by the feedback and real-world footage that made the system sharper.
copies sold in the first year, followed by the feedback and real-world footage that made the system sharper.
04 / THE THIRD INSTALLMENT
Along the way, Arch Pro found its way into workflows at places like WarnerMedia, Condé Nast, and IGN. Teams that could build anything in-house and chose not to.
What you’re looking at now is Arch Pro 3.0… a return to the drawing board. Every LUT rebuilt around a very simple idea: the Natural LUT is the truth. It handles the conversion, matched to your sensor, and nothing more. Filmic and Vibrant became character LUTs you apply after it, and the twelve Film Looks work the same way. So, instead of you having to live with my taste at 100%, you can dial any of them to exactly your taste with the mix controls you already have. And thanks to a few very vocal supporters, there’s now full DaVinci Wide Gamut support, so the color-managed crowd can build their corrections before or after the conversion, wherever their workflow wants it.
Along the way, Arch Pro found its way into workflows at places like WarnerMedia, Condé Nast, and IGN. Teams that could build anything in-house and chose not to.
What you’re looking at now is Arch Pro 3.0… a return to the drawing board. Every LUT rebuilt around a very simple idea: the Natural LUT is the truth. It handles the conversion, matched to your sensor, and nothing more. Filmic and Vibrant became character LUTs you apply after it, and the twelve Film Looks work the same way. So, instead of you having to live with my taste at 100%, you can dial any of them to exactly your taste with the mix controls you already have. And thanks to a few very vocal supporters, there’s now full DaVinci Wide Gamut support, so the color-managed crowd can build their corrections before or after the conversion, wherever their workflow wants it.
Along the way, Arch Pro found its way into workflows at places like WarnerMedia, Condé Nast, and IGN. Teams that could build anything in-house and chose not to.
What you’re looking at now is Arch Pro 3.0… a return to the drawing board. Every LUT rebuilt around a very simple idea: the Natural LUT is the truth. It handles the conversion, matched to your sensor, and nothing more. Filmic and Vibrant became character LUTs you apply after it, and the twelve Film Looks work the same way. So, instead of you having to live with my taste at 100%, you can dial any of them to exactly your taste with the mix controls you already have. And thanks to a few very vocal supporters, there’s now full DaVinci Wide Gamut support, so the color-managed crowd can build their corrections before or after the conversion, wherever their workflow wants it.
Every trilogy needs a strong third installment.
Every trilogy needs a strong third installment.
Every trilogy needs a strong third installment.
If you shoot LOG on a Canon, Sony, Blackmagic, Nikon, Panasonic, DJI, or iPhone, there’s a set here matched to your exact sensor—and if you want to see what it does before spending a dime, grab a free LUT below.
If you shoot LOG on a Canon, Sony, Blackmagic, Nikon, Panasonic, DJI, or iPhone, there’s a set here matched to your exact sensor—and if you want to see what it does before spending a dime, grab a free LUT below.
Arch Pro is a precision-tuned LOG to REC709 LUT system built specifically for each camera's sensor and LOG profile. The base set includes a Natural LUT uniquely matched to your camera, not adapted from a generic template. This isn't a one-size-fits-all solution, it's color engineered per-sensor that just works.
Copyright © 2026 Arch Pro. All Rights Reserved.
Get in touch at hi@archpro.studio
Arch Pro is a precision-tuned LOG to REC709 LUT system built specifically for each camera's sensor and LOG profile. The base set includes a Natural LUT uniquely matched to your camera, not adapted from a generic template. This isn't a one-size-fits-all solution, it's color engineered per-sensor that just works.
Copyright © 2026 Arch Pro. All Rights Reserved.
Get in touch at hi@archpro.studio
Arch Pro is a precision-tuned LOG to REC709 LUT system built specifically for each camera's sensor and LOG profile. The base set includes a Natural LUT uniquely matched to your camera, not adapted from a generic template. This isn't a one-size-fits-all solution, it's color engineered per-sensor that just works.
Copyright © 2026 Arch Pro.
All Rights Reserved.
Get in touch at hi@archpro.studio