Everything looks better on KODACHROME – K-Tone LUT

Many moons ago, I made a Profile for the FS100, that mimics (as good as possible) the look of vintage Kodachrome film. Now I made a LUT that does the same. I kind of “re-engineered”  the KODACHROME 828, daylight & Type A material, that was made from 1936 to 1962. This is the film that came out before the K-11 processing. It has a very nice “Vintage-Sweet-Home-Alabama-Look” to it, and gives you some very special red, yellow and blue tones. It also has a certain elegance and poetry to it that I really love. The K-TONE is a 3D cube LUT that plays nice wit most NLEs and color grading programs. The K-Tone LUT is expecting Log footage as input. 

Kodachrome was manufactured by Eastman Kodak from 1935 to 2009. Kodachrome was the first successfully mass-marketed color still film using a subtractive method, in contrast to earlier additive “screenplate” methods such as Autochrome and Dufaycolor, and remained the oldest brand of color film.


Over its 74-year production, Kodachrome was produced in formats to suit various still and motion picture cameras, including 8mm, Super 8, 16mm, and 35mm for movies and 35mm, 120, 110, 126, 828, and large format for still photography. It was for many years used for professional color photography, especially for images intended for publication in print media.


Kodachrome is appreciated in the archival and professional market because of its color accuracy and dark-storage longevity. Because of these qualities, Kodachrome was used by professional photographers like Steve McCurry and Alex Webb. McCurry used Kodachrome for his well-known 1984 portrait of Sharbat Gula, the “Afghan Girl” for the National Geographic magazine.


As digital photography progressively reduced the demand for film in the first decade of the 21st century, Kodachrome sales steadily declined. On June 22, 2009 Eastman Kodak Co. announced the end of Kodachrome production, citing declining demand. Many Kodak and independent laboratories once processed Kodachrome, but only one Kodak certified facility remained after the announcement: Dwayne’s Photo in Parsons, Kansas, where processing is scheduled to cease in December 2010. The final roll of 36-frame Kodachrome to be manufactured was tracked by National Geographic; it was shot by photographer Steve McCurry and processed by Dwayne’s Photo in July



They give us those nice bright colors
They give us the greens of summers
Makes you think all the world’s a sunny day, Oh yeah
I got a Nikon camera
I love to take a photograph
So mama don’t take my Kodachrome away

by Paul Simon

Download the K-TONE LUT


43 thoughts on “Everything looks better on KODACHROME – K-Tone LUT

    • I guess it needs real log, but it’s worth a try.
      Keep in mind, that this is not some magical look, that you just slap on your material and call it a day.
      It’s a starting point. Especially when you do this with FS100 material (or any other footage that is not real LOG). When you have Resolve, you can use a 709>LOG LUT first and than add the K-Tone and go from there.

      • ok, then are there other log profiles? I’m unaware of any other recipes for log profiles for a fs100. would you happen to be able to share a log profile or a place to find a real log profile? because if this requires one, I’m unaware of where to find one or how to create my own

      • I’m going to try it on some BMCC RAW footage this weekend, for sure.

        And I’ll be trying it out on some FS100 material shot in un-compressed with the HyperDeck Shuttle 2. I’ll use the G-Log PP in camera, then do a primary correction node, then apply the K-Tone LUT in a second node. I’ll try tweaking from the two nodes or add an additional node to see what gets me closest to KODACHROME look.

        Thanks Frank!

  1. Me too ,
    im trying to apply your LUT but if just doesn´t work (i´m working with LUT BUDDY After effect ) Any ideas?
    Thanks for share your work

  2. thanks a lot man! I downloaded the LUT. It’s brilliant!
    Can I ask if it is possible to create LUTs in a sort of brown/teal look & what would it take to do so

      • Which NLE are you using?

        In DaVinci Resolve, add a node then right click and find the lut in the 3D LUT menu and select it.

        Before using the LUT

        copy and paste the .cube file into:

        PC: ProgramData\Blackmagic Design\DaVinci Resolve\Support\LUT
        (you may have to select view hidden folders to find this)


        MAC: /Library/Application Support/Blackmagic Design/DaVinci Resolve/LUT/

  3. hey troy, it says so in the comments above. someone was using after effects with LUT buddy, and then another guy said the same thing with LUT buddy so i’m assuming Adobe Premiere Pro

  4. In AE you don’t need LUT-Buddy – you can apply it with the LUT-effect that comes with AE.
    I don’t use LUT Buddy, but as far as I know, the LUT needs to be reformated to make it workable.

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  14. Really gorgeous color profile — thank you for sharing it! I’m using AE and converted my non-LOG images to LIN with Cineon Converter before applying and it worked like a charm. Incidentally, it looks great applied to grayscale images as well.

    If you’re taking comments, I’d say that in general Kodachrome tends to boost the most saturated colors even higher and mute the midtones even further.

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  20. Hello Frank,

    Link does not work. I really wanted to try this out. Amazing Kodachrome emulation indeed. Any chance you can fit it ?
    Thanks a lot


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