Film is definitely still available, and you can use a target to as a starting point for a LUT, though the workflow is not straightforward. The core of the problem is that you're only sampling a fraction of the number of colors in the LUT, so to derive the rest of the LUT entries, you need to interpolate and extrapolate.
The trick is which algorithm you use to take the sparse 3D mesh of the calibration target and warp/interpolate the rest of the values. Trilinear would be the most naïve (and lowest quality) approach.
There's a ton more detail about how to actually match digital to film in Steve Yedlin's blog [1], including a cool video of sparse color interpolation in 3D (toward the bottom of the page).
Comments
Film is definitely still available, and you can use a target to as a starting point for a LUT, though the workflow is not straightforward. The core of the problem is that you're only sampling a fraction of the number of colors in the LUT, so to derive the rest of the LUT entries, you need to interpolate and extrapolate.
The trick is which algorithm you use to take the sparse 3D mesh of the calibration target and warp/interpolate the rest of the values. Trilinear would be the most naïve (and lowest quality) approach.
There's a ton more detail about how to actually match digital to film in Steve Yedlin's blog [1], including a cool video of sparse color interpolation in 3D (toward the bottom of the page).
[1] http://www.yedlin.net/NerdyFilmTechStuff/index.html
[2] http://www.yedlin.net/OnColorScience/index.html