True to camera: the look that leaves your colour alone
Sometimes the camera got it right and the best edit is the smallest one. This look keeps your camera's own rendering and adds only a light touch of exposure help.
| What it does | The camera's own colour, with light exposure help only |
|---|---|
| Good for | When the camera already got it right |
When we'd reach for it
A well-lit ceremony, a set you'll grade later in your own editor, or any frame where you'd rather the couple remember the day than the edit.
When we wouldn't
Mixed light. When tungsten and window light fight inside one frame, the camera's guess is only a guess, and a look that sets white balance does more.
The recipe
These are the settings stored in the look, drawn rather than listed. They sit on top of your camera's own colour and the exposure and white balance CullTone sets for each photo, so the same look lands a little differently on every frame.
Every look has a strength from 0 to 1.5. At 0 you get the plain camera-matched edit, at 1 the look as drawn here, and above 1 more of everything it does. More on reading curves in tone curves for photographers.
Close to this one
Try True to camera on your own photos
Start a trial, create a project and pick this look. The studio shows it on your frames, at any strength, before anything renders.