Creating a "sense of oil painting" is not only achieved by lighting, but also by color matching, so the feeling is not irrelevant. Mr Turner's exquisite image is the result of the joint efforts of Dick and his team. The method of making color palette is studied, and finally it is used as one of the important visual references of the film to make LUT for on-site monitoring. Explain the production steps of LUTs, hoping to help you understand the color matching technology. There have been many studies on Turner's color habits in academic circles, including a series of interesting studies on Turner's color tendency in different periods by Tate Gallery. There is indeed a set of shots in the film to reproduce an oil painting by Mr. Turner (Intrepid, 1838), but photographer dick pope prefers to convey the temperament of the original through film images. Therefore, he tried to find a way to use the same colors and colors in movies instead of reproducing Turner's paintings. Before getting ready to start, I, Gordon Segrove(AC), the first photography assistant, and Peter Marsden(DIT), a digital imaging engineer (both talented photographers in their respective fields) analyzed Turner's paintings. We have participated in many exhibitions, consulted books and visited the Tate Gallery in Britain. Gordon studied Turner's use of color in particular. Gordon wrote: "Turner uses yellow and blue as his two main complementary colors, warm yellow in highlights and blue or turquoise in shadows." In fact, according to the data, this color tendency seems to be caused by the pigments available at that time. Turner's application of these two complementary colors follows the color grading theory well. For example, if you add yellow to the highlights and blue to the shadows, you change the colors of the light and dark parts and change the world around the characters, but the color of the skin color of the characters is still the same (which is why 70% of the work of color matching is to restore the skin color of the characters).