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Generated Footage,
Finished Like Film.

Color, texture, and real lens character for AI-generated video.

I’m Still Here, Omar Kahn

Omar Kahn | “I’m Still Here”

AI-generated music video · Color + finishing · Sound design + final mix with Greg Ives · 4:38

As generated vs finished.

Drag to compare. Details shift slightly: that’s real lens distortion and bokeh being applied.

Finished: a close-up of a woman's eyes
As generated: a close-up of a woman's eyes
1 / 5

What generated footage needs.

AI video comes out of the model looking almost finished. Almost is the problem. Clips from different generations don’t match, and 8-bit exports have some room, but they break sooner when pushed.

  • Shot-to-shot consistency. One palette across clips from different prompts and models.
  • Flicker and temporal noise. Cleaned so motion holds together.
  • Skin and texture. Grain and texture so faces stop reading as plastic.
  • Real lens character. Generators shoot through a perfect lens that doesn’t exist. We apply profiles captured from real cinema and vintage glass, spherical or anamorphic: distortion, vignetting, bokeh, and chromatic aberration. Matched to your camera footage, or built as a look.
  • Real film response. Prompting “Kodak 500T” only gets you half the look of the real thing, not the science. We bring generations into film color spaces and real film processing, so color responds the way it would on a negative.
  • Masters to spec. SDR, HDR, and platform deliverables, same as camera footage.

How it works

The model makes the shots. We make them one film.

Generators are great at single shots and bad at continuity. They also leave out texture: grain, skin, the way light falls off. We bring both back, so every shot feels like it came off the same camera.

01

Send the generations

Your edit plus the best exports you have. 16-bit EXR if your tool offers it.

02

Conform and match

We rebuild the edit, clean flicker, and bring every shot to one palette.

03

Look

Film emulation built on the real math of photochemical processes.

04

Lens and texture

Profiles of real glass, plus grain and skin.

05

Master

Delivered to spec for every platform.

Best way to send it

  1. 16-bit half-float EXRNative HDR from LTX-2.5 or Luma’s Ray3 HDR model, or Runway Ruby’s EXR output. ACEScg if offered.
  2. ProRes 4444 or 422 HQ12-bit or 10-bit. Solid when EXR isn’t available.
  3. 8-bit MP4Works, with limits. 8-bit has less room, so we keep the grade gentle.

Upscale before you send. We finish at the resolution you deliver.

Ready? Send the generations →

AI video questions.

Can you grade 8-bit AI exports?

Yes, with limits. 8-bit has less room, so we keep pushes gentle. If your tool can export 16-bit half-float EXR or ProRes 4444, send that instead. It holds up far better in the grade.

Which AI tools do you work with?

Any of them. We grade what the model gives us. The ones worth knowing about export real HDR: LTX-2.5 and Luma’s Ray3 HDR model generate HDR natively with EXR output, and Runway Ruby converts generations from any model to 16-bit EXR, including ACEScg.

Can you mix AI shots with camera footage?

Yes. We match color, lens character, and texture to the camera footage so the cut reads as one film.

Send the generations.

Repair, grade, and masters. Reply within one business day.

or email adam@orangejuice.film