That's when you know you want it to look moonlight at the end, but you used the sunlight because it's going to be easier to correct it down than to actually shoot at night, with film, with film. We also have things along this nature like shooting day for night. So, when we used to shoot film, film often, the original film, like the RAW, flat, I shouldn't say RAW, like the log or flat image, did not look to the eyeball the way that it would look finally.
There's other reasons to apply LUTs and other ways to do it, but in terms of the context of transcoding, we want to talk about a substitute for that first pass. So if we've decided to shoot, as we've discussed, log to have more dynamic range, but we've accepted that the naked eye will see it as flat, what a LUT does is quickly apply, not the final color correction, I mean it could be that, but generally just to quickly apply something so that our eyeballs can see it closer to how it's going to be natural while we're editing. And the idea of a lookup table is a set color correction setting that often goes with flat log shooting. And we're doing all these things that went away for a while in the digital world and now have come back, and often have similar names and ideas to things from the film world. We're lensing cameras again, and we're shooting RAW to then do a process that we refer to as dailies and a first pass color correction. And in the last few years of video production, it's just very interesting that so many of the new technologies seem to hearken back to older technologies. There's this expression that everything old is new again.