In cinematographic post-production, the traditional analogue film workflow co-exists today with the Digital Intermediates (DI) workflow. In DI, the film timing operations are replaced by digital colour correction. During colour correction high quality CRT displays and digital projection replaces the film, however, final results in colour and dynamics are always assessed via a film print. To ensure film-like colour rendering on a target display other than a film projector, a 3D Look Up Table (LUT) based colour transformations needs to be used. The LUT is calculated from colour measurements on film and on target display. This paper analyses current postproduction workflows with respect to their needs in colour management. We discuss the principle approach on how to obtain a LUT considering practical constraints. The paper presents two new contributions that show (a) how to choose a set of colours and (b) how to measure them in order to capture film look. Finally, verification and subjective tests are discussed in order to ensure the quality of digital film look.