Відео

Hi, sorry for taking so long. This DCTL has recently been replaced by the IRIS Density Pro DCTL. The demo version for which is on my kofi page (link is also found on the product page linked in the description.

Really need to stop commenting before I finish a video, like this is a stream chat

Thank you, that's very kind! :)

Thank you for your kind words! And you're welcome! I keep my fingers crossed for you :)

Thank you so much for your support! Glad you enjoy my tools :)

To be honest, I haven't tried using them together, as I really use my own tools for everything and don't really have much use for the film look creator. That said, It doesn't sound like a bad idea and I don't see a reason why you couldn't use them alongside each other. You can of course download the demo and have a play around if you like the results you get. :) (Order of operations would most likely be split tone dctl → film look creator)

I will add, the film look creator obviously does a huge range of things other than just split tone, so these dctls alone can of course not recreate everything it has to offer.

Darren Mostyn also has a really interesting comparison video with FLC and Dehancer. It's a pretty good example of how the built-in Resolve tools are a really good start, but the dedicated tools like Dehancer and DCTLs offer cleaner and more precise look adjustments. But like Max said, some of the tools within FLC like the grain, halation, and bloom would be optimal to use in tandem with something like this split tone DCTL.

@@CameraTim Agreed! The grain, halation and bloom effects in Film Look Creator are *really* good. Didn't think to mention those but definitely a good idea to use those in tandem with DCTLs or other plugins.

Thanks so much Henry!

You need go to your effects add the DCTL OFX to the node. Then you can choose it from the dropdown.

@@IridescentColor you are the best! Thank you!!!!

The inverted curve helps make the curve overlay more visible on bright backgrounds, but you might need very bright pixels in the frame to really see the difference. I don't have a mini panel here so I can't replicate that behaviour. It sounds like a Resolve bug so I'm not sure if there is anything I can do to fix that, but I'll look into it. May I ask what version you are on?

@@IridescentColor I see, I thought it was meant to essentially subtract or invert the function. I am using Davinci Resolve 18.6.3 build 19 with panel version 2.0. Should there be a stipulation in the code that the black point cannot be below 0 and the white point cannot be above 1?

​@@leventehorvath1976 Yes, the the limits are explicitly defined in the code (there is actually no way to _not_ have explicit limits for sliders in DCTL, so this is a very strange bug indeed).

Hi, sorry I'm just on vacation and can't monitor my email but I'll get back to you as soon as I get the chance.

I'll be on vacation for a few days, so won't be able to do anything to this effect but I'll consider it when I'm back. I'm not categorically opposed to the idea but it does create more admin work for me so I need to see if there's a sensible way I can make that happen. I'll definitely think about it though.

Thanks very much Henry! Re centering slider positions at default - I think I'm being a bit slow, could you help me understand what you mean? In my mind all the sliders are centered at default (unless they're one-directional in which they're all the way to the left or right) but I think you may mean something else than I do? Or do you mean for the saturation module specifically? For saturation they're off centered because the conventions are different, i.e. the number reflects the amount of multiplication, so 1 is no change and the minimum is necessarily 0 because you can't have less than no saturation, and the maximum in this case is 3 because that seemed like the highest reasonable number. This means the default value ends up being left of centre. Is that what you mean? In that case it wouldn't be hard to change the parameter scaling for values >1 so that 2 represents 3, but it would indeed make the slider very touchy on the positive side. I'm honestly agnostic on what is better. I didn't make a conscious choice against that, I just defaulted to an accurate numerical representation of the math, so I'm open to changing that in the future. Or did you mean something else? Color model for hue shift is cylindrical. :)

@@IridescentColor Yeah, you got it - i was noticing the Saturation module specifically. Might be worth testing parameter scaling to see if the increased sensitivity is manageable or not. I could definitely see that increased precision might be the preferable option here if parameter scaling makes it feel way too sensitive, but I'm guessing it wouldn't be too extreme of a change given you choose a reasonably confined max value

@@HenryBobeck Gotcha! Will definitely try it out to see if it feels ok sensitivity wise. I kind of agree that it would be preferable from a UX point of view to see at a glance what's going on. Thanks for the feedback, always much appreciated :)

@@IridescentColor appreciate ya!

Not a stupid question! As a rule of thumb, your overall look is something that should live at the timeline level (or perhaps a group post level in some cases) and consist of adjustments that all of your shots would benefit from, i.e. your overall color palette, contrast curve and (if applicable) split tone and textural elements. Of course, these adjustments by definition need to be conservative and gentle enough that they work across all shots. So something like my saturation example with the red dress is probably more a shot level adjustment where you can go much narrower, because the only thing that matters is if it works on that particular shot. Usually, you'll set your overall look first and then do the shot level work underneath. You obviously can still iterate on the look after. The IRIS bundle is very much designed to shine at the timeline level but especially the surgical and dynamic versions allow for the flexibility to also make narrower adjustments at a clip level. Hope this helps and love to Australia!

@@IridescentColor thank you for your insight. I love your work and I’m grateful for you. Keep up the good work!

@@jj3396 You're welcome and thank you for your kind support!

Thank you so much Gabriel! Really glad to hear it. Thank you for all the support along the way!

Thank you! 🙌

Great suggestions! I'll see what I can do!

@@IridescentColor sounds great :)

Thank you Ismael! Appreciate it :)

Kaur Hendrikson has a Palette DCTL for exactly this purpose but there is no shortcuts for creating looks because not every palette fits every image. You can use his DCTL to enter RGB codes and refine the hues (tutorial on his UA-cam).

You are right, I already tried demo version but i failed.For me it was difficult to achieve the look.Thank you for replying brother 🤍

@@alexantonyp.g5125 do it in set design. post has limitations & it is not possible to change hues for 30-300 scenes without breaking the pallet. Even Kaurh's one will work smoothly for 12-bit or above, still with certain limitations.

Calton Hill, Edinburgh :)

@@IridescentColor Appreciate that mate

Yes. Stay tuned ;-)

Thanks Gedaly! Much appreciated. Lots of credit goes to the input from the community though! :)

In my experience being generous with the preserve neutrals slider helps a lot with noise, but if your footage has a lot of chroma noise, it's unfortunately unavoidably going to be exacerbated, so just reducing chroma noise upstream can also help a lot.

@@IridescentColor Gotcha. Thanks buddy!

Good idea. I've received a lot of feedback already so there's a good chance that I will update this one very soon with re-designed curves that allow for decreasing contrast as well. Not sure what's up with the website, it seems to have been acting up for unknown reasons. I hope it's working ok again now (?)

Thank you!

Hey, thanks for letting me know! Could you do me a huge favour and send me some screenshots to info (at) iridescentcolor.com with some info about your system? I can't reproduce the issue at all on my end, so would be super helpful to figure out what it is that causes it. Thanks!

Just sent you an email

You're too quick, UA-cam is still processing :)

Very good question actually! The greyscale ramp isn't really in a color space, it's just a ramp of values going linearly from 0 to 1 from left to right. So if I just tell resolve to *interpret* it as linear, I can use the scopes to see a graph of what anything does to values coming in, i.e. "what does this output if it receives a 0, or 0.6, or 0.7 or any other value". I could choose to have it interpret it as anything else, in this case it was just a simple way to intuitively visualise what I wanted to demonstrate. Hope that makes sense!

Honestly, just don't worry about it. This is really meant to live at the very end of your node graph. If you apply any professional log-to-log look LUT at this stage, it will clamp your values. Professional lool dev tools like Cullen Kelly's Contour clamp values. Presumably, if you let these values go negative in your grade, it's because you didn't want to see them. Resolve Color Management wouldn't bring these values back either. The only time it could ever be a problem is if you apply this curve and then do extreme color correcting downstream, but that's really not something I would advise you to do anyway. Hope that clears up any confusion!