Why Do My Film LUTs Look Bad ? - KODAK 2383
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- Опубліковано 1 жов 2024
- No Intro - PRO techniques from an experienced colourist - Why do Film Luts look Bad in DaVinci Resolve. There is a BIG MISTAKE lots of people make when applying the film luts - fixed here in 5 minutes.
*Just to clarify throughout I mention Cineon as 'Colour Space' - I mean Cineon as 'Gamma'. It is not a colour space change but a gamma curve change. I know it has confused a few people, and understand so clarifying here - pressure of recording for UA-cam - hopefully the main take away of this episode is still apparent.
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Watch the entire series here - • Killer Tips for DaVinc...
#luts #lookuptable #davinciresolve
Thanks.
few addictions to this method:
1) you "should" put the "resolve tone mapping" to "none" so the transform is more mathematically correct, this is a change from v16 where the default was "none"
2) if you have a log input you can go straight from log to cineon log, for example if you have alexa log files, you can do alexa logC/logC to rec709/cineon log.
3) you can (should?) add a small highlights corrections to smooth the shoulder of the curve, those luts are particularly aggressive in clipping the highlights
4) I recommend a node after the lut that only deals with the flare of the lut, you can make the output black a bit more intense just by lowering the shadows. a grayscale before the lut will shows where the true black sits.
Hi Walter, Yes, seems the Resolve tone mapping with default wide gamut needs looking at on a node basis. Your point 2).. I get..trying to keep the workflow here easier for the vast majority of my subscribers .. I think my workflow helps that here, but appreciated technically of course.
3 and 4 are great tips - appreciated and I see the clouds clipped - on a real grade I would fix pre 709 CST - I wasn't intending to get too detailed in this episode - its hard to know where to stop on UA-cam to keep attention and not lose people - appreciate the notes though. This was of course an example grade. Thank you for contributing - so much appreciated. Hard to balance going too deep on UA-cam - I think that is where Masterclasses are king! Watch this space. !! All the best, and thanks for contributing. Darren.
@@DarrenMostyn of course! I was trying to go "the next step".....
@@waltervolpatto6096 totally appreciated!!! The fact you are even looking at this is making me smile! I get it - I have to work out my next strategy to get this info that we have when experienced users on here without opening lots of questions that will confuse less experienced. I have a plan though. Keep you posted! I would love to think you have picked up 'some' tips from my channel!! All the best, and thanks for contributing! Darren.
Can I say "Darren Mostyn UA-cam Channel - as used by Walter Volpatto" ? :))
Joking of course!!
Just when I think I’ve reached some basic level of competency in Resolve _here comes Darren!_
Hi @icomplainer - enjoy! You might want to join my exclusive EMAIL list for free items and future goodness eepurl.com/hob0oH (non-spammy guaranteed). All the best, Darren.
@@DarrenMostyn ✅ done
Same here, So True!
You reach a basic level of competence of DVR when you had read the whole user manual
This is the only place we can learn proper color grading
Humbled. Thank you.
totaly agree!!
the TRUTH. the Resolve Trifecta Darren, Patrick, Mr. Alex ❤
Exactly
This comment is still relevant today♨️
Do you have to color transform back into Rec709 after applying the LUT? Or does the project setting being at Rec709 take that into account when being exported?
Also, why not use the Aces Transform instead of CST?
Oh boy. You've made those LUTs actually useable. Now I can't wait to go experiment after avoiding them for so long. You rock Darren!
Thanks Adam.
Right? This is mindblowing to me, I had given up on those film look LUTs altogether.
always great to explain these things. there are QUITE a few people who think LUTS are "filters" and obviously they arent (well, in a sense they are but you know what I mean). I had a friend who made a short and showed it to me. He was literally applying the film LUTS on top of rec709 and just left them dark and crunched. I said "what the hell happened?" and he said "you dont understand, these are 'film LUTS' and this makes it more cinematic. this is how films in the 70's were shot!". I explained the basics of color grading to him and he was like "ooohhhh" ha ha. Don't ever underestimate the importance of these "simple" tutorials. they are anything but. You touch on things that many people ignore, as they've usually gotten to a particular link in the chain and never go further because they don't understand the importance. This is where you come in:). cheers!
Why not just choose cineon log on the output of the first cst? Is there a difference between doing that and adding a second cst and selecting the output to be cineon? Is the only benefit being able to compound those two together?
Hi Jamie. Yes you could work like that - actually is a good workflow. The difference is I may want to key in 709, not cineon, so I allow some nodes to do that. Also, this episode is to show that you need that gamma space...it's not a dedicated node tree episode. Good to hear from you.
@@DarrenMostyn Hi, I'm just wondering if having a node with a cst from log to 709, and then another node with a cst going from 709 to cineon is destructive? Aren't you potentially throwing away info when you go to 709, that isn't going to come back when you go to Cineon? I can't help but feel that you're better off with one node going from log to cineon? Just trying to get my head round all this stuff!
Thank you for this. How would you use a film lut if you're working in the Davinci YRGB color managed color science, with the Davinci wide gamut color management preset? Would it just be the same but minus the 709 cst?
@Endrid: Did you find a solution to this question? I have tried to add a CST node with the following settings: "Input color space: use timeline, input gamma: REC.709, output color space: use timeline, output gamma: Cineon Film Log" and Tone Mapping Method set to "None". This works OK but still makes the highlights way to bright. Therefore I add a node before the CST node to reduce the highlights slightly. Not sure if that is the correct way but that's how I do it. @Darren Mostyn: Any news on the topic or is the Color manages mode still not optimal for using creative LUTs this way?
@@frykenmedia same with me. On the latest build of 17.4.6 Studio. If I do a color transform, it doesn't work for me. Everything is blown out. I'm also project managed color managed vs node.
Why do you have to tease us like this?! RELEASE A FULL COURSE ALREADY!! xD
To buy ofc ._.
Thank you Tek. You might want to join my exclusive EMAIL list for free items and future goodness eepurl.com/hob0oH (non-spammy guaranteed). This WILL be of use for you in the near future!!! All the best, Darren.
@@DarrenMostyn Hey Darren, I tried subscribing via the link and something doesn't work there, the form just returns "There are errors below". I'm positive there are no errors in my email address and name. Tried 2 different emails. (using Edge)
@@glebv Hi. I just subscribed using the link in this thread so it should work. Try another browser maybe ?
@@DarrenMostyn Thank, using Chrome solved it. Edge (the modern one, updated) apparently doesn't even display the confirmation checkmark required. Just an FYI.
@@glebv OK - good to know. Thank you.
Hey Darren, great video! Question: why do you use a CST to go from log > rec 709 gamma 2.4 then another CST from rec 709 gamma 2.4 > rec 709 cineon film log. Why not skip the first CST and just go from log > rec 709 cineon film log in the CST just before you apply the Kodak lut?
Pretty cool and clarifying, I'm working on an ACES environment due to production requests and don't seem to achieve a proper color managment settings so the film emulation luts work fine... have any clues?
Hi! Great video but I do have a question. We use either color managed workflows or CSTs to take the original color space, transform it into something a bit larger for working and then transform it again (to 709) to export it. If we place a CST node after the 709 one to transform it to Cineon, won't we be exporting in Cineon instead of 709? New to the color grading game, sorry if it to basci of a question.
Hi Darren! Great video as usual!Can I use theese FILM LUTs in a DWG workflow? Can I go from DWG to rec709/cineon log and then add the FILM LUT on a node after the transform node? Please help!
Hey Darren. How would you apply these luts in a DaVinci Color Managed project ? Say Input Color Space set to Apple log / bt2020, timeline colorspace to davinci wide gamut and output to rec709 gamma 2.4 ? I can’t get the same result as in a non color managed project using your node tree from one of your last videos. Thanks for the great work !
Congratulations for making such a good and professional UA-cam channel!!!!! I want to ask a question, to work with the Film LUT but in a job in REC 2020 how can I do?
newbs question: are the BMD "Gen 5 Film to Video" Luts simply to drop on a node in the raw footage or do I need a CST there too? and do they convert the footage to a certain color space?
What should the node tree look like using a phantom lut with Sony A7s3
Thank you!!!!!!
Why is your input gamma set to BM 4k Film and not pocket 4k?
Just curious, I have a BM 4K pocket cinema
And if I don’t select black magic 4k film and just picked Black Magic design is that a crucial error on your final image?
I clicked around and tried and it just looks like some darken the image or lighten it. I just wasn’t sure how all that works
Thanks! New subscriber!
Thank you for your awesome content. My laptop screen has various color profile settings from adobe RGB to Rec 709 and different variants of Rec 709. Which variant of Rec 709 should I choose, that will work the best with Resolve?
Hello Darren! What if I want to apply other LUTS, besides the DaVinci Film ones, what should the Output Gamma be.
Thanks!
No intro is my favorite part. Straight to the chase, minus the 'pwat's up everybody, this is so and so...'
That's how I want it to be. Glad it works for you too.
Thanks Darren, that is very interesting. This explains why I've never managed to get good looking results from the film look LUTs. Going to try this right now.
Glad it was helpful Ray! Thought you might like that one. Let me know how you get on with it. All the best.
@@DarrenMostyn a huge difference. Perhaps counter-intuitive as the LUTs are labelled Rec 709, but need the Cineon Film Log transform first. Thanks again.
@@ray.watts.44 agreed, but that means they go to REC709, and there is also P3 options too.
For this to work properly do you need to go from DWG to Rec709 and then Rec709 to Cineon or could you go from DWG directly to Cineon or do you need to have the Rec709 conversion first?
Hi @Darren Mostyn, is it possible to get the Node Tree u using in this video? I‘m allready subscribed in the maillist but I didn‘t recieved the link for the Node Tree.
Thank you allready
This is the most confusing naming of a LUT in Resolve. It says "rec709 Kodak balbalba". I always think it needs a rec709 colorspace to work with. Who the hell knows that it requires a Cineon Film Log to properly transform the color? Thank you!!
Thanks for this great video man
Perhaps a silly question but in a color managed workflow (where the scene / timeline color space is DWG Intermediate)how do you apply a conversion to the cineon log?
Is it accurate to assume that everything is happening is in DWG therefore before applying the film lut one should put a CST from DWG to Rec 709 Cineon log?
Will it be the same if you apply it on the whole timeline? Not just a clip level?
Does this apply to other 3rd party Rec709 conversion LUTS as well? or does it strictly work with in built resolve look LUTS?
Thank you for the videos, they are very helpful.
life saver!
Can you update this with a colour managed workflow? I'm starting at the beginning and finding the colour managed workflow will provide incorrect results
You don't need to do a last CST node where you transform the output gamma back to Rec 709? Since it is Cineon Film Log now.
I'm making a short film on my Canon 77d, I didn't realize until I started filming that it doesn't allow for filming in log, the best I've got is it can film in a semi-faked version of log where it reduces contrast. What would the process be to get my footage usable with these LUTs? I have no problem creating my own grades and looks (although I'm a beginner) but would love to know if there is a good workaround for this situation. Any other tips on how to make the footage look more like film if nothing else?
i don't understand, you converted the clip in Cineon film log, shouldn't you reconvert in rec709 to see how it looks on a common display?
Would definitely love a lesson on when and why (I think how makes sense) to use " a series of parallels"
coming tomorrow!
@@DarrenMostyn too late, I figured it out 😜 (kidding! Cant wait)
Outstanding. Little complex to understand for an amateur like me. However I will be buying a new laptop soon which can handle resolve. Cant wait to try this and other videos as well
How to destroy your signal should be a good title. Why don't you set your raw settings to arri logC directly instead of going from blackmagic then rec709, then cineon ?
Careful guys
🐸👏🐸👏🐸👏 Thank you so much. I thought, these are just "cheap luts" ☺
Thanks Darren that was brilliant. I will be sure to try it out. I am about to grade some video assist footage 5.9 k from my Lumix S5 and I found that it has some coloured speckled noise . Could that be removed in a parraell node via noise reduction. Any tips truly appreciated
So what if you are using Rec 2020 color space on your timeline? Which LUT should you use then?
how to do it if I am using Davinci YRGB Color Managed with custom settings? :)
would i be right to assume:
this footage was not in S-log.
so your adding this Cine node to almost make it S-log type format.
and the you are applying the LUT to that ?
As the LUTs are designed to go on S-log.
or am i far off
Happy New Year! I’ve watched this after your color space videos and now I wonder is it better to convert footage to Rec 709, while you’re still grading? Or it’s better to use DaVinci Wide Gammut, then Cineon Log with LUT?
Watch my latest video - shows exactly how i do it.
How I Grade this Ad - MASTERCLASS (UK Broadcast PRO Colorist)
ua-cam.com/video/dxL7tclBlnY/v-deo.html
Excellent video, as always- thx, Darren! Quick question- I have the latest free version of Resolve running on the latest M2 Pro Mac and I seem to have lost the Open FX button option when I open the colour page. Apparently, this has been a thing in the past according to the interweb, but none of the posted fixes are working for me. I even tried re-installing it, same problem - only FX button appears - not the Open FX one. Do you know what's happening here- have I missed something? Thanks in advance.
Thanks .....
Okay! That was a neat trick. Thanks. I have one query though. When I apply this LUT, will my Color Space be back to REC.709? Or I have to add the Rec.709 transform again at the end?
Hi Prateek. This set of LUS will take you back to REC709, so one CST to Cineon Gamma then next node, apply the film LUT from the ones Im using and you will be back in REC709 from that point onwards. Not all LUTS presume go back to 709 or indeed come from Cineon.
@@DarrenMostyn how can you find out where the Luts come from like Cineon. is there a way to know just by having a lut. what would you look for?
@@chrismierzwinski1398 open it in a text editor. A good LUT will tell you what it is expecting and what it will deliver in terms of Gamma
Is this possible for photoshop? I often use luts but feel they are "wrong" but i have no way of actually telling, I usually use the luts in Adobe Camera Raw on the Raw image itself.
so in reality would the first node be a CST of the log profile to Davinci Wide Gamut or another larger colour space?
thanks
Thank you very much, Do you have complete color courses in davinci resolve?
Why do I see a lot of people doing the two CSTs in a row like that? Is there some reason not to convert from input straight to cineon gamma?
Why you don't change Output Color Space?
@DarrenMostyn do you know how to do this process, if you have normal footage that was not shot in log ?
im assuming you would need to first flatten the video somehow to then apply everything on top as you have .
Thank you Darren! I’m guilty of fiddling with the gain of that simulation.. And series of parallels would be highly appreciated!!! 🙌🙌🙌
You are most welcome.
Thank you again, Darren!
Like always: competent, straight to the point, no unnecessary introduction, no advertising and foremost: no stupid intro!
I love your channel, your depth of knowledge and your way of explaining it to us idiots!
Your channel is everything that is beautiful and precious about UA-cam.
Thank you so much Bertram. Really appreciate you taking time to let me know that. All the best. Darren
exactly!
You should always passthru rec709?
Do you know if you can do the same thing with non log footage? Like Sony a6500 Non s-log?
I am getting a bit lost with timeline color space and switching it to dwg vs just leaving it in rec709.
Hello Darren Mostyn, thank you very much for this explanation on how to use Looks.
I appreciate your Pro tutorials, they help us understand calibration in depth. In particular, I have a small question.
At the end, why didn't you return to the clorometric space of the output "rec 709" after the compound node?
Thanks a lot
Thanks. Because the KODAK LUT does that conversion to 709 for you.
Another blinder - concise, uncluttered and comprehensible, as ever. Thanks, Darren.
Thank you so much!!!
Darren i knew you the top, but after this video i can exactly say you're lifesaver. W/O this video i wouldn't use Film Luts ever:)))) LIFE SAVER!
Glad it helped!
How would you compare this 2383 film look to the Degancer Pro version? I ask because I use Filmconvert as of right now and don’t have 500 for Dehancer lol
Dehancer vastly superior! Worth every penny. use my discount code for 10% off too. 10% DISCOUNT on ANY Dehancer product using code DARREN10 at checkout www.dehancer.com
MIND BLOWN!! Does this include using ALL LUTS or just those particular ones?
all the film luts built into resolve. - yes. Pro built LUTS will tell you what they expect as an input but not always same - never presume..
Hi there, thanks for the vid! It's been asked already but I can't see an answer (so lifting a question already in the thread): after applying the LUT do you have to color transform back into Rec709 or does the project setting being at Rec709 take that into account when being exported?
the LUT does that for you,
I see in the comments below people have raised questions regarding how to use this when your project is colour managed using DVWG settings and you have said you're working on it.... how did you get on with that...?
I'm thinking of dropping using colour managed DVWG and instead running my timelines in Arri LogC- doing any editing/grading etc. all within the LogC colourspace because that's a wide gamut too, converting my VLog to LogC and whatever else from other cameras using the 'group pre-clip' options, and then doing a final convert to Rec709 or drop these LUTs either in the 'group post clip' or 'timeline' options on the colour page. I'm assuming that because Arri LogC stands for Log 'Cineon style' that these Film emulation LUTS will drop straight on to LogC, or would I have to convert from LogC to Cineon....? Or have I got the wrong end of the stick completely about all this?
There are SO MANY people doing Resolve videos on YT, but only a very few I subscribe to, you being one of them, hats off to you sir. I like your style of videos too, such a nice contrast to the other almost exclusively US based Resolve guys that I watch too..... Waqas Qazi probably being the main one, defo a chalk and cheese thing there.
Hi Mark. In answer to your question "how did I get on" with a follow up video...well not very well TBH. I run a busy post house and we are truly busy....My YT channel has grown super-fast but I cant keep up with the expectation of maybe a video a week and be a full time colourist and run a post facility. Thank you for your kind comments and believe me Id love to just knock out youtube videos instead of meeting demanding broadcast requirements but my colour grading is my first passion, YT second. On the plus side, I feel that this is what maybe makes my channel unique that I transpose my real world issues into tutorials with meaning and not just "heres how to you use this tool" - I'll show you why, and the techniques to make it work so you have a better understanding. Thanks for sticking with me. I have two new ones out tomorrow and definitely worth sticking around in April for what I have planned...something very different. Regards to DWG - It all changed recently with the introduction of new output color and timeline space menu in non RCM...Im still playing with this so bear with me whilst Im testing it. I'll only give you my honest review and need some time to test it. Very Best Regards and really appreciate your comment. I deliver as many as I can and genuinely appreciate all your support - YT is very time consuming to create!!!. Darren.
OMG!! Thank you. I was setting my inputs to the Timeline Color Space instead of the color space of the footage... I feel like an idiot. I spent all this time calibrating my output monitor and pulling my hair out. Well, not literally. I love my hair.
Glad it helped.
Very nice tutorial thank you, one question. If you go from rec 709 to output cineon color space. Then after applying the Lut, to what color space will the renders be? Specially if you need the render output color space to be Rec 709
Hi. The film LUT takes cineon to REC709 internally so you will be good to go in REC709 once applied. Hope that helps.
@@DarrenMostyn it actually really does help, which gamma would that be? 2.4 I assume? By the way I really like your videos and contribution to the whole Grading community
Hi Darren, just signed up for your mailinglist. Although i already did some great courses from others, the information you give us in your video's is next level.
Very likeable guy, clear explanation and very easy to follow. You're AWESOME!
I really do hope you are working on an online course at this moment. For sure i will be one of your students!
Thank you for sharing your knowledge, very much appreciated.
keep an eye on your inbox! :))
Here Here!!
Thank you Thank you Thank you Darren... My luts were just not happening for me until now. Thank you so much 👍👍
You are most welcome!
wow thank you for this tip. Can you explain the difference between the other film looks the DCI-p3 kodak vs Rec 709 kodak lut? is Dci-p3 only if grading in a theatre colour space from footage coming from traditional film?
Correct.
So you put it into Cineon Film Log no matter what kind of camera you shoot with? I use an FX30 and was just wondering if it matters. This helped me a lot
Correct. Any camera works
Thank you, this has been bugging me for ages, somewhat confusing the LUTs in resolve are labelled 709. Kodac etc. kind of counter intuitive.. I am learning a lot so thank you
Glad it helped!
great. I'm a complete noob and this helps. I have noticed that color-grade in most videos is way over the top with 9 million tweaks that I can't even see...but hey.
ua-cam.com/video/kdTMRQP_V7E/v-deo.html
Awesome... God Bless... I missed your channel when I started film editing...
thank you
wait...what?? the film emulation isn't garish, useless and a PITA to use??? Brilliant, Thanks Darren. Another fantastic tutorial. And how good is that, having Walter Volpatto show up - that's a sign you are doing something right!!
Thanks Jeff, Glad that worked for you.
Awesome thank you - I have a question, do you need to have a final node taking you back to REC709?
The film lut in this instance takes you back to 709.
This is useful but how would I go about doing this in Wide Gamut? I right click my clip to select the input color space for my log footage off of my R6 and but if I add a cst to cineon I get some pretty wild results so I think I'm missing something there when I apply the LUT.
doesnt work in wide gamut
How this method works with Davinci Wide Gammut ? I'm trying with Davinci Wide Gammut and it still looks like crap.
Im struggling to get better results than using a CST - Im looking into it further as I have to compensate for the DWG too.
Is it possible that this doesn't work within a Color Managed Workspace? Have trouble achieving this in Davinci Wide Gamut.
Yes, better with CST's for this workflow...DaVinci Wide Gamut particularly.
Where can you see which LUT you applied? Going back and forth between clips, now I forgot which LUT is applied to the scenes. Is there a way to check?
It has a dediacted icon on the node - looks like a matrix.
Darren, when you're doing this, are you in a project or timeline managed color space (I like using Davinci Wide Gamut at the project level)? Or is there a different workflow for that?
CST's. Not project colour managed.
This looks great when you do it, but when I do it, I get the same terrible result as before--completely green/blue/clipping highlights or shadows. I'm using a node tree based on your tutorial here: ua-cam.com/video/kdTMRQP_V7E/v-deo.html
In line with your video, my input CST is S-Gamut3.Cine/S-Log3 → DaVinci Wide Gamut/Intermediate, then I have my grade tree, followed by CST OUT with DaVinci Wide Gamut/Intermediate → sRGB (the color space of my monitor). Even when I haven't actually touched my node tree between the CSTs, I get bad results when adding LUTs according to your method above.
Where would the Cineon and LUT nodes go in a tree like mine, and how come in the above video you have your grade underneath your Rec709? Is that your output CST? Am a complete novice but really want to learn to do this well, so please excuse my ignorance and thanks in advance! 🙏
Ooooh, I think I got it now--you're just putting the Cineon CST and then your LUT node after your entire grade? That is, after your DaVinci Wide Gamut/Intermediate → Rec709 CST?
Follow the video. It works 100% of the time. It looks like you got it now so im pleased.
thanks so much m Darren Mostyn 🙏🙏🙏
Great video! Just one question: how to find out which colorspace is supported? (without googling the result, but inside Resolve)
All colourspaces are supported - just change it Cineon prior to the Film LUT. Most LUTs will tell you which colour space they expect to receive. Hope that helps.
Very stupid question;
How can I find this info? In other words; in this particular example where did you find that you need to change the color space to cineon?
That was very informative oh man thanks a lot!!
I was wondering why these luts nener worked for me! Thank you, once again watching your video makes me discover something new!
Enjoy! You might want to join my exclusive EMAIL list for free items and future goodness eepurl.com/hob0oH (non-spammy guaranteed). All the best, Darren.
@@DarrenMostyn On the list now!
No wonder the built in film LUTs never looked right. You'd think Blackmagic might have mentioned that they are Cineon-based at some point (or they have in a locked file cabinet in the basement with no light and a sign reading "Beware of the Leopard.")
well now you know. Enjoy.
Could you use the lut on the timeline level and then adjust each clip on the clip level?
Hello Darren and thanks!
But I have a question. Once converted to Cineon and applied the lut, why not convert back to rec709 gamma 2.4? Or does the lut also converts to 709 along with emulation?
Appreciate your work
The lut does that for you. Thanks.
@@DarrenMostyn thanks for the answer! Another interesting finding me was that when applying basic corrections like WB temp, exposure in parallel each correction, like WB temp increment, produces roughly half less visible results which can be confusing. E.g. increase of temperature of 20 degrees will result in 10 degrees output (BCS of blending). So I wonder if doing at least exposure/WB would be more predictable if done on sequence? Or there are significant drawbacks?
Sorry if long question
Great tip, would love to know how do we incorporate this Film lut workflow under the resolve color management system? Thanks for sharing.
Not easily. This is one a few reasons why I still use CST's.
Simple and clear explanation, Great again n again Sir
THANK YOU!
May I ask why you didn’t use the davinci widegamme color space ?
because it doesnt work with this film out
Hello. First of all I change my log to rec with color transform, then I make some changes with nodes (color,contrast.etc.) and in final I apply my luts. So am I wrong?
Why you made first luts and thn convert to REC? Why in finish and not on start?. Thank you.
Hello Sam. I grade most of my scene "under" or before the CST to 709 so that I remain in log space, but am always viewing in REC709 as the CST node is ON first. Certain things I grade after the REC709 CST - vignette, sharpen, heavy looks, trim. Hope that helps.
is this techniqu applicaple to davinci wide-gamut work flow?
It has issues, put it that way.
Well, well, well - up to the very last step with the compound node and the key output - I thought that I knew everything about that. So a big little lesson there for me. Thanks Darren. When I thought that the film emulation was too contrasty I tended to try to pull some contrast out. This method you use is a better and faster choice.
I think that people might be confused as to why the emulations work on some things and not on others. The reason that happens is because there quite a few LOG gammas curves that are based on Cineon gamma. So someone may have tried it directly on Arri log C, or Vlog, or Slog-3, and it looked pretty good without doing any CST.
I always forget about using the compound node, and this is good application of why I should be using it. Thanks again.
Glad you like the compound node trick. I actually sometimes use Arri LogC instead of Cineon (just for a look - even if not Arri source) but though that might be too heavy to explain in this episode. Hope you are keeping well...all the best, darren.
Thank you! Super helpful!
Color space transform effect? How is that different from using the managed color space in the settings dialog to convert to rec 709?
it is node based color management instead of global.
What is the workaround if you're already in a color managed workflow?
not easy!
Might be a strange question, but I am very new to film making. When I use my Nikon Z6 that doesnt have log (only via HDMI) and I use a custom flat profile, can I still succesfully add the Kodak 2383 lut If I transform into cineon log before? Thanks
if you can convert your profile to rec709 and then gamma cineon film log you'll be ok.
@@DarrenMostyn okay thank you! I will try it out, I believe that I saw somewhere in resolve that my clip had rec709 but I will experiment a bit :)
Wow, actual grading tutorial .
well if this ain't the most important tip ever!! was wondering why these dam LUTs looked like shite! lol
Glad you liked it. All the best, Darren. Spread the word !
fantastic. well done!