The below comments speak for themselves. Cullen Kelly is certainly unique in the space of thousands who are attempting to do the same, which is to teach color grading. I just wish this was around back 10 years ago when I first got into DaVinci Resolve. The lack of "Cullen Kelly" back in the day is what made me jump in and out of color grading intermittently and not stick with it consistently. I think it is because there was only 2 options essentially. You either found someone who taught DaVinci Resolve UI only or someone who slightly touched on color but not the fundamentals and it was usually a conversation about throwing a LUT on an image. Cullen takes you through the fundamentals of color grading and the creative mindset. This is why I believe he is much much more successful in the space of teaching color grading. Cullen I also read your email post about how you were discouraged to be thinking yourself as a "UA-camr" now. It was an awesome read thank you for all the amazing work you share with this community. I truly hope to one day meet you and shake your hand sir.
I loved your video on the LUMIX channel about grading the S5ii footage. More videos on grading affordable mirrorless cameras for us indie filmmakers who direct, shoot and grade everything ourselves would be fantastic. But I do understand if that doesn't interest you as much, so no worries.
@@CullenKelly Maybe Fuji F-log 🤩🙃😊🤓 BTW thanks for doing this on your channel.... I'm about to finish all your channel videos even I started one week ago :P , I think only 5 videos to go hehehehe! I'm new to color grading and my videos improved a lot!!! , I do this for my personal projects..... Thanks Again!
This confirms what I did on my last project. Because of the exposure changes from the zoom lenses I used I had to go into the clip level and tweak exposure a little bit but the creative tone curve did the majority of the heavy lifting.
Not only does your videos help me with getting better at grading, but your videos on working color managed and the tools that ground the grades is what made me really like grading to begin with, thanks so much for always sharing these amazing workflows and tools
I think that the photography that you have here, is probably of a more consistent quality than what a lot of us get given to us. So before working on the look, I think that the photography color corrections should be dealt with first. Balance, Exposure and consistent saturation, sharpening and white balance between all shots. In my opinion should be neutralized so that when you do start building the look that all the footage is starting from a well exposed and balanced image. Otherwise there is no foundation to make your decisions on the look.
You’re probably new to the channel here. His focus for this video is on look dev. He has plenty on correction and balancing as well as other videos just on color pipeline (scene referred workflows). The point isn’t to show the entire post processes, just this specific part.
@@JeremiahBostwick I can assure you I am not new to the channel. I imagine a few people might be snickering a little at that comment. But a person that is new to the channel was whom the comment was in reference to. I was pointing out that he left that out mentioning that the images should be balanced. And if you were new to the channel, you might be in a heap of mess if the photography is all over the place and you are attempting to make it all look good from the timeline level "Look". Even if the target of Cullen's video is the look design, mentioning that fact is not changing the focus of the video.
I definitely agree but only in part. I don't believe it necessary to make sure every single clip is dealt with first. Ideally you want a base line correction on a few shots that can inform the look of the whole project. Once these are done you can move into creating the look and all clips thereafter will be easier to manage under the look. Saying that, this is all personal preference and dependent on the footage you recieve. Importantly though, your point on creating a look on top of a balanced image is very important.
@@JimRobinson-colors In a lot of video Cullen explains that he prefers to color correct with the look already applied, so whether the photography is bad or good that's his workflow
great. would really appreciate and be great full to you if you can show us in PT.2 that what would you do if that look development in timeline does work for 25 shots but not for 5 shots. practical demonstration of that would really really great.
There's an even better method. Just set up your HDR wheels (three dots neat the wheels, and set up your color space), then push GLOBAL wheel towards teal. That way it balances the image without affecting the exposure or black levels. Then you can push the skin tone after however you like. Global hdr wheel is the best tool for balancing / giving your look an overall tint. No doubt.
@@CullenKelly sure thing, I'm just saying that you can pretty much get a typical company3 print look with a couple of nodes. I mean... hdr balance, contrast, hsh hdv secondaries, density (hsv sat), tinted highlights - voilà 🤷🏼
Your two videos on Looks are the best yet for some of us: namely, the notion of a Look that is applicable to all the shots as distinct from the also-necessary shot-by-shot grading. And loved your idea of using outside apps (I use 3D Lut Creator and Look Designer a lot) for their tools (such as 3D vectorscopes), tools that seem outside of Resolve's approach. And please say more about using Resolve Fusion. Love using Fusion: more tools in the toolbox.
Hi Cullen. Where can we find the DWG Grey that you mentioned at 1:36 in the vid? (You said it's in the desc but I can't find it). I downloaded the Starter Pack, but it's not there. Pls advise. Thank you in advance.
Hey Cullen, I downloaded the color grading and design starter pack. I see the DCTL document, but I don't seem to have the middle grey card you have in your toolbox. Whats the best way of getting my hands on that?
Great video, every time someone does a look video it's always sit toning with blue in the shadows and orange or yellow in the highlights, is there another split tone you can do like blue in the highlights and yellow in the shadows?
I have a quick question, so if we do look creation in the timeline level and the client wants some B&W look on few shots, how can we tackle it? if we switched it to the clip level and in the RBG mixer we turn it into monochromatic won't the split toning or other look in the timleline level causes trouble? Curious to know how it'll be done. Thank you.
Cullen great video as always. Jammed packed with good info. After watching Part 1 and Part 2, reading the Tasting Notes and reading the description of the Pro Pack I have some questions. Perhaps some others are wondering the same thing as I am: 1) In the Pro Pack there are "24 additional Look Design components" included. A brief description of these would be helpful to making the decision as to which one to purchase. 2) Several of the luts mention "filmic". My question is whether or not you would consider using the 2383 lut in addition to one of the luts which mentions "filmic"? I know we could always try it and see if we like it! Can you make a generalization about this? 3) Sort of continuing with question 2, my natural history docu work typically includes groups of shots from different cameras, for example BRAW and Clog3 for underwater shots and Red R3d for interviews and other topside shots. So following my question 2 above does it make sense to you, or to anyone else here(!), to use the 2383 on the Project level to apply that film stock look across the whole project and then the Lut and Modifier of choice on the Group level basis based on the source camera and scene? 4) And finally, this just came to mind to ask you. Is there any halation applied to your 2383 lut? Huge thanks for the effort that you put into your work!
What specific things does Resolve lack in your opinion when it comes to look dev? Certain luma or sat based secondaries? I can't think of much that would need you to roundtrip out of resolve unless its for vfx or film scanning?
@@CullenKelly Looking forward to seeing more advanced look dev content! In the meantime, do you have any suggestions for where to go to find more info/dive into learning more about it myself? Thanks Cullen!
Great question! If you click to get any of our free material in the comments, you will be directed to sign up for our newsletter which announces CCA dates.
Hi Cullen. Quality content as always. Appreciate the work you do for free here on UA-cam for us aspiring colorist. I have a question related to the exposure chart and the middle gray cheat sheet you shared in one of your recent videos. Should I need to move middle gray of the DCTL configuration for DWG to 0.336 (like the cheat sheet says it must be on) or should I leave it on default 0.180 like I think you're doing in this vid??? Thanks in advance.
When working in nodes, the right order plays a big role. How do timeline nodes relate to Clip Nodes ? I guess timeline nodes are interpreted prior to clip nodes and clip nodes will influence everything that comes after the timeline nodes and I wonder if there are any effects or things one should be aware of when working in timeline and clip nodes simultaneously? Like what to do if something in timeline nodes disables a certain thing I want to do to the image; just copy all and put in into Clip nodes so I can edit it specific to the clip? For example editing between two CST nodes.
Hi Cullen. I work solely with Sony Slog3 currently. Would you advise still using the Dacinci Wide Gammut working space or best to just use Sony Slog 3 workspace?
Great question! You can go with either. Working in DWG has the added benefit of giving you a much wider working space that can fit different types of cameras that expect different IDTs. Hope that helps!
Hi, @cullenkelly - How are you? I've been using your Pro pack for a few months now. My question is: What do you do when you add graphics (VFX. / titles) and similar ? Obviously the timeline workflow won't work then. Looking forward to a reply here, I know there''s more people having the same question :)
Great question! You could definitely do your look dev at the group post-clip level, especially if the majority of your clips are within the same group. If you had a bunch of groups setup within your project, you may find this workflow less efficient when compared to look dev at the timeline level. Main reason is that any changes to your global look would need to be updated across each group. There are ways to solve for this but it would still require additional steps in your process. Hope that helps!
I can't find a LUT folder in the 'DaVinci Resolve' folder other than one called 'CanonLUTs'. When I put the CKC folder in it and restart Resolve nothing changes. I guess I'm doing something wrong.
Will Blackmagic ever implement an input and output for curve points? This would help so many of us. Also, a question - if we're working in DWG Intermediate where is the white point at the top of the curve in terms of nits?
So you do your color grading for all clips first and then make a contrast curve for all finished clips together? If so does this mean the curve comes on top even if the edited clip already has a curve?
Can someone tell me where is the gray card thing. It's not in there when downloading. Only 2 things I get after the download is 2 LUTS . When adding the DCTL effect it's not in the list.
Hey Cullen, cinematographer here. I followed your process for developing the look of a film I’m going to shoot soon. But the problem is that when I try to export a LUT to use in the camera, it is exported without the colour management settings applied, so instead of it being a Rec 709 LUT, it’s still a Log LUT. The camera I am going to be shooting on doesn’t do an under the hood Log to 709 transformation, so I need a LUT with the correct gamma/contrast baked in. I’ve tried a bunch of workarounds but none of them deliver a 100% accurate translation to the look I created initially. Do you have any solutions?
Hey! I'd recommend setting up your color management in nodes instead of project settings, this should solve things for you. Here's a video where I show you how to do this: ua-cam.com/video/RuYBk-YvCZE/v-deo.htmlsi=OlTQseaZgQ1aTRmK. Hope this helps!
Hello Cullen, may I ask. I dowloaded your Exposure Chart v1.3 and I was doing a test on Arric LogC3 footage, trying to make a LUT. When I custom settings (Input Colour space Arri Loc3, Timeline Colour space DaVinciWG/Int and Output Rec709 Gamma 2.4, the point at the curves was different (much more to the left side) compared when I was doing it with colour space transform. Shouldn't be the same point either doing it with custom or colour space transform? When doing it with colour space transform is the same point as yours (or around there). Why is that happening? Thank you in advance.
@@CullenKelly my setting at Colorist management where, Color science: Davinci yrgb, Color processing mode: custom , Input Color space: Arri LogC3, Timeline Color space: Davinci WG/Intermediate, Timline Working Luminance: hdr 1000, Output Color space : Rec.709 Gamma 2.4, Limit output gamut to: Output color space, Input DRT: Davinvi, Output DRT: Davinci
@@Evitagen1903it happened to me yesterday preparing a lookdev project with the Arri logc4 official test images. It seems Resolve does something weird with logc unless you do this workaround.
Can you advise how to work with the DCTL file you provide. Per the instructions, I dropped the DCTL onto my LUTs folder, and it does show up in my Effect panel. I placed the DCTL effect on a node, but there are no options in the DCTL List (it says NONE). I tried the Reload DCTL option, but nothing happens.
hey cullen why so cryptic about these mystery separate tools to do look dev, what are they? in what way is look dev a separate discipline than color grading? i can’t help but wonder if you just want to make look dev seem inacessible to your viewers so they can buy your lut pack you love to shill
Hey! I think you might be answering your own question a bit here…if look dev and color grading tools/techniques were actually no different, you’d have everything needed for both just from watching my grading videos. But there’s a lot more to it (which it sounds like you may already be recognizing). In terms of accessibility, my goal is actually to make look dev *more* accessible, but that has to start with recognizing it for the distinct discipline that it is. Stay tuned…LOTS of new look dev content and resources coming in the next few months.
Your new "Two videos a week" routine is awesome, Cullen. Give me all that sweet colour info.
The below comments speak for themselves. Cullen Kelly is certainly unique in the space of thousands who are attempting to do the same, which is to teach color grading. I just wish this was around back 10 years ago when I first got into DaVinci Resolve. The lack of "Cullen Kelly" back in the day is what made me jump in and out of color grading intermittently and not stick with it consistently. I think it is because there was only 2 options essentially. You either found someone who taught DaVinci Resolve UI only or someone who slightly touched on color but not the fundamentals and it was usually a conversation about throwing a LUT on an image. Cullen takes you through the fundamentals of color grading and the creative mindset. This is why I believe he is much much more successful in the space of teaching color grading. Cullen I also read your email post about how you were discouraged to be thinking yourself as a "UA-camr" now. It was an awesome read thank you for all the amazing work you share with this community. I truly hope to one day meet you and shake your hand sir.
The middle gray curve anker thing is new to me. I never saw this un any tutorial and i have seen many. Thank you
Hi! Great video, sorry but i cant find the link DWG Gray
Nice to go back to previous stuff you start with MASTER you are the best on YT thank you very much for your time Love from London
I loved your video on the LUMIX channel about grading the S5ii footage. More videos on grading affordable mirrorless cameras for us indie filmmakers who direct, shoot and grade everything ourselves would be fantastic. But I do understand if that doesn't interest you as much, so no worries.
@@CullenKelly Maybe Fuji F-log 🤩🙃😊🤓 BTW thanks for doing this on your channel.... I'm about to finish all your channel videos even I started one week ago :P , I think only 5 videos to go hehehehe! I'm new to color grading and my videos improved a lot!!! , I do this for my personal projects..... Thanks Again!
This confirms what I did on my last project. Because of the exposure changes from the zoom lenses I used I had to go into the clip level and tweak exposure a little bit but the creative tone curve did the majority of the heavy lifting.
Always get pumped when you upload. My work looks next level now thanks to you!!
Not only does your videos help me with getting better at grading, but your videos on working color managed and the tools that ground the grades is what made me really like grading to begin with, thanks so much for always sharing these amazing workflows and tools
I think that the photography that you have here, is probably of a more consistent quality than what a lot of us get given to us. So before working on the look, I think that the photography color corrections should be dealt with first. Balance, Exposure and consistent saturation, sharpening and white balance between all shots. In my opinion should be neutralized so that when you do start building the look that all the footage is starting from a well exposed and balanced image. Otherwise there is no foundation to make your decisions on the look.
You’re probably new to the channel here. His focus for this video is on look dev. He has plenty on correction and balancing as well as other videos just on color pipeline (scene referred workflows).
The point isn’t to show the entire post processes, just this specific part.
@@JeremiahBostwick I can assure you I am not new to the channel. I imagine a few people might be snickering a little at that comment.
But a person that is new to the channel was whom the comment was in reference to.
I was pointing out that he left that out mentioning that the images should be balanced.
And if you were new to the channel, you might be in a heap of mess if the photography is all over the place and you are attempting to make it all look good from the timeline level "Look".
Even if the target of Cullen's video is the look design, mentioning that fact is not changing the focus of the video.
That's a really good point. Newcomer or not, this advice shouldn't be over looked.
I definitely agree but only in part. I don't believe it necessary to make sure every single clip is dealt with first. Ideally you want a base line correction on a few shots that can inform the look of the whole project. Once these are done you can move into creating the look and all clips thereafter will be easier to manage under the look.
Saying that, this is all personal preference and dependent on the footage you recieve. Importantly though, your point on creating a look on top of a balanced image is very important.
@@JimRobinson-colors In a lot of video Cullen explains that he prefers to color correct with the look already applied, so whether the photography is bad or good that's his workflow
great. would really appreciate and be great full to you if you can show us in PT.2 that what would you do if that look development in timeline does work for 25 shots but not for 5 shots. practical demonstration of that would really really great.
Gd Cullen, You are hitting these tutorials so hard, and I am here for it. Thank you for these.
Wow! Your split tone method is mind blowing! Can’t wait to incorporate this in my grades and test them out
There's an even better method. Just set up your HDR wheels (three dots neat the wheels, and set up your color space), then push GLOBAL wheel towards teal. That way it balances the image without affecting the exposure or black levels. Then you can push the skin tone after however you like. Global hdr wheel is the best tool for balancing / giving your look an overall tint. No doubt.
@@Rogeras32 thanks man! But what do you mean by three dots neat the wheels?
@@CullenKelly sure thing, I'm just saying that you can pretty much get a typical company3 print look with a couple of nodes. I mean... hdr balance, contrast, hsh hdv secondaries, density (hsv sat), tinted highlights - voilà 🤷🏼
Your two videos on Looks are the best yet for some of us: namely, the notion of a Look that is applicable to all the shots as distinct from the also-necessary shot-by-shot grading. And loved your idea of using outside apps (I use 3D Lut Creator and Look Designer a lot) for their tools (such as 3D vectorscopes), tools that seem outside of Resolve's approach. And please say more about using Resolve Fusion. Love using Fusion: more tools in the toolbox.
Best and most systematic color grading EVER! Thank you for sharing w us mere mortals ❤️
Have been waiting for this one. I was able to put some things together from the Friday sessions. but thank you.
Hi Cullen. Where can we find the DWG Grey that you mentioned at 1:36 in the vid? (You said it's in the desc but I can't find it). I downloaded the Starter Pack, but it's not there. Pls advise. Thank you in advance.
did you find it ?
@@andydallo5826 nope 😁
@@talktalk4503 there is a text file on how to use. Once you put in the correct folder its available on DAVINCI.
thank you Cullen! I'm in a hurry to try your tips.
Keep up the good work Cullen!!!
Hey Cullen, I downloaded the color grading and design starter pack. I see the DCTL document, but I don't seem to have the middle grey card you have in your toolbox. Whats the best way of getting my hands on that?
Any luck ?
awesome tutorial Cullen!
I appreciate that you sharing this knowledge with us on youtube this is like dream come true!
Great video, every time someone does a look video it's always sit toning with blue in the shadows and orange or yellow in the highlights, is there another split tone you can do like blue in the highlights and yellow in the shadows?
Will the colorist's accelerator course include the creative color science masterclass and show lut creation or its a completely separate course
@@CullenKelly thanks alot for giving clarity
I have a quick question, so if we do look creation in the timeline level and the client wants some B&W look on few shots, how can we tackle it? if we switched it to the clip level and in the RBG mixer we turn it into monochromatic won't the split toning or other look in the timleline level causes trouble? Curious to know how it'll be done. Thank you.
still a mentor - You need to release a new course, cant wait! ;)
Cullen great video as always. Jammed packed with good info. After watching Part 1 and Part 2, reading the Tasting Notes and reading the description of the Pro Pack I have some questions. Perhaps some others are wondering the same thing as I am:
1) In the Pro Pack there are "24 additional Look Design components" included. A brief description of these would be helpful to making the decision as to which one to purchase.
2) Several of the luts mention "filmic". My question is whether or not you would consider using the 2383 lut in addition to one of the luts which mentions "filmic"? I know we could always try it and see if we like it! Can you make a generalization about this?
3) Sort of continuing with question 2, my natural history docu work typically includes groups of shots from different cameras, for example BRAW and Clog3 for underwater shots and Red R3d for interviews and other topside shots. So following my question 2 above does it make sense to you, or to anyone else here(!), to use the 2383 on the Project level to apply that film stock look across the whole project and then the Lut and Modifier of choice on the Group level basis based on the source camera and scene?
4) And finally, this just came to mind to ask you. Is there any halation applied to your 2383 lut?
Huge thanks for the effort that you put into your work!
@@CullenKelly Thanks for the reply. All makes sense!
For log files, can this be applied? Or do we need to use color space transform before doing this?
What specific things does Resolve lack in your opinion when it comes to look dev? Certain luma or sat based secondaries? I can't think of much that would need you to roundtrip out of resolve unless its for vfx or film scanning?
the bends tool from Mistika
@@CullenKelly Looking forward to seeing more advanced look dev content! In the meantime, do you have any suggestions for where to go to find more info/dive into learning more about it myself? Thanks Cullen!
As always, super content 👍
great vid, great shirt
Great educational content Cullen. Quick question - Where can I sign up for the Accelerator course?
Great question! If you click to get any of our free material in the comments, you will be directed to sign up for our newsletter which announces CCA dates.
Hi Cullen. Quality content as always. Appreciate the work you do for free here on UA-cam for us aspiring colorist.
I have a question related to the exposure chart and the middle gray cheat sheet you shared in one of your recent videos. Should I need to move middle gray of the DCTL configuration for DWG to 0.336 (like the cheat sheet says it must be on) or should I leave it on default 0.180 like I think you're doing in this vid??? Thanks in advance.
I have the same question. Do you have found out?
When working in nodes, the right order plays a big role. How do timeline nodes relate to Clip Nodes ? I guess timeline nodes are interpreted prior to clip nodes and clip nodes will influence everything that comes after the timeline nodes and I wonder if there are any effects or things one should be aware of when working in timeline and clip nodes simultaneously?
Like what to do if something in timeline nodes disables a certain thing I want to do to the image; just copy all and put in into Clip nodes so I can edit it specific to the clip?
For example editing between two CST nodes.
Extreme useful, thank you for inspiration
May I ask why you don't prefer using editable splines in the curves?
Hello Sir CKC, where could I find link download " WDG Gray " because link in description different " CKC Exposure Chart v1.3. "
same here
@@CullenKelly thank you so much Sir 🥰
I also cannot find the DWG grey card...btw thanks for the great content!
Hi Cullen. I work solely with Sony Slog3 currently. Would you advise still using the Dacinci Wide Gammut working space or best to just use Sony Slog 3 workspace?
Great question! You can go with either. Working in DWG has the added benefit of giving you a much wider working space that can fit different types of cameras that expect different IDTs. Hope that helps!
Hi, @cullenkelly - How are you? I've been using your Pro pack for a few months now. My question is: What do you do when you add graphics (VFX. / titles) and similar ? Obviously the timeline workflow won't work then. Looking forward to a reply here, I know there''s more people having the same question :)
If you are working in a non color managed space and using CST's would you still build the look in the timeline node graph?
Thank you for video👍🔥
Hey Cullen,
Quick question.
Would it be efficient to conduct a look development in the group post-clip rather than the timeline?
Great question! You could definitely do your look dev at the group post-clip level, especially if the majority of your clips are within the same group. If you had a bunch of groups setup within your project, you may find this workflow less efficient when compared to look dev at the timeline level. Main reason is that any changes to your global look would need to be updated across each group. There are ways to solve for this but it would still require additional steps in your process. Hope that helps!
i dont understand how to paste the grey dwg free download thing into my stills timeline... :(
I can't find a LUT folder in the 'DaVinci Resolve' folder other than one called 'CanonLUTs'. When I put the CKC folder in it and restart Resolve nothing changes. I guess I'm doing something wrong.
This was fantastic! Thank you so much!
Great Video!
I wanted to ask what do i do with Clips/Overlays etc that i dont want the macro level look to be applied?
Using groups can be better if you're using any overlays
Will Blackmagic ever implement an input and output for curve points? This would help so many of us. Also, a question - if we're working in DWG Intermediate where is the white point at the top of the curve in terms of nits?
If you're using a CST workflow, where does the output CST go in all of this?
I am unable to locate your ebook. Where can I find it?
Not seeing a link to your course, where I would find it.
So you do your color grading for all clips first and then make a contrast curve for all finished clips together? If so does this mean the curve comes on top even if the edited clip already has a curve?
@@CullenKelly thank you very much. I learn a lot from your videos
Cullen, what software do you use for your look dev?
Same question ! ;)
Awesome!!!
I can't figure out what I am doing wrong, under the drop down list under the DCTL settings it only says "NONE" for me.
For me a restart of Resolve was needed. LUTs refreshed but the DCTL only refreshed after doing a restart.
Can someone tell me where is the gray card thing. It's not in there when downloading. Only 2 things I get after the download is 2 LUTS . When adding the DCTL effect it's not in the list.
Hi. How do I make a LUT like this one to mark the mid grey?
where is the link for the class?
Hey Cullen, cinematographer here. I followed your process for developing the look of a film I’m going to shoot soon. But the problem is that when I try to export a LUT to use in the camera, it is exported without the colour management settings applied, so instead of it being a Rec 709 LUT, it’s still a Log LUT. The camera I am going to be shooting on doesn’t do an under the hood Log to 709 transformation, so I need a LUT with the correct gamma/contrast baked in. I’ve tried a bunch of workarounds but none of them deliver a 100% accurate translation to the look I created initially. Do you have any solutions?
Hey! I'd recommend setting up your color management in nodes instead of project settings, this should solve things for you. Here's a video where I show you how to do this: ua-cam.com/video/RuYBk-YvCZE/v-deo.htmlsi=OlTQseaZgQ1aTRmK. Hope this helps!
Hmmm. I was hoping to avoid that. Anyway, no issues. Thanks for the prompt response Cullen, will give your approach a shot!
Cullen, you've demoed images from this short for a while, is there any place where we can actually watch it? I'm super curious!
ua-cam.com/video/Kbv8yY0tPqE/v-deo.html
Hello Cullen, may I ask. I dowloaded your Exposure Chart v1.3 and I was doing a test on Arric LogC3 footage, trying to make a LUT. When I custom settings (Input Colour space Arri Loc3, Timeline Colour space DaVinciWG/Int and Output Rec709 Gamma 2.4, the point at the curves was different (much more to the left side) compared when I was doing it with colour space transform. Shouldn't be the same point either doing it with custom or colour space transform? When doing it with colour space transform is the same point as yours (or around there). Why is that happening? Thank you in advance.
I wonder if this may have something to do with changing the Gamma of the custom curves node from "Use timeline" to "Linear"
@@CullenKelly my setting at Colorist management where, Color science: Davinci yrgb, Color processing mode: custom , Input Color space: Arri LogC3,
Timeline Color space: Davinci WG/Intermediate, Timline Working Luminance: hdr 1000, Output Color space : Rec.709 Gamma 2.4, Limit output gamut to: Output color space, Input DRT: Davinvi, Output DRT: Davinci
@@dylamlan I just found that if I put my timeline working luminance at 10000 nits, it works
@@Evitagen1903it happened to me yesterday preparing a lookdev project with the Arri logc4 official test images. It seems Resolve does something weird with logc unless you do this workaround.
Why split tone before creative contrast curve?
@@CullenKelly Thank you! I like the metaphor
Can you advise how to work with the DCTL file you provide. Per the instructions, I dropped the DCTL onto my LUTs folder, and it does show up in my Effect panel. I placed the DCTL effect on a node, but there are no options in the DCTL List (it says NONE). I tried the Reload DCTL option, but nothing happens.
the Dow grey is a out its not an image like you have so it doesn't work
hey cullen why so cryptic about these mystery separate tools to do look dev, what are they? in what way is look dev a separate discipline than color grading? i can’t help but wonder if you just want to make look dev seem inacessible to your viewers so they can buy your lut pack you love to shill
Hey! I think you might be answering your own question a bit here…if look dev and color grading tools/techniques were actually no different, you’d have everything needed for both just from watching my grading videos. But there’s a lot more to it (which it sounds like you may already be recognizing).
In terms of accessibility, my goal is actually to make look dev *more* accessible, but that has to start with recognizing it for the distinct discipline that it is. Stay tuned…LOTS of new look dev content and resources coming in the next few months.
Too bad your face is hiding the UI
AWESOME TIPS
I LOVE YOU CULLENNN
Hello Sir CKC, where could I find link download " WDG Gray " because link in description different " CKC Exposure Chart v1.3. "
How can I get that DWG Grey power grade ?