Achieving Film Look Aesthetics with This DCTL Pack in DaVinci Resolve

[@iamericlenz]

This is an amazing suite of DCTLs! Great work as always, Stefan!

[@StefanRingelschwandtner]

Thank you!

[@whambang949]

I'm swooning over this. Thank you for making the Mac version 🙏 I can't wait to try it.

[@FilthyBadger]

This is Reverse Engineering the Grade in a DCTL!! Perfect!!

[@RDRvideoprod]

Good work! Excited to get my hands on this soon!

[@StefanRingelschwandtner]

Exciting news! The new version 1.1 of our LOOK / LAB / PRINT DCTL pack is now available on our website. We've made sure this version is fully compatible with Mac systems as well. I encourage you to download the free demo version and see the improvements for yourself. Have fun experimenting, and let me know your thoughts!

[@StefanRingelschwandtner]

@@FilthyBadger Thank you for your feedback. I've considered adding Temp and Tint sliders as well as Printer Light and Hue Rotate sliders. However, my aim is to keep the interface streamlined and avoid overcomplicating it with too many sliders. As a compromise, I suggest adding an extra node after the LAB.dctl. This node would allow for adjustments in Offset, Printer Lights, and Hue. Using the native tools.

[@FilthyBadger]

@@StefanRingelschwandtner can you educate us why you recommend doing grade after Look and Lab nodes rather than having them all on a timeline level and grade underneath them?

[@FilthyBadger]

Did you used to work as a colourist?

[@StefanRingelschwandtner]

@@FilthyBadger Yes, I have experience across several fields including VFX, cinematography, and color grading. My journey also took me through the demo scene, where I explored the intersection of programming and art, and my education in film school further deepened my understanding and passion for the visual arts. In recent years, my focus has shifted more towards software development and consulting. About the Node Tree. The approach I recommend is similar to how other plugins operate, where the Look part emulates negative film, setting a critical aesthetic baseline. Just like in these systems, adjustments prior to applying the Look should ideally be limited to a CST.

[@FilthyBadger]

@@StefanRingelschwandtner thank you Stefan. You are an absolute legend!!

[@hersh_yt]

man this tool looks amazing and huge time saver, i will now start saving up some cash 🤗🤗🤗🤗

[@T7pro]

VERY STRONG TUTORIAL! Thank you!!

[@AdNessTv]

Take my money Stefan 😅 amazing work like always! Can’t wait to play with it. And thank you for all your hard work 🙏🏻

[@FilthyBadger]

He is a literal genius. In fact he is multiple or plural geniusess or genii in one person.

[@TrapPhoneLoveMelodiesss]

Man, I love your creations. I’ve got almost all of your DCTL’s and I use them on everything. This is an awesome addition 💯

[@FilthyBadger]

Me tooooo!

[@movie-trailer19]

bomb. Cinematics in my pocket )))

[@AlexReinholdsson]

I need this for Mac asap 🙏🏼🤩

[@FilthyBadger]

It. Has. Landed.

[@MattMcCool0]

Incredible work, Stefan!

[@mrclarky]

This is fantastic!

[@ivanstegachev]

Absolutely stunning. How is that possible tools of that level not included in Davinci by default. It is a colors everyone hunting for years creating crazy complex node layouts.

[@channelzero5269]

Very cool. really useful looking dctl

[@dcplyr]

Totally Awesome!!

[@HeliopausePictures]

Again. Well done!

[@alex.muntean]

Great stuufffff!! Love it!

[@bbrunorocha]

looks incredible Stefan, i'll definitely check it out !

[@AchManJan]

This looks amazing! Waiting for the implementation for MAC. 😍

[@Jimmy_Maurice]

Wow ! I'll purchase it really soon !

[@RAKKProductions]

Amazing as always Stefan!

[@StefanRingelschwandtner]

Thank you!

[@racardodavis_tamu]

I love this! I'll be sure to get it very soon. Is it also possible that you can create a video that you explain your keyboard shortcuts?

[@StefanRingelschwandtner]

Thank you so much! Regarding the keyboard shortcuts, I don't have plans to create a separate video focused solely on them. I believe keyboard shortcuts are quite personal and vary from one individual to another. In this video, I aimed to demonstrate how I personally utilize shortcuts to seamlessly switch between nodes. That's it.

[@vedroelcitra]

More people need to know this gem

[@shadowgold1]

Steffan u always make good quality tools man i will give it a try and use it for work 🔥

[@VVIPWORLDUSA]

DTCL's are a game changer to my workflow!

[@HilleCine]

These look great and wanna pick up an "everything" one but so many choices on your store page I'm confused which to get. Maybe when I understand more i'll have the knowledge to purchase. Nice looking products and kudos for going one time only purchase in this subscription era. It seems to be actually good value.

[@elbanzo8110]

Amazing new tool Stefan, thanks for your work! Will this be available for DWG as well?

[@pumpum000]

you are a genius!

[@movie-trailer19]

the best Stefan tools 👈 Keep going

[@alzibaba]

Superb work, well done Stefan! Any news on when the Look DCTL will be available for M3 Macs?

[@StefanRingelschwandtner]

As soon as possible. (maybe a week or two)

[@alzibaba]

@@StefanRingelschwandtner that's brilliant, you're a star, thank you.

[@FilthyBadger]

Stefan and Kaur H make the best dctls!! No competition.

[@RasMarty_]

Brilliant! Stefan, great pack amazing work! What time table are we looking for these to be used on M1/M2 Macs? Silicon based

[@StefanRingelschwandtner]

Hard to say. Have to find the bug. Might take a week or two. Or more (hopefully not)

[@FilthyBadger]

We believe in you Stefan! You can do it!! 😊😊

[@Gedaly]

Excellent work! Can't wait to try this when it's ready for mac :)

[@StefanRingelschwandtner]

Thank you! - It is now ready. Check my Ko-fi page.

[@assassingk]

Brilliant! Question, is possible to export the DCTL(s) settings into a CUBE/LUT file for on set monitoring?

[@StefanRingelschwandtner]

Yes, it is possible.

[@assassingk]

@@StefanRingelschwandtner Amazing, Thank You!!!

[@piranino]

This looks amazing!! Will this work on all logs?

[@StefanRingelschwandtner]

Thank you for your message. All the information you need is available on the website. The tool is specifically designed for Arri LogC3. However, you can use a Color Space Transform (CST) to convert logs from other camera systems to Arri LogC3.

[@gregormarini]

Fantastic! Waiting for Mac M1 !!

[@Apuat]

Excellent tool! I would love to see a comparison between this and Dehancer Pro.

[@mcneilbelle]

With your DCTL literally cant tell the differences between digital and film AWSOME work woww man. is this just for PC or can regular mac users use it regular mac users as in ones who that dont have M1 M2 M3 chips

[@StefanRingelschwandtner]

There is a free demo version available. So you can test it yourself. Soon I will release an updated version that will work on all hardware.

[@mcneilbelle]

@@StefanRingelschwandtner thanks man you’re truly a genius trust me🙏🏽🙏🏽🙌🏽🙌🏽

[@kover4215]

Great work! Where can I download the logc pic from the Knives Out?

[@StefanRingelschwandtner]

Thank you. Here is the link: twitter.com/steveyedlin/status/1216463096790650881

[@jesuscorrea6651]

This video changed my life

[@Gonchoboy]

Great work Stefan, congrats. Should an output CST to Rec. 709 node be applied at the end of the node tree?

[@StefanRingelschwandtner]

No need for an output CST to Rec. 709 node at the end of the node tree when using PRINT.dctl. This DCTL allows you to select Film Print Emulation LUTs by DaVinci Resolve, which automatically adjust the image for display color spaces, including Rec. 709.

[@FilthyBadger]

I just bought it. On presumption that I will get the Mac version included when it is released👍 thank you Stefan.

[@gabbyydream3378]

I can't wait until it's available for the macbook pro M1. I already have all your plugins and I'm always very satisfied. :)

[@FilthyBadger]

Its not available for the Mac?!

[@gabbyydream3378]

@@FilthyBadger no. Look the website 🥺😭😭😭

[@FilthyBadger]

@@gabbyydream3378i weep also 😢😢

[@TZOBIEntertainment]

i checked out the demo today for this and it's really smooth. The only thing that didn't work for some reason was the print dctl demo for me. idk why.

[@StefanRingelschwandtner]

Thanks for the feedback! Please make sure to follow the installation guidelines carefully, and it should work.

[@chieltjuuhh]

Looks great! But i dont have Arri Alexa and Arri Clog in my Davinci resolve with latest update. I only see Arri wide gammut and logC 3 or 4.

[@StefanRingelschwandtner]

Thanks for reaching out! In the video, when I mention 'ARRI LogC', it's actually what's now known as 'LogC 3' in the latest versions of DaVinci Resolve. ARRI updated their naming conventions with newer camera releases, so the original ARRI LogC has been renamed to LogC 3. This means that what you're seeing as LogC 3 in your DaVinci Resolve is indeed the same profile I was referring to in the video.

[@ekphotography]

@@StefanRingelschwandtner CIneon Log cannot be used which is basically the same or no? Thanks

[@elladurman]

Can’t wait for the Mac version

[@ctcwired]

Question: How well do you think the Print part of this DCTL pack could be swapped out with alternate DRTs, even potentially for HDR output? The Print output looks amazing but I'm curious how well you think it might work on a project that may require other types of DRTs and deliverables. Thanks! Amazing work!

[@StefanRingelschwandtner]

Absolutely possible and should work well! The Print component can be swapped out with alternate DRTs.

[@fortifiedfitnesscoach]

Is using a dji osmo pocket 3 lut to rec 709 then colour space transform from rec 709 to DWG for colour editing a good idea? I don’t really like the look of Dji d-log to DWG. Just wondering if this is a decent workaround?

[@JGphotoyt]

Is it possible to utilize this in still photography?

[@carlosdaudt88]

Awesome

[@Yvesphotoandfilm]

I'll be here for the M2 release!

[@ABlackburnProduction]

AMAZING work!! This is incredibly intricate. Thank you!! Is this able to be used in a DWG/Davinci intermediate timeline?

[@StefanRingelschwandtner]

Thank you for your kind words. The “Looks” in this pack are designed specifically for ARRI ALEXA LogC3, with an output for 'negative film emulation' that remains within the Arri Log C3 color space. If you prefer, you can perform a CST to convert from LogC3 to DWG for additional grading. This is up to the users.

[@ABlackburnProduction]

@@StefanRingelschwandtner Youre amazing. Thank you!!

[@TZOBIEntertainment]

So basically when im using your dctls ill have to convert to Arri instead of Davinci Wide Gamut. ​@StefanRingelschwandtner

[@StefanRingelschwandtner]

@@TZOBIEntertainment Yes. The “Looks” in this pack are designed specifically for ARRI ALEXA LogC3. For more information, please visit my website.

[@TZOBIEntertainment]

@@StefanRingelschwandtner would that affect my workflow in any way?

[@santiagopoli_]

Hey, this is awesome. One question though. Why did you use Arri LogC instead of a more intermediate ACES/DWG? I know I can use a CST right before applying the DCTL, but it would be nice if the tool allowed you to select Input/Output gamut (not sure how hard it is to integrate DCTLs directly with the CST functionality in Davinci). Anyway, it is a fantastic tool :D

[@StefanRingelschwandtner]

By developing the input profiles through rigorous testing with the ARRI Log-C3 profile, we're anchoring our film emulation in the tangible characteristics of real camera output. The native CST tool in DaVinci Resolve features a user-friendly interface and provides a comprehensive set of options. Given this, I see no need to fully replicate it as a DCTL or integrate it into the profiles.

[@SwishBeats]

Can’t wait to try this! Dehancer is great but not like this 🔥

[@tonywhitmarsh]

Looking forward to the Mac version!

[@dan_evsky]

At 7:06, the slider makes the underexposed parts look unpleasant. The main subject is well-lit, and its density is quite okay, but the other samurais, where the hat is casting shadows, have very oversaturated skin while being underexposed. This can cause an unpleasant look, especially for someone with blemishes or skin imperfections, as it will accentuate those imperfections. Just an opinion, maybe using a slider to desaturate reds in the shadows is the way to go :)

[@StefanRingelschwandtner]

The demonstration was primarily to showcase the tool's capability to produce an orange and teal effect by adjusting the slider to the 30-50% range. While I implemented this effect on an RGB image for the sake of simplicity, it's important to note that in professional color grading workflows, log footage is the standard practice. This approach ensures a more nuanced and flexible grading process. ;)

[@gomezcreativemedia]

@stefanRingelschwandter How does your DCTL differ from Colorlab-AI’s Look Designer?

[@StefanRingelschwandtner]

Thanks for your question. Unfortunately I am not familiar with Colorlab-AI so I can't say anything about it. Feel free to download the free demo from my website to make some tests!

[@nicholasbrecken7357]

for one thing, this DCTL doesn't crash like look designer. I find the sub sat in this DCTL to look far superior to Dado's sub sat look. I also feel that his "negative" and "positive" film stocks are a hair heavy handed. BUT, with that said, colourlabs built in EL zones and auto exposure for 18% grey is incredible. IMO, Colorlab is great for fast exposure normalizing across a large amount of clips. Do your regular printer light work, export back to resolve with ODT set to arri log c, then on the timeline or group level of your session add the look lab print vs look designer. The other thing I think makes the DCTL better in a way....is that it limits the film emulations to what's most necessary vs the endless amounts of emulations in color lab. Less is more imo.

[@human_support]

Is the saturation subtractive, and is the contrast standard or also subtractive?

[@StefanRingelschwandtner]

There are two sliders for saturation: Standard and Subtractive. As for contrast, no-I'm not familiar with the term "subtractive contrast." If you'd like to try it out yourself, there’s a free demo version available on my website. You can download the tool for free and see how it works firsthand.

[@ronnyjonah8342]

you are Masternbro

[@piranino]

Where can we purchase this?

[@MagicCvstle]

I love this DCTL so much but I'm having an issue with it and Davinci's Film Look Creator. I use FLC for grain, halation and film gate after the 'PRINT' node but for some it breaks the image and turns the colors pinkish. I've turned all the sliders to 0 on FLC but it still affects the image. I am working in DWG/DWG Intermediate on the timeline level and I think FLC just doesn't like the input from the 'PRINT' node. Any help is appreciated!

[@StefanRingelschwandtner]

I wouldn’t recommend adding an FLC node after the Print node. Halation is typically best handled closer to the Log state for more natural results. Unfortunately, I can’t provide much assistance with that specific workflow. However, I wanted to share some news: I’ll soon be releasing Version 2 of Look / Lab / Print in just a couple of weeks. This update includes a significant redesign of all elements, which might also address the issue you’re experiencing. Stay tuned!

[@MagicCvstle]

@@StefanRingelschwandtner Ahh ok that makes sense! Ill avoid using FLC altogether. I just liked the ease of getting halation, grain and gate quickly. Do you have any tips on how to achieve a nice looking halation? Davinci's native one just isn't great IMO. Looking forward to LLP V2!!! Keep up the great work man,.

[@balsakrkeljic6334]

Hey Stefan, how did you grade only the right side of the knives out image, while the reference image on the left stayed intact?

[@StefanRingelschwandtner]

Those are actually two images stacked on top of each other and then cropped on the edit page.

[@nicholasbrecken7357]

This is excellent. Just purchased this myself. I am curious about if it would be fine to use the LOOK/LAB/PRINT on the group level and work under it within the clip level? Ideally, id like to avoid having a look lab print node per each clip, but unsure if doing timeline/group based look design would be detrimental to how this DCTL works? My normal workflow is exposure, contrast, bal, then secondaries. If it is best to keep LOOK LAB PRINT on a clip level, I can work with that too. Just curious.

[@StefanRingelschwandtner]

You can find the suggested node tree on my website for more detailed guidance. As for your query, here's a recommended approach: - Look.dctl: This can be placed at the pre-group level. This allows you to apply a consistent look across multiple clips. However, the placement is ultimately up to you and your specific workflow preferences. - Lab.dctl: I suggest placing this at the clip level. This provides the flexibility to adjust the parameters for each clip individually. - Print.dctl: This can be positioned at the post-group level or even at the timeline level. Again, the exact placement depends on your workflow and desired outcome. In summary, you can use the Look.dctl at the pre-group level, Lab.dctl at the clip level, and Print.dctl at the post-group or timeline level to maintain flexibility and control. Adjusting based on these suggestions should help streamline your process while achieving your desired results. Feel free to reach out if you have any further questions!

[@nicholasbrecken7357]

​@@StefanRingelschwandtnerappreciate your thorough reply!

[@nobody-d4b]

what is the most difference with dr19's film look creator? and how can I use with it?

[@MrKermitt71]

Hi ! I justwanted totry your demo of your plugin but the "print"dctl node doesn't work. I installed correctly... Thanksfor your help

[@StefanRingelschwandtner]

Thanks for reaching out! There are very clear installation instructions available on the website, so please double-check to ensure everything is set up correctly. If you still encounter any issues, feel free to reach out via email. I’m here to help!

[@newties776]

Hey Stefan, this looks absolutely fantastic! I have a newbie question: If I want to work in a DWG colorspace, is this DCTL still useful? So imagine if I have ARRI footage and set my CST from ARRI to DWG, I do my normal balancing in between and add another CST, this time from DWG back to ARRI, apply the look on a new set of nodes using your DCTL (LOOk + LAB + PRINT). I don't need to add another CST to transform ARRI > REC709 for viewing on my reference monitor, because that's essentially what the PRINT DCTL does, correct? So for different footage, for example Sony, I'd have to do the following: CST Sony to ARRI CST ARRI to DWG Balancing CST DWG back to ARRI Look + lab + print nodes using DCTL

[@StefanRingelschwandtner]

All the things you wrote should work. With Sony footage you can go from Sony to DWG, do the balancing, and go from DWG to ARRI Log C3. Then "Look / Lab / Print".

[@GustavoSalun]

Can I use it on my desktop and my

[@carlostomas1980]

Very impressive tool at this price! But I download the demo version for Mac that is available in your website. But the print emulation doesn’t work in resolve with M2. I have followed the instructions in the document, in fact the first 2 nodes work well (look and lab). I want to be sure before purchase that everything works fine. Some helps

[@StefanRingelschwandtner]

Thank you for your feedback! We've thoroughly tested the tool with the M2 chip, and it should work perfectly. Please ensure that the 'Print.dctl' file links correctly to the 'Film Looks' folder, as the folder structure is crucial for proper functioning. For further assistance and detailed guidance on setting up the demo correctly, please email me directly. I'm here to help you ensure that everything is set up correctly before your purchase.

[@AdroMobile]

@@StefanRingelschwandtner Hey Stefan! The PRINT DCTL isn't working for me either. It seems that it doesn't "call/link" to the LUTs in Resolve...

[@StefanRingelschwandtner]

​@@AdroMobile Please follow these steps carefully to ensure the DCTL files function correctly: 1. Correct Placement: Drag and drop the entire folder containing the DCTL files into the LUT folder. Do not directly copy and paste individual DCTL files into the LUT folder. Ensure that the folder you are moving is not nested within multiple subfolders. 2. Please carefully follow the installation guidelines available on my website, where you'll also find a screenshot demonstrating the correct layout of the LUT folder. If you continue to encounter issues with the print.dctl file, feel free to email me for further assistance. 3. It's crucial to ensure that the folder containing the DCTL file is placed directly within the LUT folder, and importantly, it should not be nested within another subfolder. By adhering to these guidelines, the dctl should operate correctly.

[@RayAmbler7]

Hello! How do I use this workflow with ACES?

[@StefanRingelschwandtner]

This pack is currently optimized for Arri LogC3 only, not for ACES. However, we are planning some updates and changes by the end of the year to increase its flexibility.

[@RayAmbler7]

@@StefanRingelschwandtner Thank you!

[@Gehirnwelle]

how did you get ride of all davinci color and wave panels ?

[@StefanRingelschwandtner]

@@Gehirnwelle Strg + F. Or Alt + F, Or Shift + F

[@Gehirnwelle]

@@StefanRingelschwandtneryou products are magneficient, thank you so much

[@henriqueccorreia]

Incredible! Does it work on Macs with an Intel chip?

[@StefanRingelschwandtner]

You can download the demo version for free and test it yourself, but I don't think it will work. Hopefully, I will be able to fix it and will soon release an updated version that will also work on Mac.

[@henriqueccorreia]

@@StefanRingelschwandtner Ok, thanks. Do you have any predictions on when it will be compatible with Mac? I really liked it and I'm interested in purchasing it.

[@StefanRingelschwandtner]

@@henriqueccorreia sorry. No prediction. Hopefully I solve that issue in the next week(s).

[@henriqueccorreia]

@@StefanRingelschwandtner I'll be waiting, I really liked the product! Thank you for your attention.

[@vanraz]

Waiting for mac release to purchase :)

[@HannesFamira]

What happens if you apply changes using your DCTL Pack, save the project and then open it on a system that does not have the DCTL Pack installed? Are the changes lost or do they stay applied to the footage, just the interface to the changes is not available?

[@StefanRingelschwandtner]

When you open a DaVinci Resolve project on a system without the specific DCTL Pack installed, the changes made using that pack won't be applied or visible, because Resolve needs the DCTL files to process those effects.

[@elloryyu]

@@StefanRingelschwandtnerAnyway to make the changes permanent without needing the DCTL pack, albeit the system without the pack cannot make changes to it which is fine, until they install the DCTL Pack.

[@AdroMobile]

One question: What would be the best Color Management to use in case of grading Leica RAW photo files ?Is it necessary to use a CST node before? Thanks!

[@StefanRingelschwandtner]

For grading Leica RAW photo files, I recommend using specialized photo editing software. While DaVinci Resolve excels in video grading, it may not be the best fit for RAW photo files like those from Leica. In my workflows, I typically use a CST node, but I'm not aware of direct support for Leica RAW in Resolve. For more detailed information on color management, please visit my blog on my website. You might also find community forums discussing alternative methods to edit photos in DaVinci Resolve, though I don't have specifics on such workflows.

[@DivineDop]

I have been using this for awhile now and I love it. But i have recently run into an issue where when using the looks the footage breaks down and starts creating random severe artifactting, Wanted to know if anyone else is experiencing this. All the footage is flog 2 h.265 422 and never had a problem i think unitl the most recent davinci update. have uninstalled and reinstalled them as well still not fix, Lab and Print DCTlL still work fine.

[@StefanRingelschwandtner]

To assist you better, it’s always helpful to send me an email. I’m here to help! If possible, please include some screenshots. Are you using an Apple M1 or M2 computer? In rare cases, there can be issues with these computers when combined with DCTLs. As mentioned, the best approach is to email me with more details.

[@ggomori3904]

I'm curious about the difference between Look/lab/print and film emulation, soft 2 strip. Do you have any recommendations? I am planning to buy color shift dctl.

[@StefanRingelschwandtner]

@@ggomori3904 soft 2 strip is no longer available. Film emulation pack features a lot of spacial effects. I cannot really give any recommendations. All information is on the website and in my videos.

[@oreld.5664]

Hi Stefan ! Sorry for the stupid question. Is it possible to extract 3DLut from your DCTLs simply generating from clip option "GENERATE LUT" in color page on Resolve ? I would like to export LUT from your DCTLs for my camera. Thanks by advance.

[@StefanRingelschwandtner]

Absolutely, there are no stupid questions here. Yes, you can create LUTs from the DCTLs using the "Generate LUT" option in the color page on Resolve to export them for your camera. If you need any more help, email me.

[@oreld.5664]

@@StefanRingelschwandtner Cool! So GREAT ! I love to hear that ! Thank you for your answer!

[@ShanePHanlon]

Will this work as intended in with Slog3 footage or does it have to be arri log c footage? Also will this work in DWG or needs to be in arri log c color space?

[@StefanRingelschwandtner]

The profiles are designed for Arri LogC3. “Lab.dctl” can also be used in any color space.

[@teddygage6623]

Awesome. Out of curiosity, any reason these are tailored specifically for Arri and not DWG?

[@FilthyBadger]

Because Arri looks better

[@teddygage6623]

​@@FilthyBadger DWG covers a larger gamut than Arri as referenced on the Mononodes website. I get you can just use CSTs to convert, but why limit yourself to a smaller colorspace? (Truly asking btw. Does that limitation add to the filmic look? Is it just the ubiquity of Arri cameras?)

[@deegees73]

Hi Stefan. First off, congrats. You are doing amazing work. I especially like the fact that you are bringing Baselight functionality to Resolve. Will this DCTL work in ACES on any footage or is it strictly made to work in a non color-managed workflow on Log-C footage? p.s.: the demo versions of the Look and Print dctls don't seem to work.

[@StefanRingelschwandtner]

Thanks for the Feedback. Install guidelines: Drag and drop the folder containing the DCTL files into the LUT folder. This is important. Otherwise, the MONO-PRINT.dctl will not work correctly. - I've updated the website and included some screenshots. Hope that helps. - If not, please email me. I am here to help. - About the profiles. The profiles are made for ARRI LogC. In theory, you can switch to ACES after the "LAB.dctl" node. If you want. Did not test it myself.

[@deegees73]

@@StefanRingelschwandtner Thanks for the reply. Unfortunately, I will not be able to use these DCTLS as, at work, we work in ACES on a project settings levels only and not clip level. But thank you nonetheless for this.

[@jos7068]

my print dctl node doesnt work...

[@StefanRingelschwandtner]

@@jos7068 please follow exactly the install instructions from the website.

[@curtdp]

HI Stefan. Great work. I want to ask, how this product can be used in HDR workflows? rec2020 Thank you.

[@StefanRingelschwandtner]

For HDR workflows in Rec.2020, you can utilize LOOK and LAB DCTL for color grading. Instead of a PRINT.dctl at the end, use a CST with the input set to ARRI Alexa LogC3 and the output to your desired display space.

[@curtdp]

@@StefanRingelschwandtner Thank you for the reply. This is not a critical problem, but the curve that is in the LAB DCTL 'Show tone curve' in HDR mode is too bright. Can you make some option to make it not so bright? And I have some artifacts with my footage from Sony XAVC-I codec ZV-E1 at some point I see white pixels running on image with demo version of your product (something like focus peaking). Want to understand is it problem with codec, footage or my shooting technique or can DCTL be brought in such state? I tried on demo version to generate LUT file. and I see some black pixels running on my image when apply that LUT. Is it a 'protection' of demo and in full version everything will be ok. I understand that here is too much variables, but maybe you already have such situations and can explain. Thank you very much.

[@StefanRingelschwandtner]

@@curtdp There should be no issues with "white pixels." Perhaps it's a transform problem. The demo version cannot be exported as a LUT effectively. It can, but the "watermark" will also be included, which may result in "black pixel artifacts." If you can share some footage from the Sony camera and your node tree setup, along with more information about your hardware, I will look into it. It's best to write me an email.

[@etiennehb5429]

Hi Stefan, this looks very very promising! Just downloaded the demo and replicated your node structure but it seems like the emulation (200T, 250D, 500T) doesn't do anything to the footage. I'm on Resolve 18.6.5. Thank you!

[@StefanRingelschwandtner]

On a Mac? Currently the look dctls works only on PC hardware but I will soon fix it so it will work on Mac, too.

[@ronnyjonah8342]

@@StefanRingelschwandtner i just download also. i use on PC but the LAB DCTL doesnt do nothing. for the demo i mean

[@StefanRingelschwandtner]

@@ronnyjonah8342 Please email me more details on your hardware specs. Which GPU, which driver, so I can look into it.

[@guillewillreyes]

@@StefanRingelschwandtner Same here, the PRINT DCTL does nothing on the demo version

[@StefanRingelschwandtner]

@@guillewillreyes Please ensure that you follow the installation guidelines precisely as outlined on our website. If you continue to encounter problems after this, do not hesitate to email me directly, and I will be more than happy to assist you further.

[@christianschindler9602]

Is it working on the IPad too? Looks great!!

[@StefanRingelschwandtner]

Not sure if DCTLs will work on an iPad. You can download the free demo version and test it for yourself. It's a great way to see firsthand if it meets your needs!

[@christianschindler9602]

@@StefanRingelschwandtner I tried it and I can load it about without any effect. )-: The skin tone DCTL is working great!

[@StefanRingelschwandtner]

@@christianschindler9602 Check the "install guidelines" carefully. LAB and PRINT should work on Mac, too. (But never tested it on IPads). Look.dctl version will be updated soon.

[@kent5147]

This looks handy, but has this not effectively been supplanted by the Resolve 19's “Film Look Builder” (creates almost the exact curve you show here - among other things) and “Slices” (allows for individual color density adjustments - among other things) features?

[@StefanRingelschwandtner]

I haven't upgraded to DaVinci Resolve 19 yet, so I'm not familiar with the 'Film Look Builder' and 'Slices' features you mentioned. However, I recommend downloading the free demo version of my tools and comparing its capabilities directly with the native features in Resolve 19. This way, you can see which solution meets your needs best.

[@gerardomorales151]

The thing that sucks about Film Look Builder is that I can solo the effects. It drastically changes my entire image when I really only want one effect applied

[@Yevgen_Splash]

Waiting for Mac M1!!!

[@peterkertesz2861]

I'd love to buy this - does this work will Slog3 (Sony)?

[@StefanRingelschwandtner]

Yes. All information is on the website and in this video. The looks are designed for Arri LogC3. However, you can simply apply a CST from other camera logs to LogC.

[@maxxbom777]

Ist da mein Nodetree nun passe?

[@Mintyseden]

Will this work with canon Clog 3 somehow?,

[@StefanRingelschwandtner]

If Canon Clog3 is available as a color space option within DaVinci Resolve's Color Space Transform (CST) feature, you can indeed perform a CST from Canon Clog3 to another log format, such as Arri LogC3.

[@Mintyseden]

@@StefanRingelschwandtner ok I understand the process now. I was worried about the difference between the dynamic range of the cameras.It is available in resolve. Thanks for quick reply

[@jamesreed7278]

Will it work well with DJI Ronin 4D footage?

[@StefanRingelschwandtner]

Thank you for your interest! The best way to determine compatibility with DJI Ronin 4D footage is to follow the instructions on our website. We encourage you to download the FREE DEMO version and test it yourself.

[@lombardy3274]

How come no M series Mac support?

[@StefanRingelschwandtner]

I acknowledge the current limitation and am actively working to ensure compatibility with M series Macs.

[@TheVDAP]

The Demo Version is not working. Green Screen

[@StefanRingelschwandtner]

Green screen? hmmm. With all DCTLs? Would be nice if you could email me with more details about your hardware and more details which exactly DCTLs are not working. And maybe a screenshot, too.

[@TheVDAP]

@@StefanRingelschwandtner Ventura w Radeon VII, and also Win10 and Radeon VII

[@cesaralpuche7422]

this DCTL is not yet supported for Mac@@TheVDAP

[@TheVDAP]

@@cesaralpuche7422same problem with Win10 and Radeon VII

[@TheVDAP]

@@cesaralpuche7422 same problem with Win10 and Radeon VII

[@jarrodbarker]

One coming for Slog3?

[@StefanRingelschwandtner]

Thanks for reaching out. While this tool is primarily designed for Arri LogC3, it's versatile enough to work with S-Log3 too. You just need to use a CST to convert S-Log3 to LogC3 before applying the tool. All the steps are clearly outlined in our video and on the website. If you have any more questions or if there's anything else I can help you with, please don’t hesitate to email me.

[@jarrodbarker]

@@StefanRingelschwandtner oh, then actually, if I’m using phantom LUTs will that get my color palette close enough to arri c that I could use slog3 with phantom LUTs? If not I’ll just do the CST, I was just never sure how accurate that transform was. Anyway, this is a very neat DCTL:)

[@StefanRingelschwandtner]

@@jarrodbarker I'm not familiar with Phantom LUTs, so I can't speak to their effectiveness. I recommend using the CST in DaVinci for reliable results.

[@jarrodbarker]

@@StefanRingelschwandtner thank you :)

[@sanadakhumanthem3557]

Theres no Arri Alexa Color Space and Arri LogC on resolve 18

[@Resolve_This]

Yes. You just need to set it up in your 'Timeline' colorspace in the Project Manager or nodebased via CST's.

[@StefanRingelschwandtner]

It is named "ARRI LogC3" in DaVinci 18.

[@rebobinapodcast]

arri log c3 or c4?

[@StefanRingelschwandtner]

C3

[@مهديمهدي-ب1ش1ك]

كيفيه تثبيته

[@Alex-CPopa]

Please make it for Apple too!

[@StefanRingelschwandtner]

Will do!

[@Alex-CPopa]

@@StefanRingelschwandtner eagerly waiting 😱

[@BANGBONSCHANNEL]

❤

[@FanaticoFilms]

this is amazing!! so is this pack replacing most of your other packs?

[@StefanRingelschwandtner]

Not exactly. It really depends on your requirements. For specific tasks like adding hue shifts, brightening colors, hue twisting, split toning, and RGB mixing, the other tools remain incredibly useful. You can seamlessly integrate them after the LAB DCTL for enhanced functionality.