DaVinci Resolve Film Look LUTs - How to Apply PROPERLY!

[@EvanSchneider]

Hope this helps you make some tasty grades! Let me know if you have any questions!

[@colinyoung6919]

Hey Mate, The links dont seem to be working. Looking at "my luts" and "super 8"

[@Maxiixam20]

Which LUT did you use for the talking head sections of this video where the camera is on you? Really great video by the way!

[@justindingle]

legend thank you

[@nilu.p_]

This video is what more people need to see. It explains deeply but very easily why a LUT needs some proper setups before applying! Even many "professionals" are unable to explain it and they spread wrong knowledge or hide it because of their ego. Thx man!

[@singhgentleman]

The best tutorial on how to use Kodak LUT in DR. It has been a big pain point for me and spent many hours trying to figure it out. You nailed it. Thank You So Much.

[@EvanSchneider]

So good to hear, my goal was to make it as simple as possible! Thank you

[@akouirouk]

Such a great informative video! I had trouble with my GoPro footage looking too dark when I applied any LUT from the Film Looks library, and this definitely helped fix that. Thanks Evan!

[@reyvaz2951]

Saludo my friend from Puerto Rico, I want to thank you for your excellent work, explaining how to work with this fabulous program. Back in the days I use to work with FCP 7, I quit for several reason, the change of FCP 7 to X was part of the reason, at that time, we did not had this type of information at our disposal, this program has made me want to do this type of work again and haveing a person like you to help us, its a blessing, I hope you continue helping this community and thank you so much!! You do a great job sir.

[@europhile2658]

This is very good! I've recently looked at a couple of other videos that explain how to do this, they are very good but not as compact complete and detailed a yours. I particularly like the tip about reading the LUT files.

[@EvanSchneider]

That was my goal! Thanks for the comment.

[@strollio]

Thanks

[@EvanSchneider]

Thank you!

[@haddonhousefilms]

Great video. Ive watched 4 on this topic. Yours covers everything while others left out a good bit of this information. Thanks.

[@mr.spaceshiptechno]

Great Tutorial! For those who just join videography, it is important to expose your video properly before you head into davinci to do color correction!

[@PeteEdmunds]

Perfect thank you. I have some normal non-log footage from my drone, and now I can see which nodes I need to add to create a film look.

[@retrohorrorthrills]

Great stuff. My problem is using the cineon and doing exactly what you did except I'm using Canon Log, it makes the footage look great but way noisier for some reason. Lowering the key output helped quite a bit. Part of the issue is working with 8 bit log footage I'm thinking.

[@gage-films]

The way color grading sucks, more especially when yo don't get things right, this video is a great blessing indeed and on a Christmas Day. you nailed it bro👌👌👌

[@EvanSchneider]

Glad it was helpful! Color grading can definitely be tricky.

[@oliverhales]

So comprehensive yet straight to the point, thank you!

[@brianreubelt]

DUDE. I am just getting into learning Davinci from FCP. These are incredibly helpful.

[@Peter-Kramm]

You said something very interesting... You have your timeline color space set to Rec 709-A because you are working off an apple so what you see on your monitor is what you will get at export. I am working off a MBP but I am using an external monitor - LG 38WP85C-W, any idea what I should set my timeline color space too. I haven't been able to find an answer.

[@EvanSchneider]

If you’re on a Mac, no matter what monitor you’re using, if you’re grading in the GUI and not using an external video card, you can set your output colorspace to Rec.709-A and in Resolve preferences check the box for “use Mac display profile for viewers”, and then what you see will match your export.

[@victorsakshin]

Thank you so much Ewan, this video is really clear! I followed all the steps exactly as you suggest and worked amazingly… ONLY, I have a little issue, when I export the video it comes out WITHOUT THE LUT! 😅 I guess I’m missing some very basic step but I can’t quite figure out what… some help on that would be highly appreciated!

[@EvanSchneider]

My first guess is make sure you have "Flat Pass" turned off on the deliver page? I'm not sure, it could be a number of things.

[@victorsakshin]

@@EvanSchneider thank you, I could solve it, it had to do with some exporting configurations that were not properly set

[@davidlavalleejr]

This was the most concise tutorial I've seen on this subject. Thanks for sharing!

[@EvanSchneider]

Thanks! That was the goal!

[@lululucaschae]

I've watched so many videos and this one hit home. Thank you so much!

[@EvanSchneider]

Glad to hear!

[@scarylove_era]

I just used resolve for the first time and decided to do FPE with Kodak 2383. Thanks for showing me how to apply it properly, I just used it in my last video!

[@EvanSchneider]

Awesome, glad it was helpful!

[@gankster9007]

ive been learning how to color grade and ive found this video super easy to follow along.

[@WhoIsAlexElliott]

wow I was totally doing what you said not to do, massive difference !!!

[@EvanSchneider]

hahaha glad I could help! Makes your footage look much better!

[@MagicCvstle]

Absolute best tutorial on this subject. Nailed it.

[@lagmusica]

Hello! very good video! one question please! I have a Nikon d750, do I have to select initial space rec 709? and cineon film log output? and there in the new node apply the lut? it would be correct? Because I don't know what preference my Nikon has, I would be using the cinematic profile! Thank you!

[@dancrosby6091]

Very informative. Where would you put noise reduction if needed? Keep the tutorials coming!

[@EvanSchneider]

Glad it was helpful! You would put noise reduction at the very beginning of the node tree.

[@azzozmusic]

very well explained, thank you so much

[@Jonnylemons]

that was EXACTLY what I needed to know 🤝

[@PaulVoorberg]

Just watched 2 Davinci videos of yours, great stuff 👍 I watch a lot and your videos are definitely among the best, especially for more advanced tips.

[@EvanSchneider]

Thank you, appreciate it! Glad you find them helpful.

[@sebastianholmes1753]

Does anyone know how he was changing the offset color wheel with such fine control @ 6:50? Using that hollow circle cursor? Whenever I try to make color adjustments to that wheel I always send it way farther than I need to even though I'm barely moving my mouse.

[@EvanSchneider]

The fine tuned control is the result of using the offset wheel in a scene-referred node before the conversion to Rec.709. The tools respond differently based on what your color management is. You’re probably experiencing more responsive adjustments because you’re using it in Rec.709 or on Rec.709 footage. If you find the tools to be too sensitive, you can always set the node to something like .5 intensity to help.

[@hmzybeats]

@@EvanSchneiderThank you for the reply on a not super recent video. I’m typically adjusting the color wheels on v-log footage prior to converting it to rec709 through a color transform node. I never thought about decreasing the intensity of the node so the larger adjustments have less impact on the image. But there is no special shortcut key/plugin/script to make the color wheel dot less sensitive to mouse movements?

[@EvanSchneider]

Maybe try option or shift? I’m not sure, I’ve never had the need since I use a panel. You could also search in the keyboard shortcut menu or help menu. Last resort I’d check the manual.

[@RaduButarascu]

This tutorial made A LOT of sense - thank you!

[@EvanSchneider]

Absolutely! That was the goal!

[@mjodr]

Bam, breakthrough! Been trying to figure this out for weeks! Thanks!

[@EvanSchneider]

Stoked to hear! Thank you!

[@AJKinOHIO]

I'm not able to get to the starting line with this tutorial. My first problem is I can't see settings when selecting a node. It's greyed out. Second problem is my original node doesn't have that little icon next to the 01 which I'm assuming is important. Following the instructions my end product looks nothing like his, it looks like garbage lol. I am on a PC so maybe that has a big sway, not sure.

[@baaao]

Awesome! Can't we just transform the arri to cineon instantly? Why? I wanna know 🥰

[@EvanSchneider]

I did this so that I can create a compound node out of the second CST and the LUT and adjust the intensity of the film print look. Organization and flexibility.

[@baaao]

@@EvanSchneider now I know! thanks for the awesome information! but transforming my slog2 directly to cineon and apply the rec709 lut still works?

[@NickGoldston]

Love the compound node tip

[@EvanSchneider]

Glad it was helpful!

[@adrientaret9782]

Thanks for the video! If I want to do other adjustments in order to develop even more the film look (like hue vs hue, or adjusting skin tones for example) should it be done before the compound node that contains the LUT?

[@lightbright8888]

Those should be done before the 1st color transform node.

[@valquireveljkovic]

thanks for this video. i m always wondering if you use 709-A on a mac, should you use the 709 display profile in macos accordingly? almost nobody is talking about the relation of the display profiles to the color mgmt in resolve.

[@burresseffects]

Thank you for this. I don't know how anyone tries to teach this without mentioning the TextEdit stuff.

[@maxwolf2718]

That worked nicely! I would curious, if I was looking at other LUTs out there, aside from the ones that Resolve ships with, how would I be able to find out which color space these other LUTs expect?

[@EvanSchneider]

Glad it helped! Unfortunately if they don’t specify on their site or in the LUT file, there’s no specific way of knowing. Usually LUTs are made for Rec.709 colorspace, so you can typically count on that. There are programs you can buy that show you the curves present in the LUT so you can make a more informed decision, but for a casual user it’s not usually worth the cost. The best way would be to just play around with it.

[@AlexanderMarshallI]

This is so helpful, thanks!

[@natureinfocusimages]

Is there a way to use your color management settings to apply this to all your video. I'm always using Sony Slog3 and Gamut3 cine. Can I have a global setting so I don't have to do all the work at the Color node level?

[@EvanSchneider]

You can use automatic color management mode and tag all your clips as S-Log3

[@oisteinthomassen]

Fantastic, exactly what I was looking for. Well executed and down to the point!

[@jbe1official]

I’m curious, Evan. Let’s say I choose to set my timeline color space to DWG and output to Rec 709A for Mac as color management. Can I set my first CST node from Slog to DWG and my second CST node before the Film LUT node to DWG to Rec 709A Cineon log? What do you think? Meaning the adjustments between these two will be in DWG color space. Thanks in advance !

[@EvanSchneider]

You’d be introducing a colorspace “bottleneck” into your pipeline, pretty much negating the benefit of working in DWG at a timeline level. You’re better off color managing on a node level. But my best advice is to test multiple workflows, grab stills of each and compare which results you like the best.

[@jbe1official]

Thank you, Evan!

[@ejiroogagah2476]

Thank you so much. You are blessed Evan. I'm subscribing right away.

[@EvanSchneider]

Welcome!

[@deviantstudio]

btw the grading of your working place shots is amazing (skin tone, overall colors). is it film lut too, or manual magic?

[@EvanSchneider]

Thanks! I graded the studio footage in this one using the Resolve film looks to keep it consistent. It's a mix of the film look as a base and then some manual tweaks to my liking.

[@amimonjulika]

If I want to do some more edits, such as masking a subject.. or play with hue and saturation etc. Where do I do that? before the CST or betweeen CST and FPE or after FPE?

[@EvanSchneider]

Any lighting or balancing adjustments should be made before the CST and LUT. If you want to make adjustments to the overall look or want to change something that the LUT is doing to the footage, say increase overall saturation or adjust the hue or sat of a specific color, you would do that after the CST and LUT.

[@mathiasnordgren495]

If the the Film Look LUT outputs Rec.709 2.4 shouldn't you add another CST that converts from the 2.4 gamma back to the Rec.709-A Gamma?

[@EvanSchneider]

You could if you wanted to be really accurate. But in this case, it's more of a "what you see is what you get" mentality

[@johnstamw]

So helpful dude!! Thanks for the walkthrough!

[@raizanong]

Where would the node for adjusting skin tones be?

[@EvanSchneider]

After the FPE compound node. But I would make sure the footage is balanced in a node at the beginning first.

[@iKINDREAD]

Awesome thanks! I am as curious if I was filming on a a6500 Sony on its native settings not s-log could I still put the color transfer node to rec709. What would my setting be?

[@EvanSchneider]

Yes, you can absolutely do this. Here's the node structure (assuming you're working in a DaVinci YRGB project, non-color managed) Node 1: CST with Input Color Space Rec.709, Input Gamma Rec.709, Output Color Space Rec.709 and Output Gamma Cineon Film Log Node 2: FPE LUT of your choice Then on Node 3 you can do minor adjustments to the look. If you need to make exposure, contrast, or white balance/saturaiton changes, you would create a new node before the CST node and make those changes there.

[@iKINDREAD]

@@EvanSchneider OMG thanks bro this helps so much. Having 8-bit is tough to color correct sometimes. I was shooting with p22. This helps a LOT. Thanks agian.

[@iKINDREAD]

* PP2. and yes noncolor management.

[@NordsternOutdoor]

What about tone mapping in the CST?

[@EvanSchneider]

Set it to DaVinci

[@davidsikula3488]

I'm not sure I quite understand how adjusting the key output on the compound node does not compromise the Cineon to rec 709 conversion in the same way as you were describing on the individual node. Could you please explain why this is the case?

[@EvanSchneider]

Great question, this is because inside the compound node, we convert to Cineon log and then the LUT is transforming back to Rec.709. So essentially, the compound node's input and output are the same, allowing us to adjust the key output without affecting any transformations.

[@davidsikula3488]

@@EvanSchneider thanks! Makes sense. Another question: I notice that you use “same as timeline” as your input for the 709 - Cineon node. Since your timeline is set to 709-A (as mine would be) would that not make a difference to how the FPE looks/responds, as Cineon is expecting 709 as input, not 709-A? I have been entering 709 at this point thinking that’s what Cineon is ‘expecting’, and have noticed that entering 709 vs 709-A yields a different result here in terms of brightness (and maybe contrast) once the film LUT is applied. Just wondering which would be technically “correct” here.

[@luisrenkel5177]

After the Film LUT we don't need to change the output gamma back to the timeline?

[@EvanSchneider]

No, because the FPE LUT takes care of that transformation itself

[@35mmdigitalcinema]

wouldn't any adjustments after the FPE choke the grade, and be heavily restrained by the LUT, thus resulting in artefacts?

[@EvanSchneider]

It depends on what type of adjustments you do after the FPE. Some adjustments might result in artifacts, but as a general statement, I would say that it's acceptable to place minor tweaks after the FPE. But sometimes if the FPE is doing things like shadow tinting or certain hue shifts, I fix those at the end of the pipeline.

[@35mmdigitalcinema]

@@EvanSchneider I see, thank you

[@micheltraas_films]

Great explanation, I've struggles with getting the exposure right with this out so I'm definitely gonna try your way!

[@EvanSchneider]

Thanks, glad it was helpful!

[@Freddd95]

Question 1: You say that you use Rec.709-A as your timeline color space in order to get your export looking the same when grading on your mac screen. I'm also just using my mac screen, and I've been using Rec.709-A as well but only as output color space, not timeline working space. For timeline color space, I've been advised by Darren Mostyn to "always use the largest color space possible", which is Davinci Wide Gamut (or Aces alternatively). Is there a reason why you don't do this? I'm a beginner so I just follow advice pretty much blindly. Question 2: When using a color managed workflow (davinci YRGB color managed), and DWG (davinci wide gamut) as timeline color space, I've used three nodes: 1. CST: DWG to Cineon film log 2. LUT 3. CST: Cineon film log back to DWG Is this correct?

[@EvanSchneider]

Hey! Thank you for the comment. Darren's advice is accurate and I would advise that in general, however there are a few caveats that come with it. The Film Looks LUTs in Resolve are not compatible with working in DaVinci WG/Intermediate color science. This is the reason that when I'm using these LUTs, I work in a Rec.709 colorspace. This ensures that the LUTs look the best they possibly can, and even though I'm not working in a larger colorspace, the tradeoff is that I'm using the LUTs as they are intended. I would not advise using these LUTs in DWG or ACES, as you're basically bottlenecking the pipeline at the LUT and forcing everything into a smaller colorspace anyways. To answer your second question, your nodes should be as follows: 1. CST: DaVinci Wide Gamut/DaVinci Intermediate to Rec.709/Cineon 2. LUT 3. Rec.709/Gamma 2.4 to DaVinci Wide Gamut/DaVinci Intermediate This is because the LUT is also converting from Cineon back to Rec.709 2.4. Cullen Kelly has some free 2383 LUTs designed for DWG/ACES if you want to check them out: freebie.cullenkellycolor.com/freelut/ Hope this helps, feel free to reply with any more questions.

[@Freddd95]

@@EvanSchneider Thanks a lot! :) one more thing, do you always use Rec.709-A? I’ve been using it because it looks consistent in quicktime and youtube, but I’ve read somewhere that it has its limitations. Like vimeo, windows (in general?) and certain web browsers (I’ve not tested this myself so can’t say for sure). I’d like my exports to be as flexible and «universal» as possible, and it would stress me a little knowing that they may look wrong certain places. For clarification, I’m just delivering to the web.

[@TheStoenk]

Is it important to transform into rec709 in one node and into cineon in the other? Why not into cineon straight away?

[@EvanSchneider]

Yes, you could convert to cineon straight away. I did it like this because mentally I like to separate my input transform (IDT) from any transforms I'm using for look development. Just another way to organize it. This way, I can add nodes between the input transform and the FPE if I want to later in the process.

[@freneticallyYT]

Great video! Did you shoot the B-roll in the video yourself? I recognize the place, didn't expect anyone to shoot their B-roll there but it looks surprisingly good!

[@EvanSchneider]

Thank you! The b-roll is just stock footage from Artgrid, that's cool you know where it was shot though.

[@freneticallyYT]

@@EvanSchneider Madrid, Spain 🇪🇸

[@daviddecsi4962]

Why do you convert from log(arri) to rec to log(cineon) to rec? Why not just go from log(arri) to log(cineon) to rec? So instead of 2 cst nodes, you'd just have one, with input of arri/arri and output rec709/cineon. And then just the lut node

[@EvanSchneider]

I do this by habit in case I’m working with footage from different cameras in the same timeline. Better to separate the input conversion from the look creation CST.

[@ChaosclownM]

Jezzz I love it 😍 thanks so much for this dude !

[@AndyKunkel]

I use Cinematch to match my EOS R to my BMPCC 6K pro. Where in the node tree would you use Cinematch??

[@EvanSchneider]

In your workflow you’d use cinematch before these nodes. That way you convert them to the matching profile and then apply the FPE to that.

[@AndyKunkel]

@@EvanSchneider thanks for getting back to me! I was thinking of using this workflow in a wedding I'm currently editing. BUT, I'd rather not drop a bomb on the workflow I'm used to JUST yet haha. Definitely going to use this in my next project. Since I have two cameras, cinematch is pretty crucial.

[@DaishaView]

Amazing thank you so much! I’ve been doing it wrong this whole time lol

[@mustang2005]

Ohhhh I was doing everything wrong no wonder I was having such a hard time. Thank you!

[@at9040]

how does the white point for the luts work, say if i shoot on 3200k based on my 3200k keylight, what would the D55/D60/D65 white points do .

[@EvanSchneider]

Doesn't have anything to do with how you shot it necessarily, it's more of a creative decision. Simply describes the color temperature of the white point that the LUT generates.

[@TheFilmmakingChannel]

So you only apply the lut on a Rec709 with the cineon gamma basically correct?

[@EvanSchneider]

Yes, that is what you need to feed into it.

[@CoreyHunter]

Just starting out and learning this was great. Thanks!

[@EvanSchneider]

Glad it was helpful!

[@andreasfan9568]

Why are you using 2 CSTs ? You could do it al in one right ? Just have output gama Cineon Film log and output color space Rec709.

[@EvanSchneider]

You definitely could do that, but I prefer to separate them for a couple reasons. First, I usually make additional nodes for adjustments in between the CST and the FPE. And second, just for organization, as the two CST nodes are performing different functions (or ideas) in my workflow.

[@andreasfan9568]

@@EvanSchneider Thank you for your report Evan 🙏🏻

[@victorsakshin]

Thank you very much, I’ll try that! 🙏🏾

[@raymondyin6777]

OMG It's so helpful! Thank you so much!

[@DavidSkok1]

How would you modify this for a Rec.2100 HLG Timeline? Thanks!

[@EvanSchneider]

You would sandwich the FPE LUT between two colorspace conversion nodes. The first one would be the same as I describe in the video, but you would also set it to convert to Rec.709 colorspace. Then after the FPE LUT, you would add another colorspace transform converting from Rec.709 back to Rec.2100 HLG.

[@DavidSkok1]

@@EvanSchneider Evan - many thanks for your reply. Much appreciated!

[@Jacobroy]

Please help, can't locate the film look lut folder, I've thoroughly searched the lut folder, can't find it at all

[@EvanSchneider]

Not sure how to help you here, maybe try reinstalling Resolve?

[@allstarbury]

So then i will ask question i have 30-60 mins video outside .Recorded in d cinema SDR do i need to just apply lut dedicated for my camera ? Or i need to make 3 nods like you

[@EvanSchneider]

The 3 node structure I made in this video is expecting a Rec.709 input so yes you would normalize or transform the footage first, then feed it into this.

[@allstarbury]

@@EvanSchneider but the point is when i have flat color videos and i put this lut video looks better than recorded in normal and standard mode .I was trying to add same lut to video that was recorded in standard mode and again i see better colors warmer Yout video is not HDR in d log ?

[@jonathanbureau7482]

Is it the same if i work with ACES workflow? (Color management > ACES CCT )

[@EvanSchneider]

You would have to sandwich it between two transforms so that you’re feeding it the right input and outputting back to ACES CCT. The FPE LUTs are expecting a Rec.709 colorspace and cineon film log curve. Or you could transfer it to DCI P3/cineon film log and then back to aces.

[@jonathanbureau7482]

@@EvanSchneider okay i understand now, thank you :)

[@Webrisernl]

Can I download these luts to load in my external camera monitor?

[@EvanSchneider]

You can, but your results won't be very accurate and I wouldn't advise these for monitoring LUTs. I would recommend using LUTs made specifically for your camera color profile, or converting these LUTs to work with your camera.

[@Webrisernl]

@@EvanSchneider im new to using external monitors and yesterday I order this portkeys pt5 ii. I was hoping that I can shoot with a lut activated as the clog3 file is so hard to get the right exposure... would using false colors be a better option than lut activated?

[@gr1ngo101]

Which rec 709 should I choose for my timeline? You chose rec 709 -A should I choose that too?

[@EvanSchneider]

That depends on your system, display and how you’re monitoring. If you’re on a Mac and grading in the GUI, like I was for this video, then choosing Rec.709-A and turning on the preference for using the Mac display profile for viewers is the correct way to do it. Rec.709 Gamma 2.4 is the video standard for most pro apps though.

[@gr1ngo101]

@@EvanSchneider oooh, ok, I get it. Thanks for help :D

[@SuperJamesus]

thank you, such a great video.

[@WolferAlpha]

I would like to ask a question, in my case I use CineDNG I have to assign a color space and gamma, from the available options I was told that P3-D60 with Linear has the best dynamic range, testing it I realized that it is easier to work if I convert the color space and gamma to the ARRI one, I do the color grading after this conversion and before this LUT, but in your opinion, is this the best option the way I am doing it?

[@EvanSchneider]

The decoding from the camera raw is completely up to you and what works best. The most important part of this workflow is to feed the proper colorspace and gamma into the FPE LUT, which would be Rec.709 colorspace and Cineon Film Log gamma. So if I understand your workflow correctly, this is what I would recommend your node structure to be. 1. Decode CineDNG to P3-D60/Linear 2. P3-D60/Linear to Arri/LogC3 3. Primary corrections/offset 4. Arri/LogC3 to Rec.709 Cineon Film Log 5. FPE LUT 6. Secondary corrections/small tweaks

[@TheVapingHeed]

how do you determine lut gamma on windows

[@EvanSchneider]

Just open the LUT in any basic text editor. I believe on Windows it would be Notepad? Also, not all LUTs have the input and output gamma/color space in their header unfortunately. But it's always worth a check.

[@shashank_rajak]

best video on this

[@jmbaillard7015]

What happens when you want to dial the LUT down? Is is true to say the Fuji W »rival » LUT is not as good ? ;-)

[@EvanSchneider]

I covered this when I talk about the compound node. By compounding the CST and FPE, you’re able to adjust the intensity of the compound node. This is far better than adjusting the intensity of the LUT itself.

[@jmbaillard7015]

Thanks 🙏 How about the Fujifilm 3513? Why is it considered « not as good » as the Kodak?

[@maks3173]

how can i know the color space of my camera? i have a canon m6 mark ii and I can't find that info

[@EvanSchneider]

Most cameras have multiple options for which colorspace and gamma you want to shoot at. It would be in your video settings menu on the camera. If you’re shooting in something like “Standard” or “Neutral”, that would be Rec.709. Hope that helps.

[@maks3173]

@@EvanSchneider thanks, finally found it, but i can only choose my color space while in manual mod, as soon as i switch to movie mode, even manual movie mode, the option disappear

[@CreateNowSleepLater]

I get very confused. Some creators add LUTs before the last CST to Rec.709. Some do it after. Its even more confusing how some color grade and add their luts before the rec.709 CST. I understand some LUTs also do creative looks and conversions. I wish there was a simple matrix out there that said when you should grade, and where to apply your LUT depending on what kind of LUT it is.

[@EvanSchneider]

Your confusion is definitely justified, but unfortunately there is no definitive answer. There are technical reasons to place different adjustments before or after another adjustment, but there are countless factors influencing those decisions (both creative and technical). My best advice is to experiment for yourself and find what works best for you and your workflow. Color grading takes years of experience and practice like many other trades in film. Hope this helps

[@CreateNowSleepLater]

@@EvanSchneider thanks, I think it does.

[@sehkhyro]

good god that made my life easier thank you so much

[@EvanSchneider]

Hahaha absolutely

[@OTCREWCLIPS]

Thank you sir! You earn yourself a subscriber!

[@EvanSchneider]

Yay! Hahaha

[@JayBacay]

can I apply this on an F Log footage fujifilm x-t3? Im totally new to davinci

[@EvanSchneider]

Yes, just set your input gamma to F-Log and input colorspace to Rec.2020 instead of the Log-C I set in the video.

[@gbagboeyram8396]

HELP! 😢 should LUT node be before CST or after CST ?

[@EvanSchneider]

After the CST

[@liho26]

very powerful video. Thank you for excellent content, man! Like!

[@WhitbyStuff]

Interesting, but my LUT didn't seem to have that information in.

[@EvanSchneider]

Are you looking at the official LUTs included in the "Film Looks" folder of Resolve?

[@WhitbyStuff]

@@EvanSchneider I believe so.

[@insomniacoder3383]

Excellent video, thank you !

[@EvanSchneider]

Glad it helped!

[@CinemawalaGuy]

Thank you.

[@vilbinemmanuel841]

bro you saved my life

[@ChestiiPrinAmerica]

pleased to learn this, thanks

[@raahensalophotography]

Good explanation, thanks! 👍👍

[@frankherrgott]

thank you very much for the tutorial

[@joshpickup2581]

you can just set your output gamma to cineon log in your first cst. no need to add another node and another cst

[@EvanSchneider]

You could definitely do that too. The reason I created two CST’s in this demo was because I created a compound node out of the second CST + LUT. I didn’t explain it thoroughly in the video, but it allows me to make adjustments to the image before the compound node look in a linear space. Hope that helps clarify the “why”.

[@joshpickup2581]

@@EvanSchneider yeh sorry you are completely right, I kinda glossed over the follow up as I was confused why you added it. thanks for clarifying

[@andyhelmboldt2339]

@@EvanSchneider you don't have to do two separate nodes and then compound them. You can do the last CST and the LUT in the same single node. The LUT is the very last thing that happens in a node (even says so in the manual), so a CST applied to the node will feed the LUT just the same as a separate LUT upstream.

[@jickmargerison]

Great video thanks man!

[@EvanSchneider]

You bet!

[@Sammy-Olsen]

You amazing human being ❤️

[@arunpaul8624]

Thanks you vary mach .informative.

[@jvusa]

Thanks for the excellent video...

[@EvanSchneider]

No problem!

[@laurajazz89]

WOW THANK YOU

[@Koryas]

Awesome content bro, thank you so much for those explanations ! It was definitely usefull, a real lvl-up for my color grading skill ! 🙏

[@EvanSchneider]

Glad to hear! Thanks for watching

[@gabriellaclaassen4527]

Does anyone know what to do if you don’t see ‘LUTs’ and other icons in the top left corner? 🙈

[@EvanSchneider]

Try going to the menu Workspace > Reset UI layout. The LUTs icon should be up there.

[@gabriellaclaassen4527]

...I've tried it and still can't see anything... Is there a way to completely reinstall DaVinci Resolve?@@EvanSchneider