DaVinci Resolve Film Look LUTs - How to Apply PROPERLY!

In this video I walk through how to properly apply the DaVinci Resolve Film Look LUTs that are built into the software. I've been there before not knowing how to get these to look good, so I show you exactly how to apply and use them in a simple color workflow! This includes the Kodak 2383 Film Print Emulation LUT as well as the Fujifilm 3513DI emulation.
Super 8mm DaVinci Resolve PowerGrade: bit.ly/3JnMq4P
Download DaVinci Resolve for free: www.blackmagicdesign.com/prod...
Chapters
0:00 - Introduction
0:54 - What you SHOULDN'T do
1:19 - Color Space Transform Setup
1:55 - Film Look LUTs Overview
2:12 - Determining LUT input gamma
3:20 - PROPER Setup for Film Look LUTs
4:35 - Previewing other Film Looks
5:06 - Intensity Adjustments
6:30 - Primaries Adjustments
7:50 - Secondary Adjustments
8:13 - Applying to other Clips
8:45 - Conclusion
Music From Artlist (Free 2 Month Trial): bit.ly/2y4MuTo​
My Gear
Camera Bag: amzn.to/2Er0xXi​
The best lens for video: amzn.to/2Esjc4Z​
Sigma ART 35mm f1.4: amzn.to/2l7sITX​
Variable ND: amzn.to/2EqzpaW​
My Favorite Filter: amzn.to/2l7AehC​
Audio Recorder: amzn.to/2jEC9d6​
BEST Lav Mics ever: amzn.to/2Nsyrhg​
Fuji X-T3: amzn.to/2GZHlBK​
My favorite Fuji lens: amzn.to/2E7CISS​
EF to FX Adapter: amzn.to/2EqECQ4​
Tiny Microphone: amzn.to/2tyE5Fc​
Tokina 11-16mm f2.8: amzn.to/2XjYY4Y​
DJI Mavic 2 Pro (Fly More Combo): amzn.to/2E5C0pq​
ND Filters for Mavic 2 Pro: amzn.to/2EqV2HY​
Joby Gorillapod 3K Kit: amzn.to/2BNWMto​
Camera Cleaning Kit: amzn.to/2Er3RBN​
Tiny SSD for traveling: amzn.to/2jH5ofp​
Color Grading Gear
Logitech Craft Keyboard: amzn.to/2Yjt7Vl​
Davinci Resolve Micro Panel: amzn.to/2LFzV9S​
X-Rite i1Display Pro Calibrator: amzn.to/2MhAplV​
My LUTs (SAVE10 for 10% off): bit.ly/2JNhRZn​
The best client review tool: r.frame.io/CNFls?c​
Social
Instagram: / evanjschnei. .
Facebook: / evan.schneider​
Twitter: / evanjschneider_​
Website: www.schneidervisuals.com​
Professional inquiries please email: [e-mail]
Most of the purchase links in this description are affiliate links. Proceeds support this channel at no extra cost to you. Thank you for your support!

[@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!

[@oliverhales]

So comprehensive yet straight to the point, thank you!

[@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.

[@haddonhousefilms]

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

[@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!

[@oisteinthomassen]

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

[@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.

[@johnstamw]

So helpful dude!! Thanks for the walkthrough!

[@davidlavalleejr]

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

[@EvanSchneider]

Thanks! That was the goal!

[@AlexanderMarshallI]

This is so helpful, thanks!

[@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!

[@lululucaschae]

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

[@EvanSchneider]

Glad to hear!

[@azzozmusic]

very well explained, thank you so much

[@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.

[@raymondyin6777]

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

[@ChaosclownM]

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

[@brianreubelt]

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

[@liho26]

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

[@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

[@mjodr]

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

[@EvanSchneider]

Stoked to hear! Thank you!

[@ejiroogagah2476]

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

[@EvanSchneider]

Welcome!

[@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.

[@RaduButarascu]

This tutorial made A LOT of sense - thank you!

[@EvanSchneider]

Absolutely! That was the goal!

[@michaeltreephotography]

Thank you, very informative.

[@SuperJamesus]

thank you, such a great video.

[@raahensalophotography]

Good explanation, thanks! 👍👍

[@ChestiiPrinAmerica]

pleased to learn this, thanks

[@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!

[@robhurley5258]

Very helpful - thanks!

[@insomniacoder3383]

Excellent video, thank you !

[@EvanSchneider]

Glad it helped!

[@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!

[@szabi_nagy]

thank you so much for this

[@blainemarcano]

Thanks. This was very helpful.

[@EvanSchneider]

You're welcome!

[@user-ol5bc5je3t]

thank for sharing!

[@Jonnylemons]

that was EXACTLY what I needed to know 🤝

[@CoreyHunter]

Just starting out and learning this was great. Thanks!

[@EvanSchneider]

Glad it was helpful!

[@arunpaul8624]

Thanks you vary mach .informative.

[@jickmargerison]

Great video thanks man!

[@EvanSchneider]

You bet!

[@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!

[@REVIEWSONTHERUN]

Cool! Thank you for sharing it ✌️

[@EvanSchneider]

Thanks for watching!

[@NickGoldston]

Love the compound node tip

[@EvanSchneider]

Glad it was helpful!

[@PauVidal_]

¡Crack! Muchas gracias por los consejos

[@jvusa]

Thanks for the excellent video...

[@EvanSchneider]

No problem!

[@Sammy-Olsen]

You amazing human being ❤️

[@frankherrgott]

thank you very much for the tutorial

[@alexstanmusicofficial]

Tnx man!!

[@OTCREWCLIPS]

Thank you sir! You earn yourself a subscriber!

[@EvanSchneider]

Yay! Hahaha

[@aungsanoo.maryland]

cool ..this video help a lot..great

[@Zenen_Saneshige]

very much appreciated, thank you!

[@EvanSchneider]

You're very welcome!

[@laurajazz89]

WOW THANK YOU

[@ShoebMortoza]

Excellent thank you

[@user-np2jh6ob1c]

Thank you!

[@erdinn]

great tutorial

[@karliemorris7318]

Thank you for this

[@EvanSchneider]

No problem!

[@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.

[@RobOliveri]

Thanks Evan!

[@ririlan2137]

Yes It did help a LOT. Thanks (new subcr.). :))

[@CinemawalaGuy]

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.

[@davidlovephotog2]

If you guys want to actually teach color grading, do it with footage from low budget filmmakers. This grading with 70k camera footage is getting old. I know it helps to make all of you look better but anyone that has that kind of equipment most likely isn't grading themselves. Canon, Sony, BM.

[@DonovanJamesOfficial]

Plenty of youtubers do this and I'm unsure as to why. Maybe they're trying to flex their high tech gear? But I feel that most of us are probably using rec709 so I feel that grading with rec709 stock footage would be a better option for KZbinrs to use as examples to assist the common user.

[@EvanSchneider]

I totally understand where you’re coming from. Part of the reason is because many colorists need footage they can legally use and Artgrid is a great resource for that (like this video). For me, my channel is partly targeted specifically for colorists who’s clients do shoot with higher end cameras. I can’t speak for others, but for me, it’s very much not a flex, it’s just the footage that I’m used to working with. It’s also oftentimes much easier to demonstrate a concept with higher quality footage. That being said, I will definitely keep this in mind for future videos to make it even more helpful. Thanks for the feedback!

[@EvanSchneider]

Thanks for the feedback, I commented below!

[@cleanlight5178]

You're right

[@vyeung]

The same principles apply, just change your CST settings accordingly, this technique is camera agnostic.

[@olanrewajuakinola7670]

Thak you so much

[@marshallhajek]

Thanks brother!

[@EvanSchneider]

No worries!

[@DaishaView]

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

[@sehkhyro]

good god that made my life easier thank you so much

[@EvanSchneider]

Hahaha absolutely

[@blaiseb2187]

man thank you

[@mustang2005]

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

[@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.

[@vilbinemmanuel841]

bro you saved my life

[@filmparkafrica1645]

Thanks

[@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!

[@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.

[@compaticher7932]

thanks

[@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.

[@uncleanAlibertine1]

thnx"

[@MyPawesomeFrenchie]

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.

[@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 🇪🇸

[@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

[@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.

[@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.

[@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.

[@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.

[@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.

[@JacksonHayes]

YAS

[@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.

[@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!

[@mandesarprostudiotiewdohma9545]

Good

[@EvanSchneider]

👍

[@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

[@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.

[@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 ?

[@chavez1238]

great man! Thx

[@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.

[@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.

[@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

[@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.

[@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!

[@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

[@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.

[@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 :)