THE PROBLEM WITH RESOLVE'S FILM LUTS...

[@jvke.p]

UPDATE! In response to multiple requests, I’ve just updated the link to include 3 ADDITIONAL LUTs which WILL work in Premiere/FCPX. These 3 additional luts are mapping REC709-REC709 so they will be applied on top of your corrected footage. If you’re using LUMETRI in Premiere, use your Technical Lut drop-down to apply your Log-Rec709 lut, and the Creative Lut drop-down to apply this new Rec709_2383 Lut. You can download them here: go.jvke.us/2383

[@thomasharlevi5878]

Tack!

[@jvke.p]

Thank you so much!

[@DarrenMostyn]

Hi Jake. I'm excited to try this out! Thanks for sharing these!! All the best, Darren.

[@jvke.p]

Happy to hear that Darren! Can’t wait to hear your thoughts.

[@DarrenMostyn]

@@jvke.p hasn't come to my inbox yet and I checked Spam too. Just letting you know.

[@jvke.p]

@@DarrenMostyn weird. It’s had issues sending to accounts with the domain of @me.com. Not sure if that describes your situation but I’ll look into it and send it over personally.

[@Lukiboogie1]

Darren, what is your opinion about this?

[@itsbonart]

Man, I'm diving head first into Resolve grading and it's so confusing looking for the right video to watch, as every single one has a different approach and doesn't really explain specific transforms, etc. Thank you so much for showing EXACTLY what is happening behind the scenes!

[@jvke.p]

Thanks man! Happy to help

[@VfxKopele]

Check Cullen Kelly for Color Management, he explains everything

[@KnifeGuy_]

Dang, he knows his stuff. Respect.....

[@jvke.p]

Haha thanks man. I’m actually still working to fix some issues brought up by a viewer. Pertaining to the rec709 primaries conflicting with a film log space. It’s a little buggy. But I’m working on it!

[@raymondlinares8307]

You can always make a compound node of the CST node and 2383 lut to 709 transform and then you're able to adjust the key output without fading back into the cineon log. Transform. It's nice though to have the lut designed to stay in your workflow color space. Good video!

[@jvke.p]

This is what I used to do for a while until I built the luts. These luts really aren’t a new idea, just a new approach to solving the root issue. Thanks for the comment!

[@raymondlinares8307]

I picked them up to check them out and play with them in an arri log c pipeline I'm creating for some people I work with who work more with Adobe CC. I think they'll be very helpful especially since they're mapped for that usage! Btw great podcast with Jason!. @@jvke.p

[@VideoEditor-gb3bk]

Darren Mostyn workflow

[@joyoffilming9500]

Very cool concept. Kodak 2383 is such a great look - and, now you unlocked its potential for three different managed color spaces, allowing to tune back the LUT effect a bit whenever needed. Thanks for sharing with us.

[@jvke.p]

Hope you enjoy it!

[@Rey-j6r]

I'm so thankful for this, always wanting to use this lut, just exactly how you explain.

[@davecarrera]

Only recently dipped my toe into colour management and very much appreciate the time and free lut you have given. I wish you well.

[@jvke.p]

Thanks so much dude! Glad you enjoyed.

[@c.dasilva123]

Thank you for making and sharring this with us! Great Video also.

[@Bo_Hazem]

Thanks a lot for the amazing lut! Dehancer Pro as well uses Rec.709 which can be limiting but played around with free trial and edited in the DWG and seems to respond well while keeping it at the very end of the nod tree.

[@jpsilvafilms]

Thank you for this video. We need more people like you in the community. From someone who is diving into color grading, there's a lot of people who "knows all" and would charge for this type of content. You were straight to the point, you explained the problems and presented a simple and good solution (bonus points for providing it for free) . Definitely gained another sub

[@jvke.p]

So happy I could help JP! Thanks for the sub!

[@vigneshthota1802]

Used LUT's in my projects but this video has made it more clear. Thank You.

[@RonaldKasper]

Ah man, this saves me so many color space transform nodes. Now I can simply switch to a color managed workflow. VERY helpful, thanks!

[@jvke.p]

yes you can! Thanks for watching!

[@Emresinho]

Instant sub! Thx! One question tho: how did you build the lut? I mean compared to the one of davinci, hows the accuracy?

[@enrique.creates]

Would love to know how it's built too and what the technical/science behind it is.

[@jvke.p]

It’s the same lut. I just renapped its color space to work effectively. If you got the download email, you should have received a follow up email with the explanation.

[@richritter]

NICE! Just what I was looking for! Thank you!

[@Panther-]

I filmed using the a7iv in slog 3 and with the first node changed output to davinci wide gamut colourr space and added the Kodak look made a few primary adjustments and it came out looking the best grade I have done thus far tbh thank you, keep up the content...I have a few courses am taking on udemy and they dont teach this kind of stuff tbh

[@jvke.p]

That’s so awesome to hear! Glad you enjoyed the luts. This info can be tough to find online for sure. But if you’re interested, my course covers a lot of similar material in depth. You can check it out here: go.jvke.us/signupcheckout

[@StefanoLombardoYT]

Wow! I've watched so many colour grading tutorials trying to get a nice film look and your solution works great!

[@jvke.p]

so happy to hear that!

[@torreymerritt]

These are exactly the issues I was thinking about when trying to use the DaVinci 2383 LUT. This makes so much sense and thank you for making this video! Subscribed!

[@jvke.p]

Glad it could help! Hope you like the luts!

[@RaduButarascu]

A GREAT tutorial, thank you!. I still learning about color and this has helped me a lot.

[@flaviovisuals]

Simple tip: put the CST Cineon output on the same node than the LUT, then when you adjust the intensity of the node everything goes down at the same rate and it works perfectly

[@jvke.p]

That’s a great tip! You can also do a compound node if you’re picky about your CST placements.

[@UncleOdd]

This is an incredibly useful tutorial! Simplifies the process so nicely great work Jake 👌🏽🚀

[@jvke.p]

Thanks Marvin!

[@elbas123456]

Thank you, this helps a lot.

[@johankalen2366]

Thank you for the luts for Resolve. It works like a charm, so easy to work with!!!

[@jvke.p]

So glad to hear it!

[@NickDelDuca]

Would you possibly be able to make a tutorial on how to convert LUTs to DWG? I have a handful of different luts and like their colors but they are all for SLOG3 so they are converting SLOG3 to REC709. Would love to use them in a DWG color managed workflow.

[@jvke.p]

Oh that’s a good niche tutorial! It’s essentially what I did with this lut. I can show you the proper transform settings to be sure everything maps properly. Good suggestion!

[@NickDelDuca]

@@jvke.p I think it would be great and a lot of people would appreciate it. I think the thing that keeps most people including me from switching to a color managed workflow is that I have a handful of luts that I use frequently that I would have to give up. But if I knew how to convert them to DWG that wouldn't be an issue.

[@jvke.p]

@@NickDelDuca then maybe I’ll make that tutorial next! There are still some drawbacks, it’s not a perfect system. But ultimately, if you’re still able to get a result you’re happy with, and you can protect your image’s integrity… mission accomplished

[@diggyz82]

This would be great. Im using Phantom luts alot and it would be really nice to be able to work in Davinci wide gamut and still use the looks from the LUTs

[@Superjeanmarc]

@@jvke.p Please do.. I think many people are facing this problem.. specially all the people who are recently switching to DaVinci and wants to use the LUT packs they used to use in FCp or premiere

[@veniaminkalman]

seems nice, but i have a problem with contrast! whites become blown out! maybe tone mapping or what, idk, no explanation about that in video...

[@jvke.p]

Most likely luminance mapping. The video would be very long if I explained every detail of my workflow. But that’s why I built a color grading course. I’ll link it in case you’re interested. Thanks! go.jvke.us/signupcheckout

[@dnvnduelas]

Amazing video, so extremely informative and helpful! Quick question, if i'm shooting on a bmpcc 6k, do i not need to do the input conversion before the LUT?

[@jvke.p]

It depends on your color management settings. The luts are built to accept and output either ACES, DWG, or ARRI. If you’re working at the project level, no need for the CST, if you’re color management is at the node level, you’ll need to transform to one of those color spaces at some point prior to the lut. And then transform to rec709 after

[@dnvnduelas]

@@jvke.p okay, I think I’m getting it. Sorry, I’m new to LUTs, and it’s confusing how there’s so many different DaVinci options for the input

[@jvke.p]

@@dnvnduelas yea all good. You’ll just need to convert your camera color space settings to davinci wide gamut. Your camera doesn’t shoot in davinci wide gamut/intermediate. It shoots Blackmagic design film gen 5.

[@dnvnduelas]

@@jvke.p got it! Thank you so much! 🙏🏽

[@JimRobinson-colors]

That's really great Jake. The one you placed here, looks really good - I will download and try them and I thank you in advance. All great points about the limitations of the original versions. The color management workflow in DWG is becoming really popular, so I was expecting at some point somebody would do this. I have issues with the contrast curve on the original and started using layer nodes and adding the LUT on top and bottom ( same lut ) then changing the layer node composite mode to "Color". Then selecting the top node and adjusting the node key - key output, I can pull out the contrast and leave the color - then apply my own curve and lock the mid grey and adding a filmic curve ( s-curve ). Anyway thanks in advance for your generosity in giving people the LUTs - looking forward to trying them out. Cheers.

[@jvke.p]

Thanks a lot Jim! Glad you liked the video! I’ve experimented with that technique in the past as well. I think we can pretty much all agree, we love that 2383 😂 we’ll do whatever we can to fit it into our WG workflow

[@agustingaute7145]

Great video, really looking for this explanation. One question thoug, why you use CST at a node level to go with DWH instead of doing it at a project level?

[@jvke.p]

It kind of comes down to preference of workflow.

[@micah6861]

Thank you! That was intersting - I am new to the topic so I understood maybe one third of what you were taking about, but still very interesting!

[@jvke.p]

Haha thanks for watching! Glad I could help

[@documenta]

Big Jake!!! very good!!! Thanks, it's something I've thought about a lot but I didn't see the ideal solution on how to work in DWG-DWGI and be able to do film emulsion. Thank you so much. In another video it would be great to show how you managed to create this emulsion Lut adapted to the different color spaces. Thanks, I'll try it very soon.

[@jvke.p]

Yea we’ll see about breaking down what’s going on behind the scenes! It’s really just a couple extra color space transforms built into the lut to map it properly.

[@BeatsBeneath]

Can't say I begin to understand how you did this but thank you. I downloaded the LUT and started working in a color space managed workflow and it's much easier to work with the footage again. Good work!

[@jvke.p]

awesome dude! Glad this could help and introduce you to working in a color managed workflow

[@djmaxx40]

Amazing video is easy to follow!

[@love_here_too]

This is such a helpful video! Can you tell me one thing… can you work in project level color management when you have multiple video sources (and their respective color spaces) being used? For example, I have a v-log from my lumix s52, footage from a dji mini 3 drone, and footage from a go pro. Is it possible to use a project level setting and still use your lut? Or do I need to build a node tree with color spade transform for each type of footage? Thanks!

[@jacobhorton761]

Was wondering the same thing

[@jvke.p]

You can absolutely do this! You’ll just need to set your input device transform appropriately for each respective camera’s clips. I cover this in depth in my course which I’ll link below if you wanna check it out. go.jvke.us/signup

[@jvke.p]

Tagging you as well!

[@hansmills2982]

Does this also work on rec 709 footage from an 8 bit camera.

[@jvke.p]

Yes as long as you set up your color management properly

[@dclubfoto]

Looking good...I will practice this with another entry level camera like sony & lumix . Thanks for sharing.

[@projectcycling]

Thank you for the LUTs...working in DVWG color space it was tricky to use the Resolve 2383 lut.

[@jvke.p]

You’re welcome! It’s not the perfect solution but it gets the job done👍🏼

[@richritter]

I've struggled so much with all the Log conversions, conversions to, conversions back to, etc., etc. Jake, this is genius! Is it possible to do this with other "look" luts such as teal/orange, forest green, etc.? That is, set them to be so versatile as you did with this Kodak 2383 film lut? You've made it possible to do an entire workflow in less than half the normal nodes!

[@jvke.p]

Thanks dude! It’s totally possible. Are you referring to some Look Luts you already have or just requesting I make a pack?

[@Culturelens]

​@@jvke.pThe ones we already have. Using them together with this

[@pxlmvr7]

Nice! I’ve wanted the 2383 that I can use on a project color managed workflow; thanks much!!

[@jvke.p]

You’re so welcome!

[@prislander55]

Awesome! I appreciate your effort on developing these LUTs and sharing this workflow. Thanks, Jake!

[@KYLERHOLLAND]

Seriously impressed with the knowledge you have packed into this video. Thanks man!

[@jvke.p]

Thanks so much dude!! Glad you enjoyed it

[@DMDCineAttic]

Tested it out, works like a charm, fantastic work, thank you so much.

[@jvke.p]

Great to hear!

[@richardrem]

Wow, thank's a lot for these luts and all the afford you put into this. I did use them right away on my Aces project. Works perfectly. cheers Richard

[@jvke.p]

So glad to hear that Richard!

[@outdoorsinontario3037]

Thank you, this is fantastic! I have my own but not d65 55 or 69. So thanks so much!

[@HolmesNZ]

Game changer. Thanks mate!

[@ryansouthwell]

THANK YOU for a clean explanation. Question: If I am working with mixed camera sources (Blackmagic RAW and DJI drone D-Log) what would you set your project color space settings to? Committing to BRAW will probably jack up all my aerial shots. Do I leave it on Automatic Color Managed? Thanks for the LUTs download.

[@jvke.p]

Still leave it custom. And do you mean input color space? Or timeline?

[@ryansouthwell]

@@jvke.p I guess my question comes down to understanding what happens when using this awesome LUT mod from you and thereby removing the Node based CST that used to be there and relying on your project settings:: In the Project Color space &Transforms>Color Management you have Davinci YRGB Color Managed / (untick Auto) / Custom/ and since the majority of my footage is BRAW, under the Input Color space should I select BLACKMAGIC DESIGN Film Gen 5?.. Followed by Timeline Color space as DaVinci WG/Intermediate... if by doing this with mixed footage such as drone shots in D-Log will it be jacked up since Input Color space is set to BMD? Sorry for the rookie question as I just jumped ship from Premiere and am soaking in all the new info.

[@jvke.p]

@@ryansouthwell I see. No need to even select the braw settings since resolve can read the raw metadata and select the appropriate input transform for those clips. You could set it to any other camera input transform in your project though. Selecting DJI Dlog in your input transform in project settings doesn’t mean EVERYTHING gets marked as DLOG. You can still go in to each clip in the media page or color page and select their respective input transforms by right clicking-> input device transform -> select whatever it is. I teach this in DEPTH in my course. Let me know if you’re interested and I’ll send you a link

[@ryansouthwell]

@@jvke.p yes. You’ve got my respects. Please send a link at your convenience. Thanks!!

[@Matt-fo4gg]

Great video and well explained, thanks! Is there a tutorial on how to adapt the luts like this? (Kinda new to Resolve, but not a total beginner) It's be great to be able to make a Panasonic V-log -> 2383 lut for in-camera monitoring if that's possible (or maybe it's not possible without going to DWG/Cineon Log first?), struggling to find a tutorial to do it properly though. No idea how you changed this to DWG in/DWG out for example.

[@jvke.p]

Thanks man! Yes you can do that VLOG-cineon-2383. And then turn that into a lut

[@danielkraus6846]

Thnx a lot ❤

[@dlprod11]

Great video and thank you for the luts. For flat raw footage, what color management settings would I use for Black Madics Legacy cameras? Mainly the BMPCC OG and the BMCC 2.5k?

[@jvke.p]

Ooo I’m not sure what color space they shoot in actually. I think it’s listed as an option though in the CST’s. Just be sure you select whatever it’s shot in.

[@traolachomurchu1469]

Great tutorial that makes a lot of other LUT tutorials obselete. Thanks!

[@bonavl]

Wonderful work, my man. Thank you.

[@iansanders7719]

Thank you for this. Really helpful. One question; does the lut include any film grain or is this added separately?

[@jvke.p]

Negative. It is not possible to implement grain into a lut.

[@cedricrehm]

Amazing work! Had this issue for a while too but always lacked the knowledge to create a workaround, so huge thanks to you man!

[@jvke.p]

Glad these could help! LMK if you have any questions!

[@etuoyo]

Very useful. Only issue is your Kodak LUTs come out extremely warm for me compared to if I use colour space transform. Even the coldest version. So I have to go through the extra step of trying to fix white balance first.

[@jvke.p]

they should be an identical color match to the resolve luts. I would just double check your other settings.

[@michaelshu2543]

Lol, literally just discussed this issue last week in our workshop You're awesome, Jake, thanks!

[@jvke.p]

Yessir😂problem solved!

[@FlashOneFilms]

great work bro I used DW color space mostly and that was a big problem

[@outbackatl]

Great way to save on extra nodes. I had previously been putting a CST then my LUT on Timeline nodes then creating a compound node. This way you can lower the Key Output gain without the dreaded look going back to LOG. I am wondring if there is a way to create a scene referred LUT that when applied it wouldn't brighten the image and add the contrast. Let me know your thoughts. THANKS!

[@jvke.p]

Happy to help! And for the second question, probably so! But what are you looking to accomplish in that scene referred lut?

[@classicurt]

love seeing this beautiful man back on my youtube homepage

[@jvke.p]

😂😂happy to bless your feed my dude

[@AexoeroV]

Hey Jake, this LUTs if they are made for wide gamut color spaces it means we could use them for HDR workflows? Thanks!

[@BeaverFernandez]

That's why I sometimes feel stuck or no freedom with my workflow, and this solves the issue for that. Thank you!!

[@jvke.p]

Happy to hear that dude!

[@TLOverlander]

When I shoot with just my Sony is sLog, I always set up the setting/properties and do the single node thing. Amazing how nobody talks about this! But when I also add my S22 and Insta360 cams to the timeline, I guess I'm back to using serial node workflow 🤷

[@petermeinhart3735]

Hi Jake, refering to your first problem with the build in film looks: What are the reasons to make changes after the film look is applied. I understand that some changes and effects should be applied at the beginning (e.g. noise reduction) or at the end of the pipeline. But are there any reasons to make changes after the lut applied? As far as I am aware of you can "precompose" the CST and The Film Look Node, so you can adjust the opacity of the compound node properly with the expected behavior

[@jvke.p]

I think by “precompose” you mean to create a compound node. And that’s true. I actually just sent out an email the other day explaining this to those who have already downloaded the luts so I’ll have to send you that info as well. Now, one reason I may want to make changes after the lut is if I wanted to make small adjustments to specific hues. I may use the hue vs. curves for this. I may also make small adjustments with the log wheels, and those changes may require working AFTER the lut has made its overall color adjustments to achieve my desired result.

[@its_alex]

Interesting workflow. Can u tell me more about double CST conversion? What's the point of doing so? Are there any real advantages of doing that?

[@airindiana]

He mentions the benefits here. Working in DWG is fantastic as it’s a huge colour space, the HDR wheels work wonderfully whilst in DWG. It’s also worth checking out Daryn Mostyn. He covers davinci colour management and scene referred benefits in a really simple fashion (simple works for me). kzbin.info/www/bejne/mWWkh6qMmbCHfsU

[@its_alex]

​@@airindiana thanks! will check it out

[@airindiana]

@@its_alex no probs. He deals with double CST nodes towards the end of that vid 🙂

[@jvke.p]

yea! the benefit is being able to work in a unified color space, regardless of which camera the footage comes from. a larger color space means access to more color and light information, which means I have more fun grading lol. this also lets me grade all the footage with fewer camera to camera discrepancies. It doesn't eliminate the need for shotmatching, but it does help!

[@MarkusFinholt]

I actually prefer the less pink skintones on the LUTs you made. Really good work, thanks.

[@jvke.p]

Thanks Markus!

[@EnTown]

the best way to working. Thk a lot 😍

[@jvke.p]

You're welcome!

[@diggyz82]

Great video which explains everything. How do your remap the LUTS to DWG? As much as I like the 2383 I really enjoy using phantom luts as well. Only problem with them is that I can't use them in WDG :(

[@jvke.p]

You’ll just have to build a CST sandwich to remap it 👍🏼

[@diggyz82]

@@jvke.p and then export as a new lut?

[@jvke.p]

@@diggyz82 pretty much!

[@nicolaslezas7610]

Excellent tutorial My question is Following what you mention and creating a node Lut(2383) the rest of the coloring should be done before or after the node Lut 2383?

[@jvke.p]

Traditionally, it would make sense to do all your grading before the lut. But it would still be fine to make some small adjustments post-lut. Just do your heavy lifting prior.

[@ZEUS]

This is great! But you could create a Compound Node Between your CST and LUT then reduce the opacity of that compound and it wouldn’t effect it as you mentioned.

[@jvke.p]

That’s correct! You could also save it as a powergrade so you wouldn’t have to rebuild it each time.

[@AndyKunkel]

New to your channel, this is an amazing tutorial! Thanks! SUBBED!

[@brentcozza4232]

These LUTs have revolutionized the way I grade. I was hesitant to start using color management because I wouldn't be able to use my luts any more. Now that's no longer a concern. Could you create a video breaking down how you created these so I can adapt other luts from my collection?

[@jvke.p]

I think I’ll do that next!

[@myreellifestory]

This is a gem!

[@bryangarciafilms]

This is excellent! How do you even go about creating that lut? Is there a special software?

[@jvke.p]

You can build your own luts using the resolve color page or the fusion page. This lut isn’t really a look I built myself. I just remapped resolve’s built in 2383 Lut.

[@bryangarciafilms]

@@jvke.p dang, ok ! Gotta learn how to use resolve next. Still on Final Cut

[@jvke.p]

@@bryangarciafilms resolve is the way to go!

[@jonicolton]

sorry for belated response and my naivety. jus getting started w/resolve: is the "color management" in settings the same as a cst? if, for example, i enter the correct info in the former do i still need to use the cst node? and vice versa? appreciate ur content. -colton 🤟🏼

[@jvke.p]

No worries at all brother! They are two slightly different methods to accomplish the same task: color management. Totally up to you for which method you prefer. Sometimes it varies project to project.

[@Superjeanmarc]

Immediate subscription.. Thanks a million I was unaware of this.. ! I'm kind of new to Resolve, and was wondering if that Cineon colourspace requirement is also valid for LUTs external to DaVinci? I bought a while ago the LUTIFY ME Luts pack that I used with FCP.. but now I'm not sure how to use it in DaVinci..

[@jvke.p]

Thanks man! I’m not entirely familiar with that lut pack honestly. But here’s the thing about luts (or at least, properly built luts), they ALL are meant to expect an input color space, and there’s always an output color space. The tricky thing is, the lut itself isn’t technically able to tell you what it expects as it’s input, or what it’s going to output to. That’s why it’s important for a provider of those luts to tell you what it’s built for. You really need that information to use them properly.

[@Superjeanmarc]

@@jvke.p Thanks! I'll write to the support.. Are ALL LUT's included in Da Vinci expecting cineon?

[@jvke.p]

@@Superjeanmarc not all of them. just the film looks luts and any others notated as requiring a cineon input. (to my knowledge). The reason these expect cineon film log is because they were built to provide a realistic emulation of what your film negatives would look like once printed onto Kodak 2383 film. but we've adapted them and used them to give digital LOG footage a similar look.

[@Culturelens]

Firstly thanks so much for this. I want to ask if this can be used in conjunction with other luts

[@jvke.p]

@@Culturelens the simple answer is yes. Just don’t harm the image with the additional luts

[@Culturelens]

@@jvke.p Thank you.

[@SuchetB]

Thank you for this- it’s amazing

[@timlaing8674]

Great video man, thanks for this!!

[@jvke.p]

Of course brother!

[@photojoseph]

Brilliant. Amazing. I've always wondered why those LUTs just didn't look good 🤣 and now I know! Subscribed, thank you again!

[@jvke.p]

happy to have you Joseph!

[@photojoseph]

@@jvke.p I may have questions for you 😁

[@wearetrackclub]

Nice video! Thanks for the thorough explanation 👍

[@MalaravanThanabalasingamVANFX]

Love it! Good Job !

[@yuri10p]

Why do use Davinci wg in between the Red WG and Cineon instead of converting to Cineon directly and working on the Red WG. Sincere question.

[@jvke.p]

Because I choose to work in a DWG color space. Especially when working with multiple cameras, then I can convert each camera to DWG and do my grading, and all the tools will behave the same way, and I can create a consistent grade in the DWG color space.

[@CarlosChanPerez]

Thank you so much for this! I have 2 questions. Can you make this for the fuji one as well? or explain how this was done? i think its just clever use of the color space transforms CST (input dwg, asus, etc) then original lut and then cst with the same as the input, right?. Question #2 would be regarding using the managed color workflow. If i add text and graphics, I need to CST them into the input (for example using red foorage, cst-ing the text/graphics into the camera profile)?

[@jvke.p]

If you’re using text within resolve, it knows that it’s text and won’t apply the transform, it will bypass the color management. When working with graphics, you can either set the proper input transform (usually rec709) or bypass color management on the graphics.

[@reeduedu]

Thanks Jake!

[@daveashtoncatan3269]

hey jake!! just stumbled across this video and i'm just wondering if i can use this luts in raw footage? or how can i use this if i don't utilize log footage? thank you so much!

[@jvke.p]

You can! You’ll just need to covert the raw footage to the working color space before hand, or if you’re using RCM, it will handle that for you.

[@daveashtoncatan3269]

@@jvke.p amazing!! keep up the good work!

[@OVRDTH]

Do you not need to convert the cinelog back to gamma 2.4?

[@jvke.p]

In which case? These luts remove the cineon log transform.

[@BransBowler]

Setup is looking clean bro 💯

[@jvke.p]

Haha thank man! Good to see your comments here 🙏🏼

[@ianharper6015]

Thanks for a very useful video.

[@beargeistdesign5174]

if its a second cst sandwich output as a LUT; it doesn't address the first and primary point in "drawbacks" scene vs. (which is limiting your gamut) Everything else is easy to power grade around. You can use a normal cin to rec CST.. and output gain back in what you take out ( of the built in transform.) there are a wack of Film look power grades... I haven't seen one that tone maps back out. If you use any look design OFX with film profiles; they fail with the same issue, and by default apply the profile downstream of your output transform. (or at best with a film gamut-like intermediate right before)

[@jvke.p]

Due to the nature of resolves lut, it does clamp everything to rec709, yes. So when the second transform takes place (rec709-DWG) it is only apply an inverse OOTF but there’s 2 major reasons it’s still beneficial: 1) it provides an IDENTICAL result as the original method. 2) you’re not losing any ADDITIONAL information than you would by using the original lut. If you want to use a power grade that never maps to rec709 to begin with, that’s totally fine. But you’ll be getting a slightly different result. These luts are built specifically to provide the same outcome as using the built in 2382 lut but with extra functionality.

[@beargeistdesign5174]

@@jvke.p "IDENTICAL result".... but not an identical response for the working space you're sending it back too. "you're not loosing additional information"... but its identical to working in rec 709 short of the different primaries/ gamma curve. what is worth doing downstream in this workflow that is CS dependent? Just a 1D Curve? should people really be using this with the same expectation as a DWG Lut?

[@jvke.p]

@@beargeistdesign5174 no. and that’s not what it’s for. I think you’re hyper focused on one of the 4 drawbacks this lut seeks to fix. There are instances where a colorist may want to make changes to the image, post-film lut. This workaround makes it a little easier. I’m not sure what you’re upset about.

[@beargeistdesign5174]

@@jvke.p i guess my issue is a little with the presentation. "hyper focused on one of the 4 drawbacks this lut seeks to fix."..... but it doesn't seek to "fix" The 10 min video is very misleading as to where it fits into a properly managed workflow. Or what "added functionality means" Its very hard to say this is "built for DWG".....especially when so little context is provided to the user. Or what exactly is being 'mapped' when someone understandably takes this for an 'emulsion Lut you managed to create.' A work around to cancel out the transform's scaling, can be done in one parallel node. "a colorist may want to make changes post-film lut." what changes is the question you left without even a hint of caution or specificity. for very obvious reasons most Film look powergrades stick to very specific kinds of changes post display output.... that may have been the more upfront way to approach this topic/ offering.

[@jvke.p]

@@beargeistdesign5174 if you want to cancel out the transform in a parallel node, go for it. No one’s stopping you. What clarity did I fail to provide? Seems like you’ve perfectly interpreted every step I took here. I spent my time to create a tool I wanted to use. Then made a FREE video to tell people about the tool I’m using. Then offered to give people that tool for FREE. I show you exactly where to place it in a color managed workflow, and the various options depending on your workflow. If you’d like to create a better method and create a video showing people how YOU do things, you have my blessing.

[@shannster10000]

Great explanation and awesome LUTs - so much better than the standard ones. Thanks so much!

[@jvke.p]

Thanks Shannon!

[@CodyScott]

What are your project settings when you designed these luts? Great Job!

[@jvke.p]

The project settings aren’t super critical but they can work color managed or non color manager (davinci YRGB or Davinci YRGB color managed.)

[@carlos.sierra]

Is the project color management option only viable if you only have one type of footage in your timeline, such as yours, which was the REDWideGamutRGB/Log3G10? In other words, can I have Clog3 and BRAW footage in one timeline and still use the project color managed workflow?

[@JeanFriska]

great job jake, but I have some question how you build the lut using the specific color space? are you do manually split toning using curve in resolve?

[@jvke.p]

That’s a totally different topic! I didn’t actually rebuilt the lut tho. That’s what’s cool about these luts. It IS the same lut resolve provides, I’ve just modified the color space transform properties to be more easily adapted to our workflows.

[@Hjake4912]

THANK YOU BUDDY!!!

[@darsh13b]

Great work on that one bro! Can you make Kodak vision 3 LUTs as well?

[@jvke.p]

those would be great! I currently use Look Designer or Film Convert or Dehancer for all additional film looks. you should check them out!

[@PiedmontCommunityChurch]

THANK YOU!

[@jvke.p]

You’re so welcome!

[@akashchotai]

Any chance you can use these LUTs in Final Cut Pro? :) Still slowly making the shift to DaVinci Resolve

[@flipnap2112]

Honestly, I have worked with FCPX for a LONG time and still love it. but when I got serious about color grading theres nothing that can touch Resolve in this price range. and once I started dabbling in fusion I became a full time convert. its just amazing. for sure learn fusion, its not as scary as it looks and is insanely powerful. this setup for 300 bucks was unheard of ten years ago. id haver paid the 300 just for the noise cleanup functions.

[@jvke.p]

UPDATE! I’ve revised the folder in the email I send out to provide an additional 3 luts which WILL work in premiere/FCPX.

[@Meteotrance]

How did you manage this lut in an ACES Color Space ? Did you have a Kodak LMT LUT for this kind of color Space ?

[@jvke.p]

It’s a simple ACES transform to ADX, then the lut, then rec709 back to ACES.

[@AaronandTaylor]

I'd love to see a video discussing how to properly use the Fusion Page when you're working in DWG. I've dug around a bit but there's not really an easy option for doing that right now.

[@jvke.p]

This is something I would have to dig around a bit and learn more about too.

[@timovepsalainen4927]

Some background knowledge: Fusion transforms all footage automatically to Linear Gamma. It also uses LUTs like temporary filters on top of preview windows. Since there is no DavinciWG/Intermediate to your output option, you have to make it yourself. Basically turn off Fusion preview LUTs and output management. Than you make a preview two CSTs. 1st Timeline/Linear ➡ Timeline/Davinci Intermediate 2nd Timeline/Davinci Intermediate ➡ Monitor Gamut/Gamma Place these preview CSTs after MediaOut, so it won't get baked to your signal when it exits Fusion. When you work, you preview the last CST to your monitor.

[@jvke.p]

@@timovepsalainen4927 good stuff! Thanks for providing that!

[@gregk4750]

Thank you for the video and LUTs. I just wanted to mention that issue #3 MAY be resolved by creating a compound node for the Cineon transform + film LUT and changing the intensity of the new node, which does appear to be controlling the intensity of the overall effect. I could be wrong here, but it looks right to me ... I am obviously late to the party, but maybe it will help someone :)

[@jvke.p]

Yep! That’s essentially the same solution these luts provide. For someone unfamiliar with the tone mapping process, these just help mitigate some potential confusion

[@npin375]

You can create a compound node with the cineon cst and the lut, then turn down intensity of it

[@jvke.p]

yes but you're working in rec709 at that point.