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Good idea. I've received a lot of feedback already so there's a good chance that I will update this one very soon with re-designed curves that allow for decreasing contrast as well. Not sure what's up with the website, it seems to have been acting up for unknown reasons. I hope it's working ok again now (?)

Thank you!

Hey, thanks for letting me know! Could you do me a huge favour and send me some screenshots to info (at) iridescentcolor.com with some info about your system? I can't reproduce the issue at all on my end, so would be super helpful to figure out what it is that causes it. Thanks!

Just sent you an email

You're too quick, TH-cam is still processing :)

Very good question actually! The greyscale ramp isn't really in a color space, it's just a ramp of values going linearly from 0 to 1 from left to right. So if I just tell resolve to *interpret* it as linear, I can use the scopes to see a graph of what anything does to values coming in, i.e. "what does this output if it receives a 0, or 0.6, or 0.7 or any other value". I could choose to have it interpret it as anything else, in this case it was just a simple way to intuitively visualise what I wanted to demonstrate. Hope that makes sense!

Honestly, just don't worry about it. This is really meant to live at the very end of your node graph. If you apply any professional log-to-log look LUT at this stage, it will clamp your values. Professional lool dev tools like Cullen Kelly's Contour clamp values. Presumably, if you let these values go negative in your grade, it's because you didn't want to see them. Resolve Color Management wouldn't bring these values back either. The only time it could ever be a problem is if you apply this curve and then do extreme color correcting downstream, but that's really not something I would advise you to do anyway. Hope that clears up any confusion!

Interesting video, thanks for sharing! Although he mostly talks about the image in the early stages of the pipeline, while this DCTL is really supposed to be the very last thing before the ODT, I don't think most of what he talks about really applies here.

@@IridescentColor Makes sense, thanks for the reply and for the awesome tools ^.^

Hi, thanks for your feedback! Could you describe in more detail the clamp that you see and when it occurs? This tool does internally clamp negative values but this shouldn't be a problem unless you're feeding it an image in an incorrect state (i.e. there being a mismatch between the input image and the selected transfer curve). If what you're seeing is something else, please let me know!

​@@IridescentColor Sorry, it was my mistake in colour management. I was giving the linear ramp the wrong input.

No worries, it can be a bit confusing, so I might need to make a quick video explaining how to test it with a linear ramp.

Thank you, that's very kind! 2499 is by the incredible Juan Pablo Zambrano. It's open source, just google 2499 DRT and you'll find it. Honestly, it's so much more fun to grade under compared to Resolve CSTs

@@IridescentColorwow I just spend the last half an hour researching this DRT it’s simply amazing someone already used it for a short at the Cannes film festival “the man who could not remain silent” only thing I don’t really see any videos on how to utilize it do you know of any?

Yeah 2499 is taking over the color grading world at the moment, and for good reason! I'm not aware of any videos but you can just use it like you would use a normal CST and just have a play around with the sliders to see how they behave. Basically, feed it a color space that it likes, like DWG/Intermediate, and set it to the output you want, and you're good to go. Gives you a much better starting point than Resolve Color managment.

@@IridescentColor I just have one more question I visited the Lift,Gamma,gain blog were Juan talks about how he implements his 2499 DCTL he gives 2 options option 1 is he uses daVinci’s CST to conform the cameras colorspace to daVinci wide gamut then his uses his 2499 DCTL to go from daVinci wide gamut to 2499log lastly he uses his 2499 DCTL again to go from 2499log to rec709 the question I have is were is the working space is it in-between the 2499log and the rec709 and if so do you anything inbetween daVinci cst and 2499log and how do you implement it in your workflow?

@@CineAmaniacs The way I use it at the moment is I do all my look development stuff in DWG and only apply the 2499 as my output transform. You could also use it to go from DWG to 2499 Log (which is essentially just a DaVinci Intermediate transfer curve with 2499s color treatment), then use that as a working space for applying a contrast curve and split tone etc in between and then use another 2499 instance to go from 2499log to rec709. But honestly, when in doubt, just use DWG as your working space and skip the complicated bit of using two instances.

Thanks! It doesn't really actively do anything to add saturation - the increase in saturation is just a side effect of increasing contrast on a per-channel basis in RGB, the same way that using the contrast knob in Resolve would. So all the way to the left it is technically not doing anything, but in practice, colors get more saturated. To the right, the contrast is instead applied on the Y channel only. So the short answer is no, it doesn't add subtractive saturation (but I _might_ be just about to release a tool for that sort of stuff…). Hope that clarifies it!

I'm very open to adding more transfer curves in the future depending on how many requests I get! In the meantime you can just gamma tag the node to one of the supported ones if you prefer working in a different space. I _might_ actually be working on _two_ new Split Tone DCTLs…

@@IridescentColoryes plz add more transfer curve esp R3D as I own a R3D camera

Might I suggest adding ACEScg to the curve collection?

@@KKAkuoku ACEScg is just a linear transfer curve with a different set of primaries. But adding a linear option might genuinely be a good idea, so there's a very good chance that I'll include that in the next update.

Thank you! Glad you enjoy them :)

You're welcome! It's great to see a fellow CCA Spring 2024 alum sharing content that helps others level up their craft 🥳

CCA Was so much fun! I've learned so much since and I've been working on some new stuff as a result that I can't wait to share. Big CCA Spring 2024 High Five 🙌

Yes it was! I've gone down the DCTL rabbit hole since CCA. It's amazing to see what tools people make to do things that aren't possible with native tools. You're density 2.0 tool being one of them. Negative Density!?! That's amazing man, it really blew my mind. Big CCA high five 🙌🏽🥳

Thank you for your comment! I've been very busy with other aspects of my life recently but I totally agree that there should be more demos/videos. I'm currently reviewing many of my tools and how I run this business since I've been hanging out in Cullen Kelly's space and have learnt a lot of new things. Hopefully that means that plenty of new stuff will be happening here soon :)

Wow that's quite an intense comment. You seem to have a lot of strong feeling and assumptions towards me. "Exploitative and immoral" are rather strong words indeed. I will say I'm not sure exactly where I'm discrediting anyone - I have my own pricing strategy which is mainly based on my own experience with poverty and has nothing to do with trying to discredit anyone. Everyone has the right to sell their products at a price that they deem reasonable and everyone has the right to decide whether that's a good use of their money. Incidentally, almost all of the operations in this dctl are based on math and science which is available online to everyone willing to dig for it, much of it it open source. Neither I nor Stefan or Kaur or anyone else has invented any of this - it's all built on the work of brilliant people who preceded us, some of whom I have linked in the description. It's curious that you admit to not knowing what this DCTL will do while at the same time claiming it is a (worse) clone of something else. Maybe it would be a better strategy to first ask questions and engage in constructive conversations rather than immediately attacking people online?

Btw I'm also really not sure that Stefan, who is a big established name in the industry, needs you to defend him against exploitation by a small insignificant guy on TH-cam. And I think you're most certainly doing him a disservice my comparing him to an overpriced fashion brand whose prices are completely based on name recognition rather than ethical production practices…

@@IridescentColor I think you haven't understood the substance of what I write about. It can't be anything personal since I'm writing to a brand called "Iridescent Color" and I don't know if it's one person or it's 40 developers. Therefore there are no "feelings", nor assumptions, I base it on what I am seeing and really "the resemblance" to "that other man's other website" is quite obvious. So it's not a defense of another company or another person, it could have been Oleg Sharonov, Dehancer or Joel Famularo. Each one has contributed to the wonderful company that is Blackmagic incorporating his work, which has allowed it to improve its software. These people can develop their work because there are people who buy their developments, depending on the use and need of each one. I apologize for the intensity of the comment, although considering that I am an insignificant guy on TH-cam it doesn't seem like it will have too much significance. - The strategy is to mention in the title "the other DCTL, but cheap" And obviously it is a very popular argument so the rest of the opinions that are not mine are dedicated to commenting in that sense. But in my humble opinion and in the hypothetical case that they do the same, I think you are taking advantage of a well-established path. It is one thing for programming to be open source and another to emulate 1-1, in hypothetical features but in image and other products. You can do that or whatever you want, but since you do it on a public channel, you run the risk of someone having another point of view and expressing it. I would like to see DCTL that do something else, not just lower the price of a product on the market.

That's curious! Thanks for letting me know. I've just tested it on my Mac and it seems to be working okay. Are you on Windows or on Mac?

Thank you so much! I'm planning to do more regular videos over the summer when I have more time. will definitely talk more about the Tetra+ then!

No unfortunately the free version doesn't support DCTLs :(

Well I certainly have mixed feelings about it. I think I'm very biased since it's directly threatening my income, so take my opinion with a grain of salt. It obviously has the huge advantage of being beautifully integrated into the UI, and for shot level grading it seems like a useful feature and I'm sure many people will be very excited to have it there and not bother buying any DCTLs instead. In terms of using it for look dev, I'm a bit more sceptical, and I think their implementation of negative density is very much inferior to mine. But I think I might have to make a video pointing our the ups and downs compared to DCTLs like mine or MONONODEs.

Thank you!

It's lowering saturation in HSL and then increasing it in HSV again, which retains the overall level of saturation but the character of this saturation is more subtractive.

Hey Barry! Thanks so much for your feedback and support! It really means a lot. I will hopefully soon post an in depth video on the Tetra+ DCTL (working on a free update with some improvements). In terms of a film stock emulation DCTL - it's definitely something I will think about, and I'm working on a couple of tools that emulate specific film development techniques. In the meantime, there is a lot you can do with my Filmic Tone Curve, Density, Split Tone and Tetra+ DCTLs to design your custom film-like characteristics and I hope I will eventually get around to posting a video to go into more detail.

@@IridescentColor Are you on any Resolve Facebook groups? I’m on the 3 biggest groups, I can give you a shout out on all 3 if that helps promote your DCTLs?

@@barrywallisable I'm not currently on any social media platforms (personal sanity-protection measure but probably a bad business decision) though I am of course very grateful indeed for anyone spreading the word :)

Designed for the color page. Works in fusion as well.

The weight slider is similar but gives you a little more control, more on how it exactly behaves here: th-cam.com/video/p3X6J9G-7ng/w-d-xo.htmlfeature=shared&t=83

@@IridescentColor Ah wonderful thank you so much!

In the sense of packages of DCTLs at a reduced price?

well whatever price you saw fit, but yes essentially. @@IridescentColor

@@zierrstudios The reason I'm currently not doing it is because this way I give people the ability to mix and match, making it more affordable for people to just get the tools they actually need while keeping admin costs (and thus prices) as low as possible. I'm open to the idea of bundles if there would be a benefit to people though. Do you have a specific reason for asking / do you feel like there would be an advantage to it from a customer point of view?

@@IridescentColor okay that makes sense. i was mistakenly under the impression you would have to check out multiple times for each individual dctl but i see that is not the case!

Not a stupid question at all, and the answer also depends a little bit. The term obviously originally comes from analog film, but I think it's fair to say that in terms of digital color grading, what people have come to mean by the term is a sort of "subtractive" style of saturation where more saturated colours become darker rather than brighter (the latter being what happens when increasing sat in HSL for example) to mimic how film would behave. So it's not just a simple decrease in luminance, but a decrease in luminance depending on the level of saturation of the color, which is another layer of complexity which then can be achieved in different ways, for example with spherical or tetrahedral methods. In a lot of these cases, overall saturation doesn't actually increase at all, but the rendering of saturated colors changes. In the spherical method for example, very faint colors almost don't change at all (hence the natural looking skin tones), whereas very saturated colors can appear massively darker (without getting desaturated) Hope that makes sense!

@@IridescentColor That's awesome thanks for taking the time to answer my question. I've bought the product and am liking it a lot so far!

@@KanopiCreative You're welcome and thanks for buying the tool. Glad you like it!

Thank you!

You're welcome!

Hi! The short version is: Density+ has all the same features as Density, except instead of the preserve highlights function, it has a weight and a weight pivot slider, a hue shift function in tetrahedral and the ability to add negative density. More details here: th-cam.com/video/p3X6J9G-7ng/w-d-xo.html Updates like bug fixes and small improvements are free.

@@IridescentColor ok, so update on deferents version its extra.

@@reyvaz2951 Upgrading to a + version costs the difference between the tools (in the case of density to density+ £10), updating to a new version of the same tool is free.

Thank you! All the love to Cullen's community 💜

I don't currently have demo versions for my DCTLs, sorry!

Yes, I will make a dedicated video as soon as I get the time.

Thank you so much and welcome! Very happy to hear you like my work!

It's worth having a play around with the different methods there, as they have very different responses - spherical reacts much more strongly to higher saturation than to lower saturation whereas tetrahedral is a little bit more uniform.

Thank you!