this is amazing. I used this method to apply your LUT on Slo3 Sgamut3 footage of my A7III and exported the grade without the adjustments node as a LUT to load it on my Ninja V. And it turned out to be a FANTASTIC set LUT. also good to know that it also performs pretty well on 8bit footage ❤
exactly. he wasting his time building something that is already scientifically calculated. rec709 to cineon film log color space is the answer to this.
There is nothing wrong with the method shown in the video, just treat the lut (from colorist factory, not the native resolve lut) with an AWG3/LogC3 input. The advantage of the LUT they are giving you is that it doesn’t have the rec709 conversion baked into it, so there is more flexibility for contrast in that regard. Although, if you want a 2383 LUT for free without the baked in rec709 conversion, you can just reverse engineer the original 2383 lut using a few CSTs and generating the LUT in Resolve. this way you can make a 2383 LUT that is applied to a rec709 image or DWG image for example.
You guys are great! I will admit I have my reservations about the Digital-Film "Netflix" look, but great people you have really pushed the science of colour.
There is nothing wrong with the method shown in the video, just treat the lut (from colorist factory, not the native resolve lut) with an AWG3/LogC3 input. The advantage of the LUT they are giving you is that it doesn’t have the rec709 conversion baked into it, so there is more flexibility for contrast in that regard. Although, if you want a 2383 LUT for free without the baked in rec709 conversion, you can just reverse engineer the original 2383 lut using a few CSTs and generating the LUT in Resolve. this way you can make a 2383 LUT that is applied to a rec709 image or DWG image for example.
This weekend, I shot BMPCC 6K with a monitor LUT set in a Gen 4 Color Science. How do I combine the monitor reference LUT used on set, and finish up my future color grade with your 2383 Film look LUT?
Interesting. curious why you used ARRI LogC3 space and not DWG / ACES. My best guess that your making it accessible to wider users using other colourist software as ARRI would be a common standard everyone uses as accessibility?
I just used resolve for the first time and decided to do FPE with KOdak 2383, thanks for showing me and would love for you to check it out! your channel taught me how to color!
I downloaded this LUT and when i installed it i got the message "missing lookup table", and when i applied it to my footage nothing changed? Im just getting into davinci resolve and color grading so any advice and an answer would be much appreciated )
This LUT works in either NLE. It's a .cube file which is exactly the same sort of LUT file Premiere Pro use. The difference is PP is worse at color grading than DR but the LUT works in both.
@@Photovintageguy there's several .cube LUTs that switch color spaces available for basically every different type of LOG footage. You can't use the same technique but using a let's say Slog3 to Arri Log C technical LUT and a Arri Log C to Rec709 LUT plus this LUT should work in theory. You can't work in nodes in PP but you should be able to get the right order using Lumetri.
@@skrotfiske I don’t think you can run that many luts in a row and make adjustments also. Besides Davinci is free so you can install and do the color grading there. I guess it’s going to be a little learning curve.
@@Photovintageguy Yeah, i use DaVinci, left PP years ago. But no, you can use three LUTs in Lumteri if you want. You can add many instances of Lumetri meaning you can add several LUTs. I wouldn't do this personally in Premiere but you can if you got the right LUTs that is. Def won't be as easy and most likely won't be as good as in DaVinci but the guy asked if it worked for PP and it does. But like you said, DaVinci is free so there's not really any point in using PP for this particular thing imo but can you do this in Premiere? Yeah, in theory you can. If you have an Arri Alexa camera it's super easy, in that case it's as simple as adding this LUT on your corrected footage (tried that in PP, worked flawlessly). If you don't you need to use three LUTs which two of the LUTs needs to be technical conversion LUTs which might not be available for your specific camera (for example V-Log to Arri Log C and then Arri Log C to rec709) and one needs to be this film emulation LUT. There's no tone mapping feature in Premiere as far as i know so it might not be as good but that also depends on the conversion LUTs but yeah, you can make it work in theory. You could also do the conversion from whatever LOG you have into Arri Log C in DR then export that and to the rest in Premiere Pro if you want, there's several ways you can make this work, not that i know why one would want to. Anyway, like i said, the guy asked if they made this LUT for Premiere Pro and this LUT 100% work in Premiere Pro as both DaVinci and Premiere use .cube files for their LUTs. He didn't ask how to make it work for other types of cameras than Arri Alexa cameras but if this specific LUT works in Premiere Pro and it does.
this is amazing. I used this method to apply your LUT on Slo3 Sgamut3 footage of my A7III and exported the grade without the adjustments node as a LUT to load it on my Ninja V. And it turned out to be a FANTASTIC set LUT. also good to know that it also performs pretty well on 8bit footage ❤
please tutorial!
I think the resolve 2383 lut was intended to be applied in a rec709 gamut and cineon film log gamma
True
And it is!
exactly. he wasting his time building something that is already scientifically calculated. rec709 to cineon film log color space is the answer to this.
There is nothing wrong with the method shown in the video, just treat the lut (from colorist factory, not the native resolve lut) with an AWG3/LogC3 input. The advantage of the LUT they are giving you is that it doesn’t have the rec709 conversion baked into it, so there is more flexibility for contrast in that regard. Although, if you want a 2383 LUT for free without the baked in rec709 conversion, you can just reverse engineer the original 2383 lut using a few CSTs and generating the LUT in Resolve. this way you can make a 2383 LUT that is applied to a rec709 image or DWG image for example.
🤝
You guys are great! I will admit I have my reservations about the Digital-Film "Netflix" look, but great people you have really pushed the science of colour.
There is a small issue here. Davinci Resolve prepared the 2383 printing emulation using the Cineon template. You need to convert it using CST.
And is a Big issue. It's easy to fall into the rabbit hole without proper Color Space Transform. Even so the quality on these tutorials is superb.
@@agustinsaavedra2752it’s not a big issue, you just need to know it. You always print to 2383 film form a Cineon digital file! That was the workflow!
There is nothing wrong with the method shown in the video, just treat the lut (from colorist factory, not the native resolve lut) with an AWG3/LogC3 input. The advantage of the LUT they are giving you is that it doesn’t have the rec709 conversion baked into it, so there is more flexibility for contrast in that regard. Although, if you want a 2383 LUT for free without the baked in rec709 conversion, you can just reverse engineer the original 2383 lut using a few CSTs and generating the LUT in Resolve. this way you can make a 2383 LUT that is applied to a rec709 image or DWG image for example.
You just need a CST before the lut to change it to Cineon film log.
This weekend, I shot BMPCC 6K with a monitor LUT set in a Gen 4 Color Science. How do I combine the monitor reference LUT used on set, and finish up my future color grade with your 2383 Film look LUT?
THX! Looks amazing😍
the best chanell in color correction thank you , you a new subscription
where is the free lut ? i only see 3 different packages to buy
What is your Color Management settings...in project settings? Thank you
Interesting. curious why you used ARRI LogC3 space and not DWG / ACES.
My best guess that your making it accessible to wider users using other colourist software as ARRI would be a common standard everyone uses as accessibility?
I just used resolve for the first time and decided to do FPE with KOdak 2383, thanks for showing me and would love for you to check it out! your channel taught me how to color!
Thank you 💕, i wish you can make a kodak 2383 log LUT
Update once you upgrade the 2383 i am waiting
I downloaded this LUT and when i installed it i got the message "missing lookup table", and when i applied it to my footage nothing changed? Im just getting into davinci resolve and color grading so any advice and an answer would be much appreciated )
Great work!
Love you're videos, been watching since the first upload. Hopefully I'll be able to emulate this to the T.
Very nice!
This video is misinformation. Joker uses a custom Lut. And the 2383 at comes with Resolve's needs Rec709 with a Cineon.
Can we use it in HDR mode
Missing lookup table, any help?
I can’t find it too
Hi! I want to know if this process is the same for the LUTS in "Ultimate Colorist Toolkit Vol. 3" that I purchase? Thanks so much!
Whats the setup like for sony slog 2 footage?
Thanks for the lut
Can you recreate scene's colors from Raiders Of The Lost Ark? I loved that cinematography
Please considering making an Eastman Color Negative II 100T 5247/7247 LUT 😅
Anyone else having issues unzipping the file on a Mac after downloading?
We've updated the zip file. All you have to do is make re-download the LUT from our website.
How can apply this in premiere
i can't acess to the site
I just wanna to saying, Thxs Master!
Do you have this LUT for Adobe Premiere Pro too?
This LUT works in either NLE. It's a .cube file which is exactly the same sort of LUT file Premiere Pro use. The difference is PP is worse at color grading than DR but the LUT works in both.
@@skrotfiske can this be used in premiere? It’s expecting different color spaces. I don’t think you can switch color spaces like in DR.
@@Photovintageguy there's several .cube LUTs that switch color spaces available for basically every different type of LOG footage. You can't use the same technique but using a let's say Slog3 to Arri Log C technical LUT and a Arri Log C to Rec709 LUT plus this LUT should work in theory. You can't work in nodes in PP but you should be able to get the right order using Lumetri.
@@skrotfiske I don’t think you can run that many luts in a row and make adjustments also. Besides Davinci is free so you can install and do the color grading there. I guess it’s going to be a little learning curve.
@@Photovintageguy Yeah, i use DaVinci, left PP years ago. But no, you can use three LUTs in Lumteri if you want. You can add many instances of Lumetri meaning you can add several LUTs. I wouldn't do this personally in Premiere but you can if you got the right LUTs that is. Def won't be as easy and most likely won't be as good as in DaVinci but the guy asked if it worked for PP and it does. But like you said, DaVinci is free so there's not really any point in using PP for this particular thing imo but can you do this in Premiere? Yeah, in theory you can. If you have an Arri Alexa camera it's super easy, in that case it's as simple as adding this LUT on your corrected footage (tried that in PP, worked flawlessly). If you don't you need to use three LUTs which two of the LUTs needs to be technical conversion LUTs which might not be available for your specific camera (for example V-Log to Arri Log C and then Arri Log C to rec709) and one needs to be this film emulation LUT. There's no tone mapping feature in Premiere as far as i know so it might not be as good but that also depends on the conversion LUTs but yeah, you can make it work in theory. You could also do the conversion from whatever LOG you have into Arri Log C in DR then export that and to the rest in Premiere Pro if you want, there's several ways you can make this work, not that i know why one would want to. Anyway, like i said, the guy asked if they made this LUT for Premiere Pro and this LUT 100% work in Premiere Pro as both DaVinci and Premiere use .cube files for their LUTs. He didn't ask how to make it work for other types of cameras than Arri Alexa cameras but if this specific LUT works in Premiere Pro and it does.
it keeps loading
this is a good time saver but only works on davinici like come on really?
Wow
🤔🤔🤔
If you want also a nice cinematic look: filmconvert nitrate
Hi guys, is 2383_DWG_to_Dwg_V2 the right file? Because I get totally different results
Me too.. same camera, same configuration, and and tried with several footages but nothing near...
Same here, the result is a yellowish color. I used correctly the CST
From the title of the file it seems that it is expecting davinci wide gamut / intermediate