THE PROBLEM WITH RESOLVE'S FILM LUTS...
ฝัง
- เผยแพร่เมื่อ 19 มิ.ย. 2024
- ✩FREE LUTS DOWNLOAD:
go.jvke.us/2383
✩MY COLOR GRADING COURSE!
go.jvke.us/signupcheckout
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0:00 INTRO
0:34 WHERE TO FIND PRINT FILM LUTS
0:57 HOW TO USE RESOLVE'S FILM LUTS
2:33 4 DRAWBACKS TO RESOLVE’S FILM LUTS
2:36 1) DISPLAY REFERRED VS. SCENE REFERRED
4:09 2) INNEFECIENT
4:28 3) CAN'T ADJUST INTENSITY
5:04 4) COLOR MANAGEMENT LIMITATIONS
6:14 MY SOLUTION
7:58 WHY THESE LUTS ARE WINNERS
8:40 COLOR MANAGEMENT SETTINGS
9:16 OUTRO
Music by:
ooyy via Epidemic Sound
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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
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.
Hope you enjoy it!
I'm so thankful for this, always wanting to use this lut, just exactly how you explain.
Awesome! I appreciate your effort on developing these LUTs and sharing this workflow. Thanks, Jake!
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
So happy I could help JP! Thanks for the sub!
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!
Glad it could help! Hope you like the luts!
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!
awesome dude! Glad this could help and introduce you to working in a color managed workflow
Used LUT's in my projects but this video has made it more clear. Thank You.
This is an incredibly useful tutorial! Simplifies the process so nicely great work Jake 👌🏽🚀
Thanks Marvin!
A GREAT tutorial, thank you!. I still learning about color and this has helped me a lot.
Only recently dipped my toe into colour management and very much appreciate the time and free lut you have given. I wish you well.
Thanks so much dude! Glad you enjoyed.
Wow! I've watched so many colour grading tutorials trying to get a nice film look and your solution works great!
so happy to hear that!
Ah man, this saves me so many color space transform nodes. Now I can simply switch to a color managed workflow. VERY helpful, thanks!
yes you can! Thanks for watching!
Amazing work! Had this issue for a while too but always lacked the knowledge to create a workaround, so huge thanks to you man!
Glad these could help! LMK if you have any questions!
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
So glad to hear that Richard!
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.
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
Thank you for making and sharring this with us! Great Video also.
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!
Thanks man! Happy to help
Check Cullen Kelly for Color Management, he explains everything
Thank you for the luts for Resolve. It works like a charm, so easy to work with!!!
So glad to hear it!
Seriously impressed with the knowledge you have packed into this video. Thanks man!
Thanks so much dude!! Glad you enjoyed it
Great explanation and awesome LUTs - so much better than the standard ones. Thanks so much!
Thanks Shannon!
Tested it out, works like a charm, fantastic work, thank you so much.
Great to hear!
Hi Jake. I'm excited to try this out! Thanks for sharing these!! All the best, Darren.
Happy to hear that Darren! Can’t wait to hear your thoughts.
@@jvke.p hasn't come to my inbox yet and I checked Spam too. Just letting you know.
@@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.
Darren, what is your opinion about this?
NICE! Just what I was looking for! Thank you!
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
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
Wonderful work, my man. Thank you.
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.
Great tutorial that makes a lot of other LUT tutorials obselete. Thanks!
Nice video! Thanks for the thorough explanation 👍
Thank you for the LUTs...working in DVWG color space it was tricky to use the Resolve 2383 lut.
You’re welcome! It’s not the perfect solution but it gets the job done👍🏼
Thank you for this- it’s amazing
Looking good...I will practice this with another entry level camera like sony & lumix . Thanks for sharing.
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.
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.
Thank you, this helps a lot.
That's why I sometimes feel stuck or no freedom with my workflow, and this solves the issue for that. Thank you!!
Happy to hear that dude!
Instant sub! Thx!
One question tho: how did you build the lut? I mean compared to the one of davinci, hows the accuracy?
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!
Haha thanks for watching! Glad I could help
love seeing this beautiful man back on my youtube homepage
😂😂happy to bless your feed my dude
Love it! Good Job !
Lol, literally just discussed this issue last week in our workshop
You're awesome, Jake, thanks!
Yessir😂problem solved!
Absolute genius! And thank you for sharing with us mere mortals ❤️
Glad you liked it!
Amazing video is easy to follow!
Thank you Jake!! This is very helpful
So glad to hear that!
Great video man, thanks for this!!
Of course brother!
Thank you, this is fantastic! I have my own but not d65 55 or 69. So thanks so much!
Dang, he knows his stuff. Respect.....
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!
New to your channel, this is an amazing tutorial! Thanks!
SUBBED!
Nice! I’ve wanted the 2383 that I can use on a project color managed workflow; thanks much!!
You’re so welcome!
Thank you so much! This solves a lot issue I have.
Awesome man! So glad to hear it.
That's great. Thanks a lot sharing!
Setup is looking clean bro 💯
Haha thank man! Good to see your comments here 🙏🏼
Excellent work, my man!
Thanks brotha Jason!
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!
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!
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
Darren Mostyn workflow
This is a gem!
Thanks for a very useful video.
the best way to working. Thk a lot 😍
You're welcome!
great video and thank you for the free luts! regards-Kenny
great work bro I used DW color space mostly and that was a big problem
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?
It kind of comes down to preference of workflow.
Brilliant. Amazing. I've always wondered why those LUTs just didn't look good 🤣 and now I know! Subscribed, thank you again!
happy to have you Joseph!
@@jvke.p I may have questions for you 😁
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.
That’s correct! You could also save it as a powergrade so you wouldn’t have to rebuild it each time.
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?
I think I’ll do that next!
Great info, thank for sharing brother.
You’re so welcome!
Thank you, man!🙏
Thank you for the video!
My pleasure!
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.
This is something I would have to dig around a bit and learn more about too.
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.
@@timovepsalainen4927 good stuff! Thanks for providing that!
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?
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.
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?
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.
Thanks for that!
Hey Jake, this LUTs if they are made for wide gamut color spaces it means we could use them for HDR workflows? Thanks!
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!
Thanks dude! It’s totally possible. Are you referring to some Look Luts you already have or just requesting I make a pack?
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!
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.
Thanks man! Yes you can do that VLOG-cineon-2383. And then turn that into a lut
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.
they should be an identical color match to the resolve luts. I would just double check your other settings.
Thank you for this. Really helpful. One question; does the lut include any film grain or is this added separately?
Negative. It is not possible to implement grain into a lut.
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
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.
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)?
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.
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
That’s a great tip! You can also do a compound node if you’re picky about your CST placements.
Thank you, subscribed!
Happy to have you!
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?
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
@@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
@@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.
@@jvke.p got it! Thank you so much! 🙏🏽
Really good video Jake, but I have a question. When you display the color management page at 05:13, in the timeline color space, you have rec709/gamma2.4 selected, it should be DWG? (because your working space is DWG), I know you are working with nodes, but if it supposedly does not affect, why does the image change when the timeline color space changes?
Well typically yes, I would just set it to DWG if that’s the color space I’m using. Generally, the timeline color space setting (when working in DYRGB), doesn’t affect much besides how some of the tools respond, and instances where “use timeline color space” is referenced.
For examples sake, I probably should have set it to that in the video, but I was bouncing between using the different color spaces I created the luts for so I just left it to rec709. Additionally, you won’t really see a difference from timeline color space changes when you’re only adding luts.
Great point tho!
Is it best practice to adjust contrast, colors, etc., between 2 color space transforms? I usually convert to arri then rec 709. And then make al my changes before the arri CST. Am I doing this wrong?
Not at all! What you’re doing is totally fine. I know a lot of colorists (including myself) that choose to work in an Arri color space. So you can basically just replace DWG with Arri log c in this video.
However, if you’re converting from camera space to arri, then Arri to rec709 and working before the camera space > Arri CST, you’re kind of wasting a step. You may as well just convert from camera space > Rec709. Converting to Arri isn’t doing anything unless you’re working between the two CST’s.
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?
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.
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 :(
You’ll just have to build a CST sandwich to remap it 👍🏼
@@jvke.p and then export as a new lut?
@@diggyz82 pretty much!
nice, great info. got my sub
Thanks so much bro! Happy to have ya
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?
THANK YOU!
You’re so welcome!
Hey Jake, I am dealing with redlog footage. And I want to work in basic Resolve color managed, so I'm setting the color processing mode to HDR and then the output color space to SDR and it converts my clips to rec 709. but now - how do I actually apply Resolve in built Kodak luts, so I can then work in the widest possible color space?
I prefer a custom color processing mode. Or you can do your color management at the node level using CST’s.
Respect nice stuff and on point .......I just became your fun for this!!!😄
Glad it could help!
Thank you so much
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!
Was wondering the same thing
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
Tagging you as well!
Great work on that one bro! Can you make Kodak vision 3 LUTs as well?
those would be great! I currently use Look Designer or Film Convert or Dehancer for all additional film looks. you should check them out!
Thnx a lot ❤
Thanks Jake!
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 🤟🏼
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.
Dope I never knew the technical term for this but I also like working Scene Referred vs the Display Referred way just so much more flexibility to adjust overall especially with different brands of camera sensors
I actually prefer the less pink skintones on the LUTs you made. Really good work, thanks.
Thanks Markus!
How did you manage this lut in an ACES Color Space ? Did you have a Kodak LMT LUT for this kind of color Space ?
It’s a simple ACES transform to ADX, then the lut, then rec709 back to ACES.
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..
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.
@@jvke.p Thanks! I'll write to the support.. Are ALL LUT's included in Da Vinci expecting cineon?
@@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.
Hey loved the video. For a person who is using a mac book pro to grade on, im finding an issue with my videos, they export as 1-2-1 color profile if both tags are not rec709. The industry wants 1-1-1 so that the color is consistent on all browsers. To make this happen i have to go into advanced in the export tab (rocket symbol) and make both tags rec709. When exported on Yrgb CM the video comes out washed. the only solution ive found/created is an output and or input lut. One you grade into the lut, remove it, or add on once finished grading and export. This work flow feels unprofessional and unconfident. Though im getting good quality grades, i know this isnt how it should be, i dont have a calibrated monitor so im just using my macbook pro 2018. could you make a video to touch on this issue.
This is all about to be covered in my course on color grading! Shoot me a DM on IG @jvke