This video is what more people need to see. It explains deeply but very easily why a LUT needs some proper setups before applying! Even many "professionals" are unable to explain it and they spread wrong knowledge or hide it because of their ego. Thx man!
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.
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!
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.
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!
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👌👌👌
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.
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!
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.
Thank you so much Ewan, this video is really clear! I followed all the steps exactly as you suggest and worked amazingly… ONLY, I have a little issue, when I export the video it comes out WITHOUT THE LUT! 😅 I guess I’m missing some very basic step but I can’t quite figure out what… some help on that would be highly appreciated!
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?
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!
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.
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.
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?
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.
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.
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 TH-camrs to use as examples to assist the common user.
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!
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.
You could definitely do that too. The reason I created two CST’s in this demo was because I created a compound node out of the second CST + LUT. I didn’t explain it thoroughly in the video, but it allows me to make adjustments to the image before the compound node look in a linear space. Hope that helps clarify the “why”.
@@EvanSchneider you don't have to do two separate nodes and then compound them. You can do the last CST and the LUT in the same single node. The LUT is the very last thing that happens in a node (even says so in the manual), so a CST applied to the node will feed the LUT just the same as a separate LUT upstream.
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!
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 !
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.
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?
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.
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.
I did this so that I can create a compound node out of the second CST and the LUT and adjust the intensity of the film print look. Organization and flexibility.
Is there a way to use your color management settings to apply this to all your video. I'm always using Sony Slog3 and Gamut3 cine. Can I have a global setting so I don't have to do all the work at the Color node level?
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.
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?
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
That depends on your system, display and how you’re monitoring. If you’re on a Mac and grading in the GUI, like I was for this video, then choosing Rec.709-A and turning on the preference for using the Mac display profile for viewers is the correct way to do it. Rec.709 Gamma 2.4 is the video standard for most pro apps though.
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?
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.
@@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.
@@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.
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.
Hope this helps you make some tasty grades! Let me know if you have any questions!
Hey Mate, The links dont seem to be working. Looking at "my luts" and "super 8"
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!
legend thank you
This video is what more people need to see. It explains deeply but very easily why a LUT needs some proper setups before applying! Even many "professionals" are unable to explain it and they spread wrong knowledge or hide it because of their ego. Thx man!
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.
So good to hear, my goal was to make it as simple as possible! Thank you
So comprehensive yet straight to the point, thank you!
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!
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.
Absolute best tutorial on this subject. Nailed it.
Great video. Ive watched 4 on this topic. Yours covers everything while others left out a good bit of this information. Thanks.
wow I was totally doing what you said not to do, massive difference !!!
hahaha glad I could help! Makes your footage look much better!
DUDE. I am just getting into learning Davinci from FCP. These are incredibly helpful.
ive been learning how to color grade and ive found this video super easy to follow along.
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.
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!
Awesome, glad it was helpful!
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👌👌👌
Glad it was helpful! Color grading can definitely be tricky.
I've watched so many videos and this one hit home. Thank you so much!
Glad to hear!
This was the most concise tutorial I've seen on this subject. Thanks for sharing!
Thanks! That was the goal!
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.
That was my goal! Thanks for the comment.
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!
Thank you for this. I don't know how anyone tries to teach this without mentioning the TextEdit stuff.
This is so helpful, thanks!
This tutorial made A LOT of sense - thank you!
Absolutely! That was the goal!
Bam, breakthrough! Been trying to figure this out for weeks! Thanks!
Stoked to hear! Thank you!
Ohhhh I was doing everything wrong no wonder I was having such a hard time. Thank you!
So helpful dude!! Thanks for the walkthrough!
Fantastic, exactly what I was looking for. Well executed and down to the point!
Amazing thank you so much! I’ve been doing it wrong this whole time lol
OMG It's so helpful! Thank you so much!
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.
Thank you, appreciate it! Glad you find them helpful.
Jezzz I love it 😍 thanks so much for this dude !
that was EXACTLY what I needed to know 🤝
Thank you so much. You are blessed Evan. I'm subscribing right away.
Welcome!
Thank you very much, I’ll try that! 🙏🏾
Just starting out and learning this was great. Thanks!
Glad it was helpful!
Love the compound node tip
Glad it was helpful!
very well explained, thank you so much
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.
thank you, such a great video.
Great explanation, I've struggles with getting the exposure right with this out so I'm definitely gonna try your way!
Thanks, glad it was helpful!
good god that made my life easier thank you so much
Hahaha absolutely
very powerful video. Thank you for excellent content, man! Like!
Thank you sir!
You earn yourself a subscriber!
Yay! Hahaha
Excellent video, thank you !
Glad it helped!
pleased to learn this, thanks
Good explanation, thanks! 👍👍
thank you very much for the tutorial
Thanks you vary mach .informative.
Great video thanks man!
You bet!
Thanks for the excellent video...
No problem!
bro you saved my life
Awesome content bro, thank you so much for those explanations !
It was definitely usefull, a real lvl-up for my color grading skill ! 🙏
Glad to hear! Thanks for watching
best video on this
Thank you.
very much appreciated, thank you!
You're very welcome!
Very informative. Where would you put noise reduction if needed? Keep the tutorials coming!
Glad it was helpful! You would put noise reduction at the very beginning of the node tree.
cool ..this video help a lot..great
Tnx man!!
You amazing human being ❤️
Thank you so much Ewan, this video is really clear! I followed all the steps exactly as you suggest and worked amazingly… ONLY, I have a little issue, when I export the video it comes out WITHOUT THE LUT! 😅 I guess I’m missing some very basic step but I can’t quite figure out what… some help on that would be highly appreciated!
My first guess is make sure you have "Flat Pass" turned off on the deliver page? I'm not sure, it could be a number of things.
@@EvanSchneider thank you, I could solve it, it had to do with some exporting configurations that were not properly set
Cool! Thank you for sharing it ✌️
Thanks for watching!
Thanks Evan!
WOW THANK YOU
Excellent thank you
Thank you!
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?
Those should be done before the 1st color transform node.
thank for sharing!
Yes It did help a LOT. Thanks (new subcr.). :))
great tutorial
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!
¡Crack! Muchas gracias por los consejos
Thank you for this
No problem!
Thanks brother!
No worries!
man thank you
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.
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.
I think I was less confused before finding this video.
That means you’re in middle of the learning process 😉
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?
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.
thanks
thnx"
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.
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 TH-camrs to use as examples to assist the common user.
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!
Thanks for the feedback, I commented below!
You're right
The same principles apply, just change your CST settings accordingly, this technique is camera agnostic.
Thanks
Thank you!
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.
you can just set your output gamma to cineon log in your first cst. no need to add another node and another cst
You could definitely do that too. The reason I created two CST’s in this demo was because I created a compound node out of the second CST + LUT. I didn’t explain it thoroughly in the video, but it allows me to make adjustments to the image before the compound node look in a linear space. Hope that helps clarify the “why”.
@@EvanSchneider yeh sorry you are completely right, I kinda glossed over the follow up as I was confused why you added it. thanks for clarifying
@@EvanSchneider you don't have to do two separate nodes and then compound them. You can do the last CST and the LUT in the same single node. The LUT is the very last thing that happens in a node (even says so in the manual), so a CST applied to the node will feed the LUT just the same as a separate LUT upstream.
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!
Thank you! The b-roll is just stock footage from Artgrid, that's cool you know where it was shot though.
@@EvanSchneider Madrid, Spain 🇪🇸
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 !
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.
Thank you, Evan!
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?
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.
btw the grading of your working place shots is amazing (skin tone, overall colors). is it film lut too, or manual magic?
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.
Awesome! Can't we just transform the arri to cineon instantly? Why? I wanna know 🥰
I did this so that I can create a compound node out of the second CST and the LUT and adjust the intensity of the film print look. Organization and flexibility.
@@EvanSchneider now I know! thanks for the awesome information! but transforming my slog2 directly to cineon and apply the rec709 lut still works?
Is there a way to use your color management settings to apply this to all your video. I'm always using Sony Slog3 and Gamut3 cine. Can I have a global setting so I don't have to do all the work at the Color node level?
You can use automatic color management mode and tag all your clips as S-Log3
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 .
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.
Good
👍
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?
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
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?
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
So you only apply the lut on a Rec709 with the cineon gamma basically correct?
Yes, that is what you need to feed into it.
Which rec 709 should I choose for my timeline? You chose rec 709 -A should I choose that too?
That depends on your system, display and how you’re monitoring. If you’re on a Mac and grading in the GUI, like I was for this video, then choosing Rec.709-A and turning on the preference for using the Mac display profile for viewers is the correct way to do it. Rec.709 Gamma 2.4 is the video standard for most pro apps though.
@@EvanSchneider oooh, ok, I get it. Thanks for help :D
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?
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.
@@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.
* PP2. and yes noncolor
management.
I use Cinematch to match my EOS R to my BMPCC 6K pro.
Where in the node tree would you use Cinematch??
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.
@@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.
What about tone mapping in the CST?
Set it to DaVinci
Darren Mostyn have covered it
I covered it better 😉
After the Film LUT we don't need to change the output gamma back to the timeline?
No, because the FPE LUT takes care of that transformation itself
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.
Where would the node for adjusting skin tones be?
After the FPE compound node. But I would make sure the footage is balanced in a node at the beginning first.