Absolutely stunning. How is that possible tools of that level not included in Davinci by default. It is a colors everyone hunting for years creating crazy complex node layouts.
These look great and wanna pick up an "everything" one but so many choices on your store page I'm confused which to get. Maybe when I understand more i'll have the knowledge to purchase. Nice looking products and kudos for going one time only purchase in this subscription era. It seems to be actually good value.
Thank you so much! Regarding the keyboard shortcuts, I don't have plans to create a separate video focused solely on them. I believe keyboard shortcuts are quite personal and vary from one individual to another. In this video, I aimed to demonstrate how I personally utilize shortcuts to seamlessly switch between nodes. That's it.
Have you upgraded to the latest version? I'm on iPad, too, and everything works great until the last update broke things. 😢 It still applies the effects, but they have the watermark on them for some reason. I can't find a way to revert versions either.
I should add that this occurred after I updated the DCTLs, not Resolve itself. I have Resolve for iPad and Windows as well, but the problem occurs there too.
With your DCTL literally cant tell the differences between digital and film AWSOME work woww man. is this just for PC or can regular mac users use it regular mac users as in ones who that dont have M1 M2 M3 chips
Exciting news! The new version 1.1 of our LOOK / LAB / PRINT DCTL pack is now available on our website. We've made sure this version is fully compatible with Mac systems as well. I encourage you to download the free demo version and see the improvements for yourself. Have fun experimenting, and let me know your thoughts!
@@FilthyBadger Thank you for your feedback. I've considered adding Temp and Tint sliders as well as Printer Light and Hue Rotate sliders. However, my aim is to keep the interface streamlined and avoid overcomplicating it with too many sliders. As a compromise, I suggest adding an extra node after the LAB.dctl. This node would allow for adjustments in Offset, Printer Lights, and Hue. Using the native tools.
@@StefanRingelschwandtner can you educate us why you recommend doing grade after Look and Lab nodes rather than having them all on a timeline level and grade underneath them?
@@FilthyBadger Yes, I have experience across several fields including VFX, cinematography, and color grading. My journey also took me through the demo scene, where I explored the intersection of programming and art, and my education in film school further deepened my understanding and passion for the visual arts. In recent years, my focus has shifted more towards software development and consulting. About the Node Tree. The approach I recommend is similar to how other plugins operate, where the Look part emulates negative film, setting a critical aesthetic baseline. Just like in these systems, adjustments prior to applying the Look should ideally be limited to a CST.
This looks handy, but has this not effectively been supplanted by the Resolve 19's “Film Look Builder” (creates almost the exact curve you show here - among other things) and “Slices” (allows for individual color density adjustments - among other things) features?
I haven't upgraded to DaVinci Resolve 19 yet, so I'm not familiar with the 'Film Look Builder' and 'Slices' features you mentioned. However, I recommend downloading the free demo version of my tools and comparing its capabilities directly with the native features in Resolve 19. This way, you can see which solution meets your needs best.
The thing that sucks about Film Look Builder is that I can solo the effects. It drastically changes my entire image when I really only want one effect applied
No need for an output CST to Rec. 709 node at the end of the node tree when using PRINT.dctl. This DCTL allows you to select Film Print Emulation LUTs by DaVinci Resolve, which automatically adjust the image for display color spaces, including Rec. 709.
Thank you for your kind words. The “Looks” in this pack are designed specifically for ARRI ALEXA LogC3, with an output for 'negative film emulation' that remains within the Arri Log C3 color space. If you prefer, you can perform a CST to convert from LogC3 to DWG for additional grading. This is up to the users.
Question: How well do you think the Print part of this DCTL pack could be swapped out with alternate DRTs, even potentially for HDR output? The Print output looks amazing but I'm curious how well you think it might work on a project that may require other types of DRTs and deliverables. Thanks! Amazing work!
I'm curious about the difference between Look/lab/print and film emulation, soft 2 strip. Do you have any recommendations? I am planning to buy color shift dctl.
@@ggomori3904 soft 2 strip is no longer available. Film emulation pack features a lot of spacial effects. I cannot really give any recommendations. All information is on the website and in my videos.
This is excellent. Just purchased this myself. I am curious about if it would be fine to use the LOOK/LAB/PRINT on the group level and work under it within the clip level? Ideally, id like to avoid having a look lab print node per each clip, but unsure if doing timeline/group based look design would be detrimental to how this DCTL works? My normal workflow is exposure, contrast, bal, then secondaries. If it is best to keep LOOK LAB PRINT on a clip level, I can work with that too. Just curious.
You can find the suggested node tree on my website for more detailed guidance. As for your query, here's a recommended approach: - Look.dctl: This can be placed at the pre-group level. This allows you to apply a consistent look across multiple clips. However, the placement is ultimately up to you and your specific workflow preferences. - Lab.dctl: I suggest placing this at the clip level. This provides the flexibility to adjust the parameters for each clip individually. - Print.dctl: This can be positioned at the post-group level or even at the timeline level. Again, the exact placement depends on your workflow and desired outcome. In summary, you can use the Look.dctl at the pre-group level, Lab.dctl at the clip level, and Print.dctl at the post-group or timeline level to maintain flexibility and control. Adjusting based on these suggestions should help streamline your process while achieving your desired results. Feel free to reach out if you have any further questions!
Hey, this is awesome. One question though. Why did you use Arri LogC instead of a more intermediate ACES/DWG? I know I can use a CST right before applying the DCTL, but it would be nice if the tool allowed you to select Input/Output gamut (not sure how hard it is to integrate DCTLs directly with the CST functionality in Davinci). Anyway, it is a fantastic tool :D
By developing the input profiles through rigorous testing with the ARRI Log-C3 profile, we're anchoring our film emulation in the tangible characteristics of real camera output. The native CST tool in DaVinci Resolve features a user-friendly interface and provides a comprehensive set of options. Given this, I see no need to fully replicate it as a DCTL or integrate it into the profiles.
At 7:06, the slider makes the underexposed parts look unpleasant. The main subject is well-lit, and its density is quite okay, but the other samurais, where the hat is casting shadows, have very oversaturated skin while being underexposed. This can cause an unpleasant look, especially for someone with blemishes or skin imperfections, as it will accentuate those imperfections. Just an opinion, maybe using a slider to desaturate reds in the shadows is the way to go :)
The demonstration was primarily to showcase the tool's capability to produce an orange and teal effect by adjusting the slider to the 30-50% range. While I implemented this effect on an RGB image for the sake of simplicity, it's important to note that in professional color grading workflows, log footage is the standard practice. This approach ensures a more nuanced and flexible grading process. ;)
Thanks for your question. Unfortunately I am not familiar with Colorlab-AI so I can't say anything about it. Feel free to download the free demo from my website to make some tests!
for one thing, this DCTL doesn't crash like look designer. I find the sub sat in this DCTL to look far superior to Dado's sub sat look. I also feel that his "negative" and "positive" film stocks are a hair heavy handed. BUT, with that said, colourlabs built in EL zones and auto exposure for 18% grey is incredible. IMO, Colorlab is great for fast exposure normalizing across a large amount of clips. Do your regular printer light work, export back to resolve with ODT set to arri log c, then on the timeline or group level of your session add the look lab print vs look designer. The other thing I think makes the DCTL better in a way....is that it limits the film emulations to what's most necessary vs the endless amounts of emulations in color lab. Less is more imo.
Thanks for reaching out! In the video, when I mention 'ARRI LogC', it's actually what's now known as 'LogC 3' in the latest versions of DaVinci Resolve. ARRI updated their naming conventions with newer camera releases, so the original ARRI LogC has been renamed to LogC 3. This means that what you're seeing as LogC 3 in your DaVinci Resolve is indeed the same profile I was referring to in the video.
Is using a dji osmo pocket 3 lut to rec 709 then colour space transform from rec 709 to DWG for colour editing a good idea? I don’t really like the look of Dji d-log to DWG. Just wondering if this is a decent workaround?
One question: What would be the best Color Management to use in case of grading Leica RAW photo files ?Is it necessary to use a CST node before? Thanks!
For grading Leica RAW photo files, I recommend using specialized photo editing software. While DaVinci Resolve excels in video grading, it may not be the best fit for RAW photo files like those from Leica. In my workflows, I typically use a CST node, but I'm not aware of direct support for Leica RAW in Resolve. For more detailed information on color management, please visit my blog on my website. You might also find community forums discussing alternative methods to edit photos in DaVinci Resolve, though I don't have specifics on such workflows.
Hi Stefan. First off, congrats. You are doing amazing work. I especially like the fact that you are bringing Baselight functionality to Resolve. Will this DCTL work in ACES on any footage or is it strictly made to work in a non color-managed workflow on Log-C footage? p.s.: the demo versions of the Look and Print dctls don't seem to work.
Thanks for the Feedback. Install guidelines: Drag and drop the folder containing the DCTL files into the LUT folder. This is important. Otherwise, the MONO-PRINT.dctl will not work correctly. - I've updated the website and included some screenshots. Hope that helps. - If not, please email me. I am here to help. - About the profiles. The profiles are made for ARRI LogC. In theory, you can switch to ACES after the "LAB.dctl" node. If you want. Did not test it myself.
@@StefanRingelschwandtner Thanks for the reply. Unfortunately, I will not be able to use these DCTLS as, at work, we work in ACES on a project settings levels only and not clip level. But thank you nonetheless for this.
Very impressive tool at this price! But I download the demo version for Mac that is available in your website. But the print emulation doesn’t work in resolve with M2. I have followed the instructions in the document, in fact the first 2 nodes work well (look and lab). I want to be sure before purchase that everything works fine. Some helps
Thank you for your feedback! We've thoroughly tested the tool with the M2 chip, and it should work perfectly. Please ensure that the 'Print.dctl' file links correctly to the 'Film Looks' folder, as the folder structure is crucial for proper functioning. For further assistance and detailed guidance on setting up the demo correctly, please email me directly. I'm here to help you ensure that everything is set up correctly before your purchase.
@@AdroMobile Please follow these steps carefully to ensure the DCTL files function correctly: 1. Correct Placement: Drag and drop the entire folder containing the DCTL files into the LUT folder. Do not directly copy and paste individual DCTL files into the LUT folder. Ensure that the folder you are moving is not nested within multiple subfolders. 2. Please carefully follow the installation guidelines available on my website, where you'll also find a screenshot demonstrating the correct layout of the LUT folder. If you continue to encounter issues with the print.dctl file, feel free to email me for further assistance. 3. It's crucial to ensure that the folder containing the DCTL file is placed directly within the LUT folder, and importantly, it should not be nested within another subfolder. By adhering to these guidelines, the dctl should operate correctly.
This pack is currently optimized for Arri LogC3 only, not for ACES. However, we are planning some updates and changes by the end of the year to increase its flexibility.
What happens if you apply changes using your DCTL Pack, save the project and then open it on a system that does not have the DCTL Pack installed? Are the changes lost or do they stay applied to the footage, just the interface to the changes is not available?
When you open a DaVinci Resolve project on a system without the specific DCTL Pack installed, the changes made using that pack won't be applied or visible, because Resolve needs the DCTL files to process those effects.
@@StefanRingelschwandtnerAnyway to make the changes permanent without needing the DCTL pack, albeit the system without the pack cannot make changes to it which is fine, until they install the DCTL Pack.
Hey Stefan, this looks absolutely fantastic! I have a newbie question: If I want to work in a DWG colorspace, is this DCTL still useful? So imagine if I have ARRI footage and set my CST from ARRI to DWG, I do my normal balancing in between and add another CST, this time from DWG back to ARRI, apply the look on a new set of nodes using your DCTL (LOOk + LAB + PRINT). I don't need to add another CST to transform ARRI > REC709 for viewing on my reference monitor, because that's essentially what the PRINT DCTL does, correct? So for different footage, for example Sony, I'd have to do the following: CST Sony to ARRI CST ARRI to DWG Balancing CST DWG back to ARRI Look + lab + print nodes using DCTL
All the things you wrote should work. With Sony footage you can go from Sony to DWG, do the balancing, and go from DWG to ARRI Log C3. Then "Look / Lab / Print".
Hi Stefan, this looks very very promising! Just downloaded the demo and replicated your node structure but it seems like the emulation (200T, 250D, 500T) doesn't do anything to the footage. I'm on Resolve 18.6.5. Thank you!
@@guillewillreyes Please ensure that you follow the installation guidelines precisely as outlined on our website. If you continue to encounter problems after this, do not hesitate to email me directly, and I will be more than happy to assist you further.
@@FilthyBadger DWG covers a larger gamut than Arri as referenced on the Mononodes website. I get you can just use CSTs to convert, but why limit yourself to a smaller colorspace? (Truly asking btw. Does that limitation add to the filmic look? Is it just the ubiquity of Arri cameras?)
You can download the demo version for free and test it yourself, but I don't think it will work. Hopefully, I will be able to fix it and will soon release an updated version that will also work on Mac.
@@StefanRingelschwandtner Ok, thanks. Do you have any predictions on when it will be compatible with Mac? I really liked it and I'm interested in purchasing it.
Hi Stefan ! Sorry for the stupid question. Is it possible to extract 3DLut from your DCTLs simply generating from clip option "GENERATE LUT" in color page on Resolve ? I would like to export LUT from your DCTLs for my camera. Thanks by advance.
Absolutely, there are no stupid questions here. Yes, you can create LUTs from the DCTLs using the "Generate LUT" option in the color page on Resolve to export them for your camera. If you need any more help, email me.
For HDR workflows in Rec.2020, you can utilize LOOK and LAB DCTL for color grading. Instead of a PRINT.dctl at the end, use a CST with the input set to ARRI Alexa LogC3 and the output to your desired display space.
@@StefanRingelschwandtner Thank you for the reply. This is not a critical problem, but the curve that is in the LAB DCTL 'Show tone curve' in HDR mode is too bright. Can you make some option to make it not so bright? And I have some artifacts with my footage from Sony XAVC-I codec ZV-E1 at some point I see white pixels running on image with demo version of your product (something like focus peaking). Want to understand is it problem with codec, footage or my shooting technique or can DCTL be brought in such state? I tried on demo version to generate LUT file. and I see some black pixels running on my image when apply that LUT. Is it a 'protection' of demo and in full version everything will be ok. I understand that here is too much variables, but maybe you already have such situations and can explain. Thank you very much.
@@curtdp There should be no issues with "white pixels." Perhaps it's a transform problem. The demo version cannot be exported as a LUT effectively. It can, but the "watermark" will also be included, which may result in "black pixel artifacts." If you can share some footage from the Sony camera and your node tree setup, along with more information about your hardware, I will look into it. It's best to write me an email.
Yes. All information is on the website and in this video. The looks are designed for Arri LogC3. However, you can simply apply a CST from other camera logs to LogC.
Not exactly. It really depends on your requirements. For specific tasks like adding hue shifts, brightening colors, hue twisting, split toning, and RGB mixing, the other tools remain incredibly useful. You can seamlessly integrate them after the LAB DCTL for enhanced functionality.
Not sure if DCTLs will work on an iPad. You can download the free demo version and test it for yourself. It's a great way to see firsthand if it meets your needs!
@@christianschindler9602 Check the "install guidelines" carefully. LAB and PRINT should work on Mac, too. (But never tested it on IPads). Look.dctl version will be updated soon.
Thank you for your interest! The best way to determine compatibility with DJI Ronin 4D footage is to follow the instructions on our website. We encourage you to download the FREE DEMO version and test it yourself.
It's simply a matter of just adding these in a CST sandwich. You could do it once and save as a powergrade for future use, so it's a not really an issue.
Green screen? hmmm. With all DCTLs? Would be nice if you could email me with more details about your hardware and more details which exactly DCTLs are not working. And maybe a screenshot, too.
If Canon Clog3 is available as a color space option within DaVinci Resolve's Color Space Transform (CST) feature, you can indeed perform a CST from Canon Clog3 to another log format, such as Arri LogC3.
@@StefanRingelschwandtner ok I understand the process now. I was worried about the difference between the dynamic range of the cameras.It is available in resolve. Thanks for quick reply
Without knowing the specific LUT you're referring to, it's challenging to give a precise answer. LUTs can be broadly categorized into technical LUTs, creative LUTs, and sometimes a mixture of both. Each type serves different purposes and is used at different stages in the color grading and correction process. To provide you with the most accurate advice, I'd need more details about the LUT you plan to use and the context in which you're using it. Feel free to send me an email with more information, and I'll do my best to answer your question.
Thanks for reaching out. While this tool is primarily designed for Arri LogC3, it's versatile enough to work with S-Log3 too. You just need to use a CST to convert S-Log3 to LogC3 before applying the tool. All the steps are clearly outlined in our video and on the website. If you have any more questions or if there's anything else I can help you with, please don’t hesitate to email me.
@@StefanRingelschwandtner oh, then actually, if I’m using phantom LUTs will that get my color palette close enough to arri c that I could use slog3 with phantom LUTs? If not I’ll just do the CST, I was just never sure how accurate that transform was. Anyway, this is a very neat DCTL:)
Individual elements from the pack are not available for separate purchase. The reason behind this is to ensure the integrity, functionality, and cohesive experience of the product. Each of the elements within the pack is designed to complement the others, and they have been grouped together intentionally.
@@StefanRingelschwandtner Sorry! Again here :) Unfortunelly isn't working for me either. It seems that it doesn't "call/link" to the LUTs in Resolve...
