Love your tutorials sir. I have a question. I work in the same way as you do. But when it comes to using the cineon cst + kodak, why not use cullen kelly DWG to DWG lut instead of working after the CST and using a rec 709 lut? Like this: 1 CST node to DWG, then DWG to Cineon, then lut, then cineon to rec709?
Cheers for the comment. Not everyone knows who Cullen is or would use his LUT. The other thing is, that lut only covers one film lut, not the others. Good question though. It is a good lut.
Just to let you know, I noticed that in the color density video, you recommended switching from luminance mapping to Davinci because Davinci is less magenta-y, but you say the opposite in this video. Thanks for the vids!
always nicely done. thank you. just curious could you have just done the timeline cst node to include the cst out to cineon gamma and second node be cineon to 709 lut. eliminating one node there? i might be totally wrong but wondering.
That's an interesting point that someone also bought up. I'm going to go over it tonight and see what I can find. Thanks for watching, there may be a follow to this video...
Your way is just fine. Even better from my knowledge, it's done your way in the event that if you want to pull back the look you have the freedom to compound the 2 nodes and do so freely
Thanks for this. One question about the last CST to Rec.709: could that be skipped and select "Rec. 709" in Color Space tag and "Gamma 2.4" in Gamma tag in the Deliver panel?
I've never thought about that before. My thinking would be, it wouldn't be a good idea. The reason being, you wouldn't know what you footage looks like until your export. I might have a look later to see what the results are. Cheers for the comment and watching.
It all sounded like it made sense, but something is wrong in there. I think it might be that the second CST where you chose the Cineon gamma - you left the Davinci tone mapping on and it had ( for some reason ) an inverse OOTF. In most cases when people add a film emulation lut the effect is really overwhelming - and it's not unusual to put the Cineon node and the lut node into a composite node - so you can use the "key" toolset to lower the Key Output gain. Without any modifications to your primary corrections itr should be more prominent when added. Kaur's greyscale - not sure if it reacts to exposure set before but Davinci Intermediate should be around 345 - and it looked to me that your grey mid point was way higher for middle grey. I'll ask Kaur how his greyscale is programmed and find out. Although it all works in the timeline - it is a bit limiting if need be to change up the look. Some do it this way, and some think that the timeline nodes shouldn't be used for looks. I do know a couple of Company 3 colorists that use the timeline nodes with looks, and a few that think that it should be in post group. So different opinions. I'll have to test this myself and watch this back, but watching it the first time- your results are good, but I always see the film emulation LUTs too crunchy and contrasty and not how yours looked. Maybe try it with 4 nodes - CST input camera to DWG - a node - and then the CST from DWG to rec709 with the gamma set to Cineon LOG and the LUT. And see if it looks like yours with that simple breakdown.
Some really interesting points in here. Once I get back to my computer I'll have a look at your idea to give a more detailed response. Thanks for the watching and commenting, I look forward to having a look at your ideas.
I did have a look at your ideas once I was able to get back to my computer. Changing the tone mapping in the Cineon Lut did a little bit, not a whole lot but it is something I will look further into and figure out what is going on. The middle grey, I have Kaur on a discord so I'm just waiting on a result, the grey shouldn't move, but I agree it is something that's very important to get right. Timeline or post node, I think that does come down to a matter of taste. I generally jump between the two, depends what project I'm working on and how many cameras are involved. I do think having an overall look works great when working on project. For me it's about making a look that works on all clips if not most. Again, that is personal preference. It has it's pro's but also it's cons. Having your node set to rec709 wouldn't work, because I work in DWG. Your gamma needs to be set to 2.4 as that's' your output. If that makes sense or maybe I read your comment wrong! I appreciate the comment, I was interested to check out your ideas. Cheers mate
@@GreenGoatProductions I think that said to minimize and make it simple - first node CST input ( camera ) and output ( DWG ) then a node - then another CST with the DWG input to rec709 colorspace and gamma Cineon. Then the LUT - the LUT does a transform to rec709 from Cineon to rec709 ( this is the timeline colorspace and gamma ) on your project settings for output you would have the rec709 2.4
The man's got some good techniques which I use in my grading job. There's a link in the description for one of his vids. Check it out if you haven't seen it. Thanks for the comment
