don't use resolve's film LUT 

please tutorial!

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.

🤝

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.

We've updated the zip file. All you have to do is make re-download the LUT from our website.

I can’t find it 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.

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