Just to clarify: The update to version 2 is free if you already own the previous version! Just re-download from your account page or order confirmation. No need to purchase version 2 again!
CCA Was so much fun! I've learned so much since and I've been working on some new stuff as a result that I can't wait to share. Big CCA Spring 2024 High Five 🙌
Yes it was! I've gone down the DCTL rabbit hole since CCA. It's amazing to see what tools people make to do things that aren't possible with native tools. You're density 2.0 tool being one of them. Negative Density!?! That's amazing man, it really blew my mind. Big CCA high five 🙌🏽🥳
Amazing work brother. There is a clamp in the shadow present in LogC3 and LogC4 transfer curves. it will be nice if you can extent the range for contrast and pivot UI parm
Hi, thanks for your feedback! Could you describe in more detail the clamp that you see and when it occurs? This tool does internally clamp negative values but this shouldn't be a problem unless you're feeding it an image in an incorrect state (i.e. there being a mismatch between the input image and the selected transfer curve). If what you're seeing is something else, please let me know!
Thanks! It doesn't really actively do anything to add saturation - the increase in saturation is just a side effect of increasing contrast on a per-channel basis in RGB, the same way that using the contrast knob in Resolve would. So all the way to the left it is technically not doing anything, but in practice, colors get more saturated. To the right, the contrast is instead applied on the Y channel only. So the short answer is no, it doesn't add subtractive saturation (but I _might_ be just about to release a tool for that sort of stuff…). Hope that clarifies it!
I tried the free version: the inverted curve doesn't seem to do anything. Also, there is another problem, if I use a mini panel to enter values, white can take values above 1 and black below 0, which range falls outside the slider.
The inverted curve helps make the curve overlay more visible on bright backgrounds, but you might need very bright pixels in the frame to really see the difference. I don't have a mini panel here so I can't replicate that behaviour. It sounds like a Resolve bug so I'm not sure if there is anything I can do to fix that, but I'll look into it. May I ask what version you are on?
@@IridescentColor I see, I thought it was meant to essentially subtract or invert the function. I am using Davinci Resolve 18.6.3 build 19 with panel version 2.0. Should there be a stipulation in the code that the black point cannot be below 0 and the white point cannot be above 1?
@@leventehorvath1976 Yes, the the limits are explicitly defined in the code (there is actually no way to _not_ have explicit limits for sliders in DCTL, so this is a very strange bug indeed).
Amazing update i love the preserve saturation function couple qustions are there gonna be R3D transfer curve lastly for some reason i feel like your working on a split tone V2 as well
I'm very open to adding more transfer curves in the future depending on how many requests I get! In the meantime you can just gamma tag the node to one of the supported ones if you prefer working in a different space. I _might_ actually be working on _two_ new Split Tone DCTLs…
@@KKAkuoku ACEScg is just a linear transfer curve with a different set of primaries. But adding a linear option might genuinely be a good idea, so there's a very good chance that I'll include that in the next update.
Thank you, that's very kind! 2499 is by the incredible Juan Pablo Zambrano. It's open source, just google 2499 DRT and you'll find it. Honestly, it's so much more fun to grade under compared to Resolve CSTs
@@IridescentColorwow I just spend the last half an hour researching this DRT it’s simply amazing someone already used it for a short at the Cannes film festival “the man who could not remain silent” only thing I don’t really see any videos on how to utilize it do you know of any?
Yeah 2499 is taking over the color grading world at the moment, and for good reason! I'm not aware of any videos but you can just use it like you would use a normal CST and just have a play around with the sliders to see how they behave. Basically, feed it a color space that it likes, like DWG/Intermediate, and set it to the output you want, and you're good to go. Gives you a much better starting point than Resolve Color managment.
@@IridescentColor I just have one more question I visited the Lift,Gamma,gain blog were Juan talks about how he implements his 2499 DCTL he gives 2 options option 1 is he uses daVinci’s CST to conform the cameras colorspace to daVinci wide gamut then his uses his 2499 DCTL to go from daVinci wide gamut to 2499log lastly he uses his 2499 DCTL again to go from 2499log to rec709 the question I have is were is the working space is it in-between the 2499log and the rec709 and if so do you anything inbetween daVinci cst and 2499log and how do you implement it in your workflow?
@@CineAmaniacs The way I use it at the moment is I do all my look development stuff in DWG and only apply the 2499 as my output transform. You could also use it to go from DWG to 2499 Log (which is essentially just a DaVinci Intermediate transfer curve with 2499s color treatment), then use that as a working space for applying a contrast curve and split tone etc in between and then use another 2499 instance to go from 2499log to rec709. But honestly, when in doubt, just use DWG as your working space and skip the complicated bit of using two instances.
