The Future of LUTs - Cullen Kelly Elements LUTs Review 

Yeah holy crap this video does not indicate a proper understanding of the pipeline these LUTS are built for AT ALL.

​@@ForestCinema Is there any tutorial with correct workflow. please share as this will my workflow process easy..

Is there any tutorial with correct workflow. please share as this will my workflow process easy..

@@ifilm6746 watch cullen celly , he explains it all

mate, luts are constantly used by pros. First - it's usually applied universally, so it helps to maintain a very consistent palette across the whole project. Second - it saves time. So instead of jerking the poor hue v hue curve, you get your universal look, tweak it if needed on a timeline level, and move on so you have more time to match your shots or apply local corrections and other bells and whistles to perfect your shot, like masks, relighting, facial retouching and so on. You have your "controls and choices", they're just applied usually prior to the lut (if you're fine with the curve without any tweaking, like the black point or certain colors) and with built in instruments that you have at your disposal. Problem is - not every lut pack is good and trustworthy. Most of them don't even provide proper information of the input color space expected. Some of them have problematic oversaturation, some of them crush your picture and so on. Hell, even the basic built-in 2383 is widely used in cinema and commercials.

Mmmm not necessarily true. Either is ok. I’d say you’d technically have more flexibility of transforming to DWG, but the difference wouldn’t be noticeable in most cases I’d bet.

@@CaseyFaris so you don't use any color management and feed aces luts to v-log? O_o

@@Rogeras32 Yeaa these are built for DWG, they’re being used incorrectly here

​@@CaseyFaris It looks ok for sure, but I do think when you're making a tutorial you should teach the correct way of handling these LUTS. You can't assume everyone is working in the same camera log/color space as you are.. So the transforming to DWG is actually necessary to explain, if you want everyone to have the same expected results with these LUTS.

Are you referring to his MEOW luts?

lol, you have your 2383 built in DVR :) Just cst to cineon and you're good, apply corrections prior to the lut / fix the contrast curve to maintain the middle grey, and that's it! Only in rec709 though

I was wondering the same thing. I mean, they can't be "generic", they have to be targeted at a given working color space (gamut & gamma curve) to give consistent results. So which one is it ?

The free 2383 has two versions of the LUT. One for ACES and one for Davinci Wide Gamut so convert your video from its color space to DWG or ACES with a CST, apply the lut, and then use another CST to take you from DWG or ACES to your viewing color space, like rec 709 or rec 2020

@@unconsenting81 Thanks. Makes sense sinve the website says "Purpose-built to work within Resolve Color Management" and this is pretty much what it does under the hood. (use 2 CSTs before/after the user node tree)

These LUTs are meant to work in a color managed workflow, so basically you convert all your footage to Aces or Davinci Wide Gamut with a Color Space Transform node, do your color correction in that wide gamut, then convert from that wide gamut color space to your viewing color space (like rec709 or DCI-P3) with another CST. It makes it a lot easier to match cameras and allow your tools to work the same no matter what the footage

@@unconsenting81 These LUTS just doesn't work with CST to DWG in node tree. You have to make a color managed project via Davinci color mgmt.

That's sooo cool! I'd love to see some of your vids!

@@CaseyFaris I have a video up. It's a practice video. my first day editing and using Resolve. Once I get custom music tracks sent to me by my brother, I'll have a proper videos for people to watch, thanks to you.

@@wolfkoolaid722 Old comment, but I'm curious. Have you kept up with your editing hobby? If so, how is it going now?

@@-hexik I stopped for a month or two here and there but I still want to make video. I'm Thinking of starting again soon. It's gotten easier to make a video now that I've had practice and I know what I want in the videos.

@@wolfkoolaid722 Awesome. Love to hear it. Keep progressin'!!

Yes

This is interesting! But are you shure you are talking about IRE? Maximum IRE should be 100, it represents maximum brightness of the video signal. Do you have V-LogL to DWG transform at the beginning of your pipeline (at the project or clip/group level)?

@@Fedor_Dokuchaev_Color I don't have the V-LogL to DWG transform, because my entire timeline is in DWG. So I don't need the Color Space Transform...right?

Here is a Master Class from Cullen Kelly the creator of the LUT's: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-_EJ7lA0bSzo.html

FREE 2383 LUT: freebie.cullenkellycolor.com/freelut ELEMENTS LUTS: freebie.cullenkellycolor.com/starter-kit

Yeah it wasn't correctly explained in this video, but here is a Master Class from Cullen Kelly the creator of the LUT's: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-_EJ7lA0bSzo.html

if there's no color management going on there to properly input ACES color space, he seems to be feeding aces luts to v-log footage, which is not very good.

It should be off

Before

They're kind of alternative way of working. There was a workshop by Blackmagic last december going over that. In a gist, you can imagine the 'color managed' settings as having a CST before your color node tree that converts whatever your footage is in into Davinci Wide Gamut Intermediate color space. Then all your nodes operate in that space. And then after your node tree there is another "hidden" color space transform that goes from Davinci Wide Gamut Intermediate into whatever output color space your selected in the settings. (At least that's my understanding) Personally I go with explicit CST nodes rather than the "hidden ones" from "color managed" because I find it more explicit and also because when you work with Fusion (even just fusion titles), some things work weirdly in color managed mode.

@@smunaut What a fantastic and thoughtful answer. Yes this now makes perfect sense to me. Also I never gave the fusion thing any consideration, but that makes great sense as well. Make thanks @sylvain Maunaut!

@@smunaut So i guess Casey was converting to wide gammut in the color management settings and then used the cst after the lut?

This is exactly my thoughts.

That’s the best way, although you will get good results with most scene spaces.

Depends on film stock. Every silm stock have it's own look.

The cinema print film stock aka Kodak 2383 is what creates the look we are talking about here. Different analog photography film stocks when you think about it have different looks e.g., Kodachrome vs. Ektachrome vs. Fujichrome Velvia

Yes. When you switch to color managed your nodes work in the correct color space for these LUTs. You can set it to ACES or Davinci Wide Gamut. They don't convert your footage to rec709 or anything. It has the same color space on the output as the input

Obs

@@CaseyFaris and for mouse highlight? What setting you use in obs?

Id just just add a cst converting to DaVinci wide Gamut before the LUTs. You can customize each one to whatever cam profile. This is the basic case with ANY look or LUT of any kind.

just cst from your camera color space to aces ap1 / cct, apply the lut and cst back from aces to rec709 or whatever the delivery color space you need

Watch this: LUTS: The Complete Video Guide - The Basics of Color Grading LUTs ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pY_7m3bMEMA.html

OK, thanks.