UPDATE! In response to multiple requests, I’ve just updated the link to include 3 ADDITIONAL LUTs which WILL work in Premiere/FCPX. These 3 additional luts are mapping REC709-REC709 so they will be applied on top of your corrected footage. If you’re using LUMETRI in Premiere, use your Technical Lut drop-down to apply your Log-Rec709 lut, and the Creative Lut drop-down to apply this new Rec709_2383 Lut. You can download them here: go.jvke.us/2383
@@DarrenMostyn weird. It’s had issues sending to accounts with the domain of @me.com. Not sure if that describes your situation but I’ll look into it and send it over personally.
Very cool concept. Kodak 2383 is such a great look - and, now you unlocked its potential for three different managed color spaces, allowing to tune back the LUT effect a bit whenever needed. Thanks for sharing with us.
It’s the same lut. I just renapped its color space to work effectively. If you got the download email, you should have received a follow up email with the explanation.
Haha thanks man. I’m actually still working to fix some issues brought up by a viewer. Pertaining to the rec709 primaries conflicting with a film log space. It’s a little buggy. But I’m working on it!
Most likely luminance mapping. The video would be very long if I explained every detail of my workflow. But that’s why I built a color grading course. I’ll link it in case you’re interested. Thanks! go.jvke.us/signupcheckout
Would you possibly be able to make a tutorial on how to convert LUTs to DWG? I have a handful of different luts and like their colors but they are all for SLOG3 so they are converting SLOG3 to REC709. Would love to use them in a DWG color managed workflow.
Oh that’s a good niche tutorial! It’s essentially what I did with this lut. I can show you the proper transform settings to be sure everything maps properly. Good suggestion!
@@jvke.p I think it would be great and a lot of people would appreciate it. I think the thing that keeps most people including me from switching to a color managed workflow is that I have a handful of luts that I use frequently that I would have to give up. But if I knew how to convert them to DWG that wouldn't be an issue.
@@NickDelDuca then maybe I’ll make that tutorial next! There are still some drawbacks, it’s not a perfect system. But ultimately, if you’re still able to get a result you’re happy with, and you can protect your image’s integrity… mission accomplished
This would be great. Im using Phantom luts alot and it would be really nice to be able to work in Davinci wide gamut and still use the looks from the LUTs
@@jvke.p Please do.. I think many people are facing this problem.. specially all the people who are recently switching to DaVinci and wants to use the LUT packs they used to use in FCp or premiere
Man, I'm diving head first into Resolve grading and it's so confusing looking for the right video to watch, as every single one has a different approach and doesn't really explain specific transforms, etc. Thank you so much for showing EXACTLY what is happening behind the scenes!
Thanks a lot for the amazing lut! Dehancer Pro as well uses Rec.709 which can be limiting but played around with free trial and edited in the DWG and seems to respond well while keeping it at the very end of the nod tree.
Is the project color management option only viable if you only have one type of footage in your timeline, such as yours, which was the REDWideGamutRGB/Log3G10? In other words, can I have Clog3 and BRAW footage in one timeline and still use the project color managed workflow?
OH YEAH I just did this hahaha hey I just got back from hawaii and dropped a vlog too! would love for you to check it out and leave your thoughts! keep up the great content!
Thank you for this video. We need more people like you in the community. From someone who is diving into color grading, there's a lot of people who "knows all" and would charge for this type of content. You were straight to the point, you explained the problems and presented a simple and good solution (bonus points for providing it for free) . Definitely gained another sub
That's really great Jake. The one you placed here, looks really good - I will download and try them and I thank you in advance. All great points about the limitations of the original versions. The color management workflow in DWG is becoming really popular, so I was expecting at some point somebody would do this. I have issues with the contrast curve on the original and started using layer nodes and adding the LUT on top and bottom ( same lut ) then changing the layer node composite mode to "Color". Then selecting the top node and adjusting the node key - key output, I can pull out the contrast and leave the color - then apply my own curve and lock the mid grey and adding a filmic curve ( s-curve ). Anyway thanks in advance for your generosity in giving people the LUTs - looking forward to trying them out. Cheers.
Thanks a lot Jim! Glad you liked the video! I’ve experimented with that technique in the past as well. I think we can pretty much all agree, we love that 2383 😂 we’ll do whatever we can to fit it into our WG workflow
Excellent tutorial My question is Following what you mention and creating a node Lut(2383) the rest of the coloring should be done before or after the node Lut 2383?
Traditionally, it would make sense to do all your grading before the lut. But it would still be fine to make some small adjustments post-lut. Just do your heavy lifting prior.
You can always make a compound node of the CST node and 2383 lut to 709 transform and then you're able to adjust the key output without fading back into the cineon log. Transform. It's nice though to have the lut designed to stay in your workflow color space. Good video!
This is what I used to do for a while until I built the luts. These luts really aren’t a new idea, just a new approach to solving the root issue. Thanks for the comment!
I picked them up to check them out and play with them in an arri log c pipeline I'm creating for some people I work with who work more with Adobe CC. I think they'll be very helpful especially since they're mapped for that usage! Btw great podcast with Jason!. @@jvke.p
You’ll choose Arri log c3, however, you can also select the input device transform at the clip level in the media tab, or color tab, and this will overwrite that setting. The setting you refer to used at 8:51 acts as a default, but you have the power to tell resolve at the clip level, what the color space truly is. This is also covered in great detail in my course if you’d like further clarification
Simple tip: put the CST Cineon output on the same node than the LUT, then when you adjust the intensity of the node everything goes down at the same rate and it works perfectly
Couldn't the same result be replicated by putting the Cineon film log CST and LUT in the middle of your node tree, followed by another CST converting Rec709 to the timeline color space? Example: Initial CST > Cineon Film Log > LUT > Rec709 to timeline CST > final CST
yes. that's essentially what this lut contains. you can also make those nodes you listed out a compound node and achieve the same result in terms of reducing opacity. You just have to ensure your tone mapping and gamut mapping is accurate.
Great video, really looking for this explanation. One question thoug, why you use CST at a node level to go with DWH instead of doing it at a project level?
Really good video Jake, but I have a question. When you display the color management page at 05:13, in the timeline color space, you have rec709/gamma2.4 selected, it should be DWG? (because your working space is DWG), I know you are working with nodes, but if it supposedly does not affect, why does the image change when the timeline color space changes?
Well typically yes, I would just set it to DWG if that’s the color space I’m using. Generally, the timeline color space setting (when working in DYRGB), doesn’t affect much besides how some of the tools respond, and instances where “use timeline color space” is referenced. For examples sake, I probably should have set it to that in the video, but I was bouncing between using the different color spaces I created the luts for so I just left it to rec709. Additionally, you won’t really see a difference from timeline color space changes when you’re only adding luts. Great point tho!
These are exactly the issues I was thinking about when trying to use the DaVinci 2383 LUT. This makes so much sense and thank you for making this video! Subscribed!
Thank you for the video and LUTs. I just wanted to mention that issue #3 MAY be resolved by creating a compound node for the Cineon transform + film LUT and changing the intensity of the new node, which does appear to be controlling the intensity of the overall effect. I could be wrong here, but it looks right to me ... I am obviously late to the party, but maybe it will help someone :)
Yep! That’s essentially the same solution these luts provide. For someone unfamiliar with the tone mapping process, these just help mitigate some potential confusion
Hey loved the video. For a person who is using a mac book pro to grade on, im finding an issue with my videos, they export as 1-2-1 color profile if both tags are not rec709. The industry wants 1-1-1 so that the color is consistent on all browsers. To make this happen i have to go into advanced in the export tab (rocket symbol) and make both tags rec709. When exported on Yrgb CM the video comes out washed. the only solution ive found/created is an output and or input lut. One you grade into the lut, remove it, or add on once finished grading and export. This work flow feels unprofessional and unconfident. Though im getting good quality grades, i know this isnt how it should be, i dont have a calibrated monitor so im just using my macbook pro 2018. could you make a video to touch on this issue.
Because I choose to work in a DWG color space. Especially when working with multiple cameras, then I can convert each camera to DWG and do my grading, and all the tools will behave the same way, and I can create a consistent grade in the DWG color space.
I filmed using the a7iv in slog 3 and with the first node changed output to davinci wide gamut colourr space and added the Kodak look made a few primary adjustments and it came out looking the best grade I have done thus far tbh thank you, keep up the content...I have a few courses am taking on udemy and they dont teach this kind of stuff tbh
That’s so awesome to hear! Glad you enjoyed the luts. This info can be tough to find online for sure. But if you’re interested, my course covers a lot of similar material in depth. You can check it out here: go.jvke.us/signupcheckout
Hello! Thanks for the LUTS. Just to clarify I don't grade in DaVinci Intermediate / Gambit. I grade in Rec709. I just do small adjustments on my footage. I use a CORRECTION LUT from Log to Rec709 and maybe a couple of nodes before the CORRECTION where I grade my primaries. Maybe when I get a better camera or do more grading I will start to grade in a better color space. My question is this: After my primary nodes and my CORRECTION LUT (from Log to Rec709), I can apply your Kodak 2383 Rec709 LUT in DaVinci right?
Honestly, I have worked with FCPX for a LONG time and still love it. but when I got serious about color grading theres nothing that can touch Resolve in this price range. and once I started dabbling in fusion I became a full time convert. its just amazing. for sure learn fusion, its not as scary as it looks and is insanely powerful. this setup for 300 bucks was unheard of ten years ago. id haver paid the 300 just for the noise cleanup functions.
sorry for belated response and my naivety. jus getting started w/resolve: is the "color management" in settings the same as a cst? if, for example, i enter the correct info in the former do i still need to use the cst node? and vice versa? appreciate ur content. -colton 🤟🏼
No worries at all brother! They are two slightly different methods to accomplish the same task: color management. Totally up to you for which method you prefer. Sometimes it varies project to project.
THANK YOU for a clean explanation. Question: If I am working with mixed camera sources (Blackmagic RAW and DJI drone D-Log) what would you set your project color space settings to? Committing to BRAW will probably jack up all my aerial shots. Do I leave it on Automatic Color Managed? Thanks for the LUTs download.
@@jvke.p I guess my question comes down to understanding what happens when using this awesome LUT mod from you and thereby removing the Node based CST that used to be there and relying on your project settings:: In the Project Color space &Transforms>Color Management you have Davinci YRGB Color Managed / (untick Auto) / Custom/ and since the majority of my footage is BRAW, under the Input Color space should I select BLACKMAGIC DESIGN Film Gen 5?.. Followed by Timeline Color space as DaVinci WG/Intermediate... if by doing this with mixed footage such as drone shots in D-Log will it be jacked up since Input Color space is set to BMD? Sorry for the rookie question as I just jumped ship from Premiere and am soaking in all the new info.
@@ryansouthwell I see. No need to even select the braw settings since resolve can read the raw metadata and select the appropriate input transform for those clips. You could set it to any other camera input transform in your project though. Selecting DJI Dlog in your input transform in project settings doesn’t mean EVERYTHING gets marked as DLOG. You can still go in to each clip in the media page or color page and select their respective input transforms by right clicking-> input device transform -> select whatever it is. I teach this in DEPTH in my course. Let me know if you’re interested and I’ll send you a link
Well....sorry to say you that, but your LUT is broken. It not behave right in DWG cmd. It crushes hightlights very fast, which is kinda funny because you explain that issue in this very video. I'll try to elaborate: You can't do something like DWG color transform to 709/cineon and apply Davinci LUT on next node, DWG doesn't know sh*t what cineon is. You must color transform for example DWG to rec709/gamma 2.4, add next node and color transform rec709/gamma 2.4 to rec709/cineon, add next node and apply Davinci LUT. Now you can compound those two last nodes and easly key input to value you like. And i think you designed your LUT in this first way i described because it behaves this way. I did comparison of this lut, stock luts and Cullen Kelly lut if you are interested. 80% of a time it behaves good, but if your footage is overexposed and you try to save it, thats when i spotted it.
I assume you’re trying to fix exposure after the lut. Which is incorrect. Try making exposure adjustments (and all other adjustments really), prior to the lut. You also might not be setting up your color management correctly. Also your second paragraph is entirely incorrect. Please do more research before commenting.
@@jvke.p this is 4th time i wrote this (something blocked my posts). I found source of issue. It is my 2100 to DWG node which is set by default as Davinci Tone Mapping, and is cause troubles witch banding. When i set Tone Mapping manually to max (10 000) it works fine, which is weird because Cullen Kelly similar Lut works just fine as default. I can't show you link with demontration because f*c**n YT will block it. maybe someone encounter similar issue and find this useful
I've struggled so much with all the Log conversions, conversions to, conversions back to, etc., etc. Jake, this is genius! Is it possible to do this with other "look" luts such as teal/orange, forest green, etc.? That is, set them to be so versatile as you did with this Kodak 2383 film lut? You've made it possible to do an entire workflow in less than half the normal nodes!
Big Jake!!! very good!!! Thanks, it's something I've thought about a lot but I didn't see the ideal solution on how to work in DWG-DWGI and be able to do film emulsion. Thank you so much. In another video it would be great to show how you managed to create this emulsion Lut adapted to the different color spaces. Thanks, I'll try it very soon.
Yea we’ll see about breaking down what’s going on behind the scenes! It’s really just a couple extra color space transforms built into the lut to map it properly.
Great video which explains everything. How do your remap the LUTS to DWG? As much as I like the 2383 I really enjoy using phantom luts as well. Only problem with them is that I can't use them in WDG :(
This is such a helpful video! Can you tell me one thing… can you work in project level color management when you have multiple video sources (and their respective color spaces) being used? For example, I have a v-log from my lumix s52, footage from a dji mini 3 drone, and footage from a go pro. Is it possible to use a project level setting and still use your lut? Or do I need to build a node tree with color spade transform for each type of footage? Thanks!
You can absolutely do this! You’ll just need to set your input device transform appropriately for each respective camera’s clips. I cover this in depth in my course which I’ll link below if you wanna check it out. go.jvke.us/signup
You can build your own luts using the resolve color page or the fusion page. This lut isn’t really a look I built myself. I just remapped resolve’s built in 2383 Lut.
hey jake!! just stumbled across this video and i'm just wondering if i can use this luts in raw footage? or how can i use this if i don't utilize log footage? thank you so much!
Why not explain how to make it too? It's pretty straightforward converting this LUTs with CSTs and exporting a new LUT to bake the CST in. This is a useful video, but it doesn't give away the real key info a how to adapt these LUTs on your own.
Thats because this video isn’t a tutorial on how to adapt these luts on your own. It’s a video explaining why I made the luts in the first place. I might make a second tutorial explaining how to do it based on the response from this one though.
@@jvke.p Fair enough. The info on how to make it isn't useful without your excellent explanation, I just feel it would have taken an additional minute at most and really knocked this video out of the park in terms of content quality. Instead, it's useful info with the application limited to what you've provided the audience in your LUT pack.
Would be interesting to see the setup of youe pipeline during your conversion process getting from the default Filmlook-LUTs to the various new scene referred LUTs, cheers 😀@@jvke.p
He mentions the benefits here. Working in DWG is fantastic as it’s a huge colour space, the HDR wheels work wonderfully whilst in DWG. It’s also worth checking out Daryn Mostyn. He covers davinci colour management and scene referred benefits in a really simple fashion (simple works for me). ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-c4AVwVdKTHc.html
yea! the benefit is being able to work in a unified color space, regardless of which camera the footage comes from. a larger color space means access to more color and light information, which means I have more fun grading lol. this also lets me grade all the footage with fewer camera to camera discrepancies. It doesn't eliminate the need for shotmatching, but it does help!
Is it best practice to adjust contrast, colors, etc., between 2 color space transforms? I usually convert to arri then rec 709. And then make al my changes before the arri CST. Am I doing this wrong?
Not at all! What you’re doing is totally fine. I know a lot of colorists (including myself) that choose to work in an Arri color space. So you can basically just replace DWG with Arri log c in this video. However, if you’re converting from camera space to arri, then Arri to rec709 and working before the camera space > Arri CST, you’re kind of wasting a step. You may as well just convert from camera space > Rec709. Converting to Arri isn’t doing anything unless you’re working between the two CST’s.
Immediate subscription.. Thanks a million I was unaware of this.. ! I'm kind of new to Resolve, and was wondering if that Cineon colourspace requirement is also valid for LUTs external to DaVinci? I bought a while ago the LUTIFY ME Luts pack that I used with FCP.. but now I'm not sure how to use it in DaVinci..
Thanks man! I’m not entirely familiar with that lut pack honestly. But here’s the thing about luts (or at least, properly built luts), they ALL are meant to expect an input color space, and there’s always an output color space. The tricky thing is, the lut itself isn’t technically able to tell you what it expects as it’s input, or what it’s going to output to. That’s why it’s important for a provider of those luts to tell you what it’s built for. You really need that information to use them properly.
@@Superjeanmarc not all of them. just the film looks luts and any others notated as requiring a cineon input. (to my knowledge). The reason these expect cineon film log is because they were built to provide a realistic emulation of what your film negatives would look like once printed onto Kodak 2383 film. but we've adapted them and used them to give digital LOG footage a similar look.
Amazing video, so extremely informative and helpful! Quick question, if i'm shooting on a bmpcc 6k, do i not need to do the input conversion before the LUT?
It depends on your color management settings. The luts are built to accept and output either ACES, DWG, or ARRI. If you’re working at the project level, no need for the CST, if you’re color management is at the node level, you’ll need to transform to one of those color spaces at some point prior to the lut. And then transform to rec709 after
@@dnvnduelas yea all good. You’ll just need to convert your camera color space settings to davinci wide gamut. Your camera doesn’t shoot in davinci wide gamut/intermediate. It shoots Blackmagic design film gen 5.
Professional colorists use Davinci Resolves built in Film Look LUTs. There’s nothing wrong with them. I’ve been using them for my workflow and I’ve been getting great results. I think most people just don’t know how to use them correctly.
I use them too! They’re great. But you have to take some extra steps to use them in a color managed workflow, or if you want to limit it’s intensity. This lut is the SAME lut resolve provides, but I’ve taken those extra steps for you, so now it’s done inside the lut. Saving you time.
Great way to save on extra nodes. I had previously been putting a CST then my LUT on Timeline nodes then creating a compound node. This way you can lower the Key Output gain without the dreaded look going back to LOG. I am wondring if there is a way to create a scene referred LUT that when applied it wouldn't brighten the image and add the contrast. Let me know your thoughts. THANKS!
This may be a silly question, but why do you convert from RED to DaVinci then from DaVinci to RCO709 and not just RED to 709? and then just work on the corrections a node before this transform (directly on the RED log) ? -- I am not a colorist and in fact use FCPX at this time but trying to learn more about DaVinci.
You can totally work that way as well! One benefit to converting to an intermediate color space for grading purposes, is that you can then use this singular lut for example, at the timeline level, and it will apply properly to all your clips, regardless of camera. Because they’ve all been converted to the same working color space. It’s also just preferential, and it more closely represents the functionality of using project level color management, where there’s an IDT to convert camera color space to working/timeline color space, and then an ODT to convert timeline color space to output color space.
