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If you are looking to specifically adjust the hues in either the highlights or shadows of skin tones, I suggest using either the "Color Shaper" or "Hue Twist & Bend" DCTL. On my website, I provide free demos for these tools, which are fully functional. I recommend downloading the demo versions first to explore which tool best suits your needs for achieving a more uniform skin tone in your project.

@@StefanRingelschwandtner Thank-you, Stefan! I couldn't think of the word before, but I was referring to colour compression, I guess. I'll give these a try!

@@WilliamBWilliams-fm1pc Thank you for clarifying! From time to time, I experiment with it, but I generally avoid conforming and compressing hues around skin tones. My philosophy is to embrace the natural variety of skin shades without altering them. Therefore, I don’t have any tools specifically for hue compression, nor do I have plans to develop one at this time

@@StefanRingelschwandtner I 100% agree, but sometimes clients don't, despite trying to "teach" them, lol. Thanks again. Much appreciated.

Thank you! Regarding where to place the Clipping node on the timeline, it's really dependent on your workflow. If you don't notice any clipping in highlights or shadows, it might be because your CST settings are already converting from a larger color space to something like Rec. 709, which can naturally manage those extremes. I usually find it makes sense to apply the clipping in a Rec. 709 space, but it's perfectly okay to experiment with placing it earlier in the chain. Ultimately, it’s up to the user and what works best in their specific setup.

@@StefanRingelschwandtner Thank you for this answer, Stefan, I will experiment with different placements. Have a great day!

@@StefanRingelschwandtner I did some more tests and it seems that Dehancer and the Clipping DCTL don't work well together. I position my Dehancer node around the middle of my node tree and the Clipping DCTL after my Rec709 CST transform in the end. When Dehancer is not active, the Clipping DCTL works perfectly, but the moment I switch on Dehancer (with let's say "Print" turned on) - the Cliiping DCTL stops showing any info on clipped highlights and shadows. Do you have any idea how I can make them work together properly?

@@BoyanDechev I don't use Dehancer myself, but I believe it handles the conversion from Log to Rec709 accurately. If the Clipping DCTL is applied in the Rec709 space, it's possible that the image doesn't have any clipping issues to report. I recommend checking the video scopes, particularly the Waveform Monitor, and adjusting the white and black threshold settings (DCTL) to values that better meet your requirements.

Thank you. You can find the color charts on my website. Go to "TOOLS" and check for "Test Charts".

@@casparbrun8264 Yes!

Installation guidelines are clearly provided on my website. Additionally, you'll find an installation guide within the ZIP file you downloaded. If you need further assistance, please don't hesitate to email me directly. I'm here to help!

What exactly do you mean by 'gone'? Make sure you have installed the 'mononodes-blanking-presets.drfx' version. Can you see the buttons? Do they function correctly? I'm running the latest Resolve 19 beta version and everything should be working fine.

Thank you for your kind words. The “Looks” in this pack are designed specifically for ARRI ALEXA LogC3, with an output for 'negative film emulation' that remains within the Arri Log C3 color space. If you prefer, you can perform a CST to convert from LogC3 to DWG for additional grading. This is up to the users.

@@StefanRingelschwandtner Youre amazing. Thank you!!

The color palette tool isn't designed for directly copying looks. To recreate specific looks accurately, it's better to familiarize yourself with tools like waveforms and vectorscopes, which help analyze the technical aspects of color and lighting. The palette tool is more suited for creating mood boards where the overall vibe and color scheme are more important than technical exactness. It's about capturing the essence and emotion conveyed by the colors rather than duplicating exact settings.

Yes, using 0.391 is correct for Arri Log3 footage to keep mid-gray stable during split toning.

@@StefanRingelschwandtner thank you so much btw you don’t have a DCTL that does a flimic contrast do you? That has a transfer function for RED footage and ARRI not just daVinci intermediate

@@CineAmaniacs My Look/Lab/Print DCTL pack includes a 'filmic contrast' slider. However, it's primarily designed for use with Arri LogC3 footage.

You can find the suggested node tree on my website for more detailed guidance. As for your query, here's a recommended approach: - Look.dctl: This can be placed at the pre-group level. This allows you to apply a consistent look across multiple clips. However, the placement is ultimately up to you and your specific workflow preferences. - Lab.dctl: I suggest placing this at the clip level. This provides the flexibility to adjust the parameters for each clip individually. - Print.dctl: This can be positioned at the post-group level or even at the timeline level. Again, the exact placement depends on your workflow and desired outcome. In summary, you can use the Look.dctl at the pre-group level, Lab.dctl at the clip level, and Print.dctl at the post-group or timeline level to maintain flexibility and control. Adjusting based on these suggestions should help streamline your process while achieving your desired results. Feel free to reach out if you have any further questions!

​@@StefanRingelschwandtnerappreciate your thorough reply!

Yes, the pivot value number on the slider typically reflects the IRE number on the waveform. However, this correlation depends on the input color space you are using. You can adjust the slider to fit the mid-grey range specific to your camera's log format. I recommend checking out the free demo version available on my website to conduct your own tests and see the results firsthand.

​@StefanRingelschwandtner thanks! That's why im asking - im using Vlog, and its middle gray is 433ire. How does the color input space affect that number? I usually CST vlog to ArriLog or Davinci Widegamut.

@balsakrkeljic6334 If you're using the Color Space Transform to convert V-Log to Arri LogC and apply the DCTL in the LogC color space, you can adjust the mid-grey value to fit the typical mid-grey range of LogC. If you're working with DaVinci Wide Gamut (DWG), use the mid-grey value specific to DWG. Additionally, you have the flexibility to adjust the pivot according to your artistic preference.

For grading Leica RAW photo files, I recommend using specialized photo editing software. While DaVinci Resolve excels in video grading, it may not be the best fit for RAW photo files like those from Leica. In my workflows, I typically use a CST node, but I'm not aware of direct support for Leica RAW in Resolve. For more detailed information on color management, please visit my blog on my website. You might also find community forums discussing alternative methods to edit photos in DaVinci Resolve, though I don't have specifics on such workflows.

Thank you for your feedback. It's important to note that lower prices do not always lead to higher sales. You can find various studies and articles online that explain why this isn't a one-size-fits-all rule. While cheaper options can attract more customers, this doesn't necessarily mean increased overall revenue or profitability. It's essential to balance price with the value provided and the expectations of our target market. Discussions about pricing should consider the substantial effort and resources that go into development. As a small business owner, I set prices based on a thorough understanding of the market and the unique value of our tools. Engaging in frequent pricing debates can detract from focusing on development and support, which are more beneficial to our users. While I appreciate constructive criticism on our software’s functionality and performance, debates over pricing often don’t lead to practical enhancements. So, thanks for your opinion. But please, let’s keep the discussion focused on the tool itself and not on how much it costs.

@@StefanRingelschwandtner just feedback in my example, for 20 I would buy instantly and for 60 will skip it. But not arguing. In general BlackMagic should give you couple bags of money and include it is a default tool.... Regarding tool itself is it a plugin in c++ with SDK? Or fusion packet packed somehow?

@@rendermanpro Thanks again for your feedback. However, as I've previously mentioned, pricing is not open for negotiation here. I appreciate your understanding that we need to focus our discussions on more productive topics. Regarding the tool itself, it is a DCTL, which stands for DaVinci Color Transform Language.

@@StefanRingelschwandtner regarding video course is it platform agnostic and not require compiler etc, right? Just could be done in a simple text editor as I understand

@@rendermanpro I don’t offer any DCTL video course; it has been discontinued as stated on the website. And yes, DCTL coding can indeed be done with a simple text editor.

Thank you for your feedback! I'll definitely consider adding options for shadows, mids, and highs in a future version. I appreciate your support!

Thanks for your comment, Jim! You're right; a DCTL primarily references the current frame only. I appreciate tools that analyze entire scenes too. My "Color Palette" is designed as more of a "fun tool," useful for creating mood boards or for Instagram posts. Based on user feedback like yours, I'll explore how it might be improved in the future.

Jim Robinson is awesome! Full stop.

I would like to see this as well.

I agree with Jim´s suggestion! If you modify or evolve the DCTL to do that, it will be a great tool for colorists.

I am even simplerer. He posts. I almost learn.

Same but not a man 🎉

This tool performs best in large color spaces such as DWG, LogC, and so on. The DCTL tools do not operate within specific color spaces but are designed to work within color models, which function effectively across various large color spaces.

Thanks for the request. However, since the EL Zone System is patented, I won't be developing an EL Zone exposure metering DCTL tool.

Your choice between Color Shaper DCTLs and Color Shift depends largely on your workflow and specific needs. Color Shift provides two models, 'Tetra' and the 'Non-T Version,' and is primarily designed for Global Look Development. This means that if you need to adjust the density for six different hue vectors, you can achieve this with a single DCTL in your timeline using Color Shift. In contrast, with Color Shaper, you would need to add six separate nodes with six individual DCTLs to modify six hues. Thus, Color Shift might offer a more streamlined solution in scenarios requiring global adjustments across multiple hues. To better understand which tool suits your needs, I recommend downloading the free demos and testing them yourself. This will allow you to see firsthand if you can achieve the desired results and how well each integrates into your workflow.

Thank you for your feedback about the missing DCTL in the demo pack; I’ll correct that within the next day or two. Regarding the density slider and saturation, it appears my previous explanation was not accurate. I should not have stated that it does not add saturation-this was incorrect. In my initial description, I referred to a 3D cube model where saturation traditionally pulls hues outward. When using the "Color Slice" tool with the density slider to brighten a hue, it pulls the specific hue out along traditional axes, akin to classic native saturation methods. The Density DCTL, however, operates along different axes, which also increases saturation but in a different way. The changes might look similar on a vectorscope, but the actual results, like those seen on the Isabella test chart, are quite distinct. I appreciate your observation and will ensure more precise wording in future videos to prevent any confusion.

Me too! Every blockbuster Ive ever been involved in has been Mononoded to some degree.

I've never thought about that before. I can't comment on the specifics since I have no plans to replicate a tool when Kaur's tools already work fine.