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You should set the Middle Gray value to match the working color space where you’re making your primary adjustments. Since you’re applying contrast and other corrections in Arri LogC3, you should use the Arri LogC3 Middle Gray value. Why? When converting footage from one log space (S-Log3) to another (Arri LogC3), the Middle Gray reference shifts to match the target color space. After your IDT (Input Display Transform) from S-Log3 to Arri LogC3, the effective Middle Gray of your footage becomes 0.391, which is the Middle Gray for Arri LogC3. Setting your contrast pivot to that value ensures accurate and consistent tonal adjustments within your working color space.

Yes, you can use the color picker to set an anchor in your curves - just make sure to create that node after the node containing the DCTL. In DaVinci Resolve’s node-based workflow, each node “sees” only the image data passed to it from the node(s) before it. Consequently, any eyedropper or color picker in a given node will pick the color from that node’s current input-which is effectively the combined output of all preceding nodes-and not from any adjustments made in subsequent nodes. That’s why you need to place your color-picking node downstream of the DCTL node so it can “see” the middle gray value.

@@StefanRingelschwandtner That got it working! Thank you sensei!

If you’re using a CST (Color Space Transform) workflow and you transform footage from LogC3 (or any camera space) into DaVinci Wide Gamut (DWG), the mid-gray value also gets shifted. In this case, you’re no longer working with the mid-gray of LogC3, but instead with the mid-gray pivot of DWG when making adjustments in DWG. If you have multiple cameras and transform them all into DWG, you can then rely on DWG’s mid-gray as a consistent reference point across all your footage.

@@StefanRingelschwandtner Thanks, Stefan! Love your free and paid tools

I'll do my best to find the time to create a more in-depth video on this DCTL. In the meantime, I’ve linked a couple of videos on my website that provide a solid understanding of how middle gray values can assist in setting up the contrast pivot correctly. I highly recommend checking out those videos-they should be really helpful!

Thank you for your interest! I recommend checking out my course, "Reverse Engineering the Grade". While it primarily focuses on creative color grading and creating looks, it also includes a 55-minute section on balancing, middle gray, and related foundational topics. Additionally, I have a blog post titled "Color Management", where I share insights into color workflows. Personally, I use the CST (Color Space Transformation) workflow, which you might find helpful. Feel free to explore these resources, and I hope they help deepen your understanding!

@@StefanRingelschwandtner thank you very much. i will look into the course

Personally, I never work in a "color managed" setup-I exclusively use the CST workflow. Because of that, I can’t give you a definitive answer. However, I always encourage users to make their own tests. Since the tool is free, you can simply download it, set up a CST workflow first, take some screenshots, and then switch to a color-managed setup to compare the results. This way, you can determine if the tool works effectively in a color-managed setup as well. Let me know how it goes!

If you captured something in camera that is not “properly” exposed (ie not set to middle grey), it will continue to be “improperly” exposed even in DWG. The purpose of this tool is to normalize footage based on camera specifications, then once you move into DWG, everything should be “accurate.” (Quotes because we know a lot of this is subjective). So yes, you would still want to use this tool in helping you get clips normalized. Though, this is more helpful when receiving files from clients, as you never really know what their approach was when capturing. But if I recall correctly, you (Jeff) tend to recommend that everyone should exposes far to the right, so this would be particularly helpful for your workflow, since you need to balance each and every shot.

​@J_HNP I have advocated for ettr when working with clog3 specifically in a couple of comments on videos relating to clog3 exposure. I have not had any issue using dwg to bring it down, but this tool is pretty neat and I may give it a try for fun. Keeping middle grey intact is quite useful when adjusting contrast.

This is totally up to you and your preferences. Personally, I prefer working in a specific camera log space, such as Arri LogC3. Even when dealing with multiple cameras, I find it straightforward to transform footage from various camera log spaces into Arri LogC3. This way, I don’t rely on DaVinci Wide Gamut (DWG). However, it ultimately depends on your workflow and what feels most intuitive to you. I encourage you to experiment with different approaches and find the workflow that best suits your needs and creative process.

@@StefanRingelschwandtner As a huge fan of your DCTL, I have a question out of curiosity. These days, it seems like converting to DWG has become the norm, but could you explain a bit more about why you prefer ARRI LogC3? "Even when dealing with multiple cameras, I find it straightforward to transform footage from various camera log spaces into ARRI LogC3. This way, I don’t rely on DaVinci Wide Gamut (DWG)."

@@kimjihyunsalon940 Who said that converting to DWG has become the norm? I still prefer working in ARRI LogC3; however, rather than diving into all the reasons here, I’d encourage fellow colorists to run their own tests, form their own opinions, and decide which approach-DWG, LogC3, or otherwise-truly suits their workflow best. As for why I prefer ARRI LogC3, all I can say is that I have my reasons, but it’s not something I like to break down in a comment here on RUclips. I’d rather not risk others simply copying my workflow without doing their own tests and finding what truly works best for their needs.

Please visit my website, where I’ve linked to multiple videos demonstrating how middle gray can be helpful in grading. I’ll definitely consider creating my own video on this topic in the future-stay tuned!

Thank you! - Please don’t hesitate to send me an email if you encounter this issue. I’ll gladly check if it’s possible to add your country. Sometimes tax regulations are quite complex, which is why certain countries aren’t currently included, but I’m doing my best to expand the list and include everyone.

Yes, DCTL has been supported in DaVinci Resolve Studio since version 15, so it should work in Resolve Studio 16 as well. However, compatibility can sometimes depend on the specific features or coding used in the DCTL pack. To ensure everything works as expected, I provide free demo versions of all my DCTL packs. You can download them for free and test them with your version of Resolve Studio 16. Feel free to reach out if you have any questions or need help!

Unfortunately, the course only includes auto-generated English subtitles.

Go to my website, click on 'Blog,' and search for 'Orthochromatic Film Look.' There you will find instructions on how to recreate the look of The Lighthouse.

I wouldn’t recommend adding an FLC node after the Print node. Halation is typically best handled closer to the Log state for more natural results. Unfortunately, I can’t provide much assistance with that specific workflow. However, I wanted to share some news: I’ll soon be releasing Version 2 of Look / Lab / Print in just a couple of weeks. This update includes a significant redesign of all elements, which might also address the issue you’re experiencing. Stay tuned!

@@StefanRingelschwandtner Ahh ok that makes sense! Ill avoid using FLC altogether. I just liked the ease of getting halation, grain and gate quickly. Do you have any tips on how to achieve a nice looking halation? Davinci's native one just isn't great IMO. Looking forward to LLP V2!!! Keep up the great work man,.

For Middle Gray, set the slider to 0.180.

@@StefanRingelschwandtner thank you

Definitely paint your walls a neutral gray. This helps eliminate any unwanted color reflections that could influence your perception of the image while grading. Additionally, make sure to set the lighting in your room to 6500K (D65) to ensure accurate color balance and consistency in your viewing environment.