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The DCTL supports V-Log, so as long as you put it before the LUT, it'll work. It's anyways a good idea to have the log>709 LUT as the very last thing in your node tree. Does that answer your question?

@@KaurH Yes exactly that was my question. I thought it needed Davinci Wide Intermediate in order to work. In the future i want to switch my workflow to DWG but for now i am only doing my own stuff and want to have a simple fast workflow, which is using Phantom Luts.

@@Milan-cf1xe If the LUTs give you satisfactory results and don't break the image - go for it! My tools support quite a long list of different transfer functions (aka "gammas")

@@taraksidhartha7260 Hey, great question! First of all, using the white balance checker presumes you want to have whites look completely neutral. For artistic reasons, you might actually not want this. But if you do, yes, you do need something that should actually be neutral, ie not have any color shade. Color checkers are the most foolproof way, but even a white piece of paper can do the job. Otherwise you can only hope that a white/gray looking thing is actually neutral.

@@KaurH Thabk you for replying.

@@justjashan2401 Afaik, the only thing in this video you can't do in the free version is use DCTLs. But as I've noted in the description, Resolve now natively allows to export LUTs with more things including DCTLs.

@@nobody-d4b At this time, there are no further tutorial videos than this demo. Download the tool and play around with it. The tool also comes with a manual.

Hey Rohan! To protect your DCTL code, you have to encrypt it. This can be done from the LUTs browser by right-clicking on the DCTL and choosing "Encrypt DCTL". There you also have the option to set an expiration date, but if you do, as the expiration date isn't shown anywhere automatically, please include it either in the file name or somehow visibly in the DCTL, some do it as the only value of a dropdown.

Hey, could you send me an email with screenshots or a screen recording of what you're trying to do? kaur@kaurh.com

@@KaurH Thanks for your reply...I just sent u some screen shot...everything is working properly except the log view monitoring...plz help me

There's probably an error. I'd have to see your log file in order to find out what exactly is going wrong. Please email me support@kaurh.com so we can talk details.

Tbh, I haven't tested in v17. Could you send me your log file? support@kaurh.com

The demo pack includes almost all of my DCTLs, but with a watermark. This allows you to test them out on your own footage before purchasing. The False Color DCTL is a 9-band customizable stops-based false color. For each band, you can set the range in stops relative to middle gray and the HSL color it'll be displayed as. For example -1 stops to +1 stops, display as green.

@@KaurH Thank you for your reply. I purchased the False Color DCTL v.1.1.1 $29.99 from your website yesterday and it's working great. I have a couple of questions: 1) Is there a way to add the scale of stops (-6 to +6) in the display in Davinci? Like your False Color in your KH Checkers v.1.0.1, that show you that scale in stops. 2) Can I convert that False Color DCTL v.1.1.1 into LUT for my BMCC 6K Full Frame? Thank you.

@@pablozea2023 1. I haven't implemented the display because the false color DCTLs has ranges of stops, which wouldn't fit nicely on the display 2. Sure you can

@@KaurH Thank you.

Good idea, Leon, I'll add it to the list!

Shoot me an email kaur@kaurh.com

@@KaurH Okay, will do!

You can read up more about it in the manual and try it out using the demo pack, but essentially it does two things: 1. Contrast on the A and B channels, which will increase/decrease saturation or shift the balance if you shift pivot away from 0.5 2. Crosstalk between the A and B channels, which works on the same logic as the RGB mixer in Resolve - use X% of the input signal from channel A in channel B or vice versa.

Good luck on this journey!

Skin tones can be different between different people, different parts of the world and just different lightning. As such the DCTL allows you to calibrate/center the skin tone indicator to the exact hue you're after so you can match to it shot after shot.

@@KaurH Ahh I see, that makes sense! Thanks Kaur!

Hey! I haven't lowered the price of this DCTL as it's still very useful for certain custom workflows, for example viewing a 3D cube in omniscope for look creation. If 20€ is too much for you, send me an email and I'm sure we can work something out.

I find it quite useful for matching exposure between similar shots. But you are correct with the fact that everyone's skin is different from hue to brightness and as such there is no single target to hit.

@@KaurH Yes, it is usefull sometimes, but 18% grey target, light meter or an expodisc are better solutions for setting the consistant exposure. In the high end productions it is well proven approach. And the second best tool is a colorchecker.

2 stops above and 2 stops below will cover pretty much any skin luminance from pretty much any human. With film the ratio is the most important thing - them it will scale to fit any exposure. The idea of 1/2 stops is to dial it in with the false color viewing.

Linear gain is the closest thing we have to globally changing exposure on-set. As for the difference between this tool and just working in linear - there's no difference in the result, but this tool allows to have linear and non-linear tools in one tool/node.

@@KaurH thanks for this explanation I really appreciate it and keep up the great work I love your DCTL’s I don’t think nothing can replace what DCTL’s do

No one said you can't... but it can help beginners 😉

Think of them like scopes. They are visuals to help in guidance for things like skin and exposure. Even a DP or cinematographer will use a light meter.

You know people sell these for actual money and this dude is giving it out for free right?

DCTLs can be exported as LUTs since Resolve 18.5, but as I haven't tested this workflow myself, I can't say for certain if 33-point LUTs have enough precision for false color.

Anything going after the ODT cannot, by definition, be scene referred, meaning accurate in stops. As such, I recommend placing this DCTL before the ODT if you plan on using the false color or middle gray checkers. Skin tone checking works both before or after the ODT, given that you calibrate it to your color pipline and target skin tones.

That is an unfortunate side effect of the curve I'm using. I'll see if I can possibly fix this.

@@KaurHhey kaurh excellent tool quick question where you able to fix the clamp of values outside 0 and 1

Depends on what exactly you're trying to do. I'd recommend downloading the demo pack and trying it out for yourself on your own footage.

@@KaurH sounds good. I’m between that and the palette dctl for look dev. Do you know of any resources that list the palettes of films accompanied by their RGB numbers ?

@@jarrodbarker Palette Matcher is more for matching specific product colors than the look of a whole film. For look dev I'd recommend what's in my look creation pack and the six-vector pack.

@@KaurH thanks man

The DCTL goes into the LUTs folder, PowerGrades are dragged into the Stills Gallery on the color page.

Do other dctls appear with the .dctle extension? If not, you don't have extensions visible and adding them to the end of the file name doesn't actually do anything.

Thanks@@KaurH. I fixed it. Even with the file extension made visible, finder wouldn't let me change the extension. Solution: open up the file's properties (Cmd + I) and rename the text file there. After that you get usual warning dialog (do you really want to change file extension from .txt to .dctl?) and you know you are in business 👍

@@mark-esper Glad to hear you found a solution! As for organizing LUTs, just sort them into folders that makes sense to you.