Mastering Color Management in DaVinci Resolve: Input, Working, and Output Color Spaces Explained.
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- Опубликовано: 2 окт 2024
- This video explains the basic concept of colour management within Davinci Resolve and the difference between Input, Working, and Output colour spaces. Davinci Wide Gamut Intermediate is in my opinion the best working colour space to convert all of your RAW and Log footage into before colour grading - and this video explains how.
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That's actually explained better than in the videos from the Blackmagic / Da Vinci Resolve guys themselves. Congrats and thanks a lot for this! 🙂
Thanks a lot!
Davinci should be paying you. This should be the first thread one reads when tackling Color Management. Great job explaining the myriad of choices.
I use pipeline with as many groups as I have different cameras.
But the last way with the custom option and specifying the input color space for each clip is from far the best way to manage the CST.
Thanks a lot 🙏
You're welcome!
How do we find the input color space?
great explanation, thanks for making and sharing
👌🏻 Like the idea 🌈
Thanks
Nice explanation...Can u tell me what's the method u prefer mostly- CST nodes/ global color managed method & why?
I prefer using CST nodes over global colour management, becauase I still run into the odd issue with graphics and titles with a global colour management workflow.
Thanks again for this clear explanation! at time 6:31 of your video, you right click on some of the clips to "manually" use "input color space" 🤔 so you do this, because they are not RAW footage so Resolve algorithm can't recognize them...? and they have to be "converted" manually...? (according to camera brand...) Thanks!
Yes that is right. If the footage is RAW then that 'input colour space' option won't be there. For all other footage you can manually change the input colour space.
On your second clip, you transferred something but didn't say exactly how. You are not the only one who does this, but it is annoying.
I copied the node tree by middle clicking the clip I want to copy the node tree from. You can also right click on the clip and choose 'Apply Grade'
I'm trying to wrap my head around this workflow for a while, and what doesn't line up is the notion that when you grade between 2 CST nodes one of which converts into DWG and another from DGW, it becomes your working color space. Especially when you hear that Timeline color space is the Working color space. My brain explodes when I see that when you work this way within nodes and change your Timeline color space in the settings or on the nodes within that space that you thought was designated solely as a working color space - the image changes!! And I don't understand why, given that you were told only about two things - input color space and output color space. It seems there are more variables in this equation that affect the actual result which no-one talks about. Generally speaking it sounds simple and right, but when you try to change things here and there, you see that the general logic doesn't line up anymore showing that it's more complicated than it's taought...Do you know what happens within each node and why they have their own settings for Gamma and Color space, and why even CST node changes its behaviour being affected by those settings and Timeline color space DVR settings?
Thanks for this video! What I don't understand is the colour shift upon export, when I change my output gamma to Rec 709-A, I get no colour shift, I get the same Image as what I was viewing while grading. When I choose Rec 709 Gamma 2.4 I get a massive change
Hey, this is a really common problem and it has to do with how different programs read and interpret the original video. For example you will notice your videos look different between apple quicktime and VLC player, and it will also look slightly different on youtube / online. Rec709-A is the best Output Colour Space Tag to use to help display the video correctly with Apple Quicktime Player. This video might help a little with this: ruclips.net/video/RJTO56capLU/видео.html
Incredibly clear and concise. Thank you
Thanks a lot for this!
Great explanation sir! Do you have a follow up video that explains how to work with the clips from different cameras, in order to obtain a similar look? For example, I record myself playing from different angles with different cameras (two iPhones from different eras and a Sony). Which is the proper way to make the clips look as homogenous as possible? I don't need to be perfect. Just enough similar to not disturb the viewer.
Dear Joshua,
I have two questions for you:
1. my reference monitor is calibrated AdobeRGB. Which setting should I use to work on the timeline? Rec.709? Davinci does not have AdobeRGB setting but only sRGB...
2. if in my pipeline I set rec.709 as output but my work is intended for cinema, is it sufficient to change from rec.709 to DCI-P3 at the time of delivery, or does it create problems?
Thanks for any response and compliments for your masterclasses.
Giorgio.
I have just discovered you, having swapped from FCPX to Davinci Resolve Studio, and great clear Videos. For this one, I have one question. I understand the Node tree order and what you are doing, but if I was to add a Node for Exposure, another for WB, another for Creative etc etc, do I put those behind the Working Space node you have in the middle ie: Between the Working space Node and the final CST to convert everything back to REC709, or do I put them before? I am assuming they go between the middle Node you have, and the last Node? If you could confirm, I would appreciate it, as I don't want to start implementing this incorrectly across my Projects. Great Video and thanks !
Hi Paul, yes that’s correct you would place your corrections after the transform to Davinci Wide Gamut so your adjustments sit ‘inside’ the working colour space. If you place them before that CST you are then applying your adjustments to your RAW footage which changes from camera to camera. Hope that helps.
@@JoshuaKirkNZ perfect thanks !! I’ll follow this from now on and thanks again for the prompt response !!
you cleared most of my doubt , this was so useful thanks ! , after all this i realised : if i'm not wrong ,as GoPro already shoots in rec 709 even in flat mode That makes it less flexible to achieve a DSLR lvl color grade . all we can do some tiny adjustment to enhance it and make it abit better .
Yes that's right. If you already have a Rec709 image coming out of the GoPro there isn't much need to colour manage it if that is all you are working with, however if you are working with a range of other footage it is nice to pull it all into DavinciWG to grade.
How do you select the output gamma? 2.2 , 2.4 or 2.6? What does this depend on?
Thank you for the nice video. I ve watched maybe 10 Videos, but many show different results. I feel the same Colormanaged equals the dual colortansform nodes. How ever I see many in their videos combining it anyways. So i wont do that twice anymore thanks to you :) My issue is the CIE Chromaticity. It always shows Rec709 and the colors in that small 3D Cube. Only if I set output color space to DWG than it shows the color space there as well. I am just saying. I never see any difference. So basically the scops dont show what I should see. With the node structure the CIE Should change from before and after that workspace. Do you get my point? Would highly appreciate to understand this better. I pretty well know the differences. Also my color management works pretty well (unless als imported pngs etc are interpreted as slog as well. But I like it. I just never fell a difference beetween the colorspaces.
Great post! so either approach is exactly the same? thanks!
Yes in theory. It's just a workflow difference.
Can you do one video about explaining about how to deliver for cinema, for p3 , and how to convert your rec 709 to HDR if you want that option for delivery.
I have watched around 20 plus hours of colourist videos this has been the best at least for understanding why we need to do this and it actually means thank you
What are your thoughts on using output color space as Rec 709 and then output gamma as Rec. 709-A instead of just Gamma 2.4 for those working on Macbook Pros? I find that this output gamma is the only one that matches my timeline after export. When I use regular Gamma 2.4 everything gets washed out, which makes all of my coloring almost pointless.
Yeah definitely. I would change the output to 709-A on export but keep grading in a Gamma 2.4 environment.
Yes same here!
I've seen so many videos and read a lot of posts about color management, and this one is very simple but helped tremendously, thank you.
Thanks!
if your timeline is set to Rec709 in the master settings would the CST LogC to DWG cause the controls you are working with to apply Rec709 corrections to DWG footage giving you incorrect controls?
How do i know what my footage is shot with, i use a Gopro with Flat profile and Wide Gammut colorspace with Gopro Labs.
Thanks for the video. So I was thinking I was following you until the very end, but I didn't really catch how once you have the global settings set, how you can easily change between camera clips coming in that have different input color spaces. Maybe I need to watch it a few more times.
I want to use a node CST structure from camera to DWG and back to 709 at the end. When I add a serial node between the CST nodes my view changes to the node I'm working on. I can get it to look good but it excludes the CST node back to 709. Is this a setting I have wrong? Hopefully that makes sense. Basically the only way it works is if I grade in my final CST node.
Can i ask the output what if its for a DCI export for festival screenings, or just general viewing but not online what output would i use as REC709 if its not for online viewing and a feature film being screened at a festival or just screening else where what output setting would i use? I've always seen people that do youtube tutorials automatically go to REC709 but ive always wondered what about none online output settings? For example at the moment i am using for a huge short film shot on the Mini Ursa 12K i'm using
DaVinci YRGB Colour Managed in the colour science with
SDR P3 D60 Cinema as my colour processing mode and
P3 D65 (scene) as my output colour space as i know this is going to festivals and cinema screen's.
I have checked on my commercial TV Sony Bravia 55inch in relation to my grading reference monitor to make of not sure and it all comes out perfectly so i'm wondering why these are not explored in tutorials and why i see so many tutorials that have the auto go to REC709. As much ads i am questioning it this is great video. Many Thanks
Hello. I got a lot of help from your video. I have a question. If you specify the timeline color space as described in the video and work with , why is the graph stuck in rec.709 in CIE chromaticity?
Hello Joshua, thank you soo much for creating and sharing this knowledge! 🌻Quick question: Most of my videos I shoot on an iPhone 13, as that's the camera I can afford atm. Can I still set the Color management as explained? Hope to read your reply, thank you!!
Hey Lia, Yes you can, but if your videos are already in a rec709 colour space (ie they look good and have contrast and saturation) then the 'input' colour space is rec709.
I am curious how much better this is than applying a conversion LUT onto a node instead. That's the way I typically do it
It depends on what your conversion LUT is doing. A colour space transform 'technically' changes your footage from one colour space to another in a non destructive way. A conversion LUT could achieve the same thing if you get the right one, but I haven't seen any that do it as cleanly or accurately across all the different colour spaces as a CST.
I’m a bit confused, do you in fact just need to skip the first bit and just change the settings in davinci?
Also, if you film using a monitor, do you infact need to put the monitors colour space in or still the cameras? I’m using the atomos ninja V which I believe is Rec 709?
Subbed!
👏
One odd question, when a new node was created underneath the OG node remained "01" while the node now in front of it is "02"...but when I create that second node it automatically makes it "01" and the OG becomes "02"...why is that happening, and does it really matter? Thanks!
Thanks man. What I loved about this video is that you got straight to the point without dilly dallying around on other things and you also explained things really well and in a simple way. Also like your visuals and audio quality and the way you speak. Very easy to watch and follow what you're saying. No drama and no fuss.
Cheers for that! Appreciate it.
You have made rather confusing concept really easy to digest. Thank you so much. Really love your content.
Happy to help! Thanks for watching.
I have to ask. Since ari log is a representation of the entire visible spectrum captured by a sensor, then when it (or anything else) is displayed on a computer monitor, It's rec 709 automatically. Not calibrated correctly but still rec709 ? As that's all the monitor can display.
if you working on a mac ive seen some set the output to rec709 type a whats the difference with 2.4 as i noticed you are also editing on apple eco system
Rec709-A is a tag that helps colour accuracy when viewing your videos on Quicktime.
@@JoshuaKirkNZ would suggest delivering final deliverables in gamma 2.4 or 709-a?
@@blueprintstech5638 Yes I used Rec-709-A for my final deliverables on Frame.io or for the client to download.
Very helpful. Thanks.
Cheers
Ok , that makes it clear.
I am just playing around learning something new to see what i can do with davinci resolve 18 studio. Not a pro videographer but enjoy the creative and learning side.
Typically I have mostly DJI gear and a Nikon Z50 which don't seem well represented in the various gamuts and gamma lists.
Can you suggest a solution . I believe the Z50 is sRGB,AdobeRGB and RAW.
There is no colour space or gamma spec mentioned by the manufacturer for DJI gear. (8 bit colour and 10 bit D-Cinelike)
Thanks for your straight forward explanation in this video.
I don't know the Z50 vut DJI gear could shoot in D-Log and then in Davinci Resolve colour management settings you could select DGamut / D-Log.
@@JoshuaKirkNZ I have since learned that Nikon RAW is not a log format nor is the DJI D-Cinelike a true log format. Applying DJI D-log to D-Cinelike is too harsh as is N-Log for Nikon RAW. Gamma overcooked. D-Gamut with rec 709 gamma does produce a good starting point for DJI. footnote of interest Go Pro natural with arri3 is not too bad , gamma 2.4. Thanks for reply.
Question if certain cameras don’t appear in your input colour space where online do you download them from? I can’t seem to find anyone about this.
On my Davinci studio I’m missing certain arri cameras and others I shot on but don’t know where to download and install that specific colour management profile.
I couldn't read the text on the color management screens due to low resolution.
Have you watched in 4K? I will work on making the text larger in future.
@@JoshuaKirkNZ My monitor is 4K. RUclips quality was set to Auto. Auto selected 480p for this video. I changed it to 2160p and the text was then perfectly crisp and easily readable. Thanks.
Hello, what Color space transform you use for gopro footage?
Hi, thanks for sharing the knowledge. I have one question... If I use colour management WITHOUT NODES (the second way) and I want to use a LUT made for 709. Does it work properly? I mean, in the timeline, I am working in davinci intermediate, and the LUT is for 709. Thanks.
It won't work directly in the timeline. What you can do to get around it in some use cases is sandwich it between 2x CSTs (colour Space Transform nodes) that take DWG to REC709 then use your LUT, then another CST from Rec709 back to DWG.
@Joshua Kirk yeah, It is the solution I found after some trials. Thanks.
I do pretty much the same workflow - but not sure how in your explanation that before when you had a couple of nodes before the CST that you claim you are then working under and in Arri Log C when it inherits the colorspace set in your project manager which later when you switched to it? - it was rec709(scene) and you had the Timeline checked to use the same colorspace. Resolve nodes before the CST has no indication of the color space and they don't read it backwards on the pipeline.
The next step that you did to put it into DWG made perfect sense. But to me if you had set up the ARRi log C in the project manager then it makes more sense. This I think is where all the confusion comes in as to wrapping your head around color management.
Also up until recently the default from Resolve in non color management was not Rec709(scene) - If I don't change it, the display changes - even though I am using a Ultrastudio 3g to feed my display. I find that a little strange as well. If my display is calibrated for Rec709 2.4 then why would I feed rec709(scene)?
Hey Jim, thanks for the clarification and correction! Always appreciate it. Yes, you are so right - I should have noted the timeline setting in project manager is essential to change if you were to actually work in ‘Log C’. I brushed over it to get to the DWG CST which is where I would normally work. Appreciate the note 👍
Thanks -- you just saved the day again.
Yeah, great explanation of color space transformations that are absolutely necessary depending on what kind of footage you have. I really like the node based explanation first that can then be replaced by a global color management setting in project preferences. Kudos dude.
you explained well Thanks! great video
Finally, I got this. Thanks a lot.
Its arrived! After so long, finnally found what I once remember. When multiple color shades/tones are revealed on a females face (due to makeup) then you have color discernment. My 4k monitor is so stuck on sRGB that I made a combo: Apple RGB in color management, and added Adobe1998 to my LG driver folder in "drivers", then opened each file. Waalah, beauttiful!
This is cowboy color isnt it Joshua?
👏
Now I understand. Now I know what to do. Thanks!
You are a good guy! Didn made this difficult😂
Excellent! Struggling with so many color spaces, gamuts, etc. Confusing to me. Your video has laid a good foundation for me to learn DR and use it with pride later, hopefully! Ha.
Glad it helped!
this is what i need ,
Great!
Hi, loved the video! Could you tell me if there's a way to know your clips' input color space? I don't know what profile I used to film my clips:/
There isn't an easy way to find this without asking the camera op.
Such a good explanation - all this vocabulary sounds so foreign but this video really helped!
It feels like a different language when you get started. All the big words sound complicated but ultimately simple processes.
THANK YOU SO MUCH FOR THIS EXPLANATION!! Best and most clear explanation ive come across! Thank you!!
Glad it helped. Cheers for the watch!
My entire timeline contains clips from BMPCC 4K, I mean inside DaVinci Resolve only clips from BMPCC 4K BRAW are included, can I leave "Color Management" as you left it in the video tutorial? without having to drag the Color Space Transform onto the Nod?
Yes you can use it as you have described.
Just a doubt, whats the logic behind like when camera color space is smaller, changing the working color space to larger color space like davinci intermediate. I mean when capturing is already done at lower color space, will it work in larger color space in working color space.
Yes there is no quality loss going from a smaller colour space to a larger one.
6:20 did you mean clips from multiple cameras ? Everything super clear on this video , just wasn’t sure what you meant here. Thanks for this tut - another easy-to-watch video.
Yeah that's right - multiple clips from multiple cameras.
if you using nodes for noise reduction or effects such as halation, which should happen before the CST (please correct me if I am wrong)
How can you do that, when you are working in the DV color managed science?
Or do you get the same results with these effects after the CST working in DWG/intermidiate?
I'm not sure if noise reduction and halation need to be added before CST? I haven't had any issues inside a colour managed workflow. Some plugins aren't designed for a DWG working colour space so that is something to watch out for.
Very nice videos. And I general if I use this kodak or Fuji luts and I want to use additional lut(from outside DV) should I put it after or before the Kodak LUT? :)
The Kodak Lut will only work if they are designed for the working colour space you have selected. In this case Davinci Wide Gamut is the working colour space.
wow brilliant
Cheers!
No its not working, I found adobe 1998 to have the best detail and good hues, but the brightness is so high from the gamut, and windows keeps changing back to sRGB whenever it is ready, argh. Help!
Hey sorry, really hard to trouble shoot without seeing your setup. Hope you can find a solution soon.
This is a nice, simplified explanation that people can build from. I’ll share this method with my students, then advance from that. But I’ll keep it simple, early with them.
Thanks Brian!
Clearly explained! Thanks, Joshua. What's the difference using rec709 vs rec709-a as OCS?
Thanks for watching! Rec709-A is designed primarily to be a tag that Apple Quicktime interprets correctly.
Thanks for the quick and clear explanation!
There are so many standards, but all the values differ, theres only one stable base to compare by. After reading here it was simple:
Thanks
cool man
Thanks
In either of the two working modes, both in the project settings and using the cst nodes at the input and output, how should I apply the luts that need a Cineon input?
Thank you for your videos!!
You can use a CST (Color Space Transform) before the Cineon Lut to convert whatever colour space is before into Cineon. For example if you are inside a DWG working colour space - the CST would convert from that into Cineon. It sounds like that Lut will probably give you a Rec-709 output so youll need to convert it back to DWG with another CST. Best practice would be to start using Luts designed for a DWG to DWG workflow - It will make life much easier.
what kind of camera record in arri log c?
very great teacher. Thanks from tahiti - Joshua.
Appreciate it!
Very helpful, first time I understood this in a bit more detail, thanks!
Thanks so much!
Dude!! Thanks for this! Answered so many questions and you did it so concise and easy to understand! Thanks
🙌 Glad it helped!
Merci !
Thank you for this! Really appreciate the support.
Im the newbie, the best and easiest I have seen about Color Management in Davinci ! God bless You
Great, stoked it helped!
good
Thanks
top
👍
This is great! Thank you! What about DJI D-cinelike footage? It is Rec 709. What should I use for export settings?
Input: Log - DWG and Output DWG - Rec 709, ok
But how do I use additional LUTs (e.g. Phantom Luts) if the result is already fine without LUTs? Do I need to change anything in the CST Log - 709 or disable this node to be able to use any LUT then?
Hey Gerry, with this workflow only Davinci WG luts will work, however you can add an additional CST to transform into the colour space that the LUT is intended for then another CST to go back to Davinci WG. It's not best practice though. This method removes the need for any 'technical' luts that just transform your footage from Log to Rec709 for example.
@@JoshuaKirkNZ that helps me. Thanks
That's a fantastic and simple to understand, explanation! I learned more from this than the many videos I've watched. Thank you!
Hey thanks for watching - Glad it helped!
Great video. I did some tests in "DaVInci YRGB" non color managed project settings and was wondering if it is important to change the "Timeline Color Space". It is set automatically to "rec709 (scene). But when I work with Arri Footage, I set it to LogC. if I work in DWG (CST Sandwich) I set it also to DWG. But I noticed that it doesn't really matter if I set my "timeline color space" to Rec709 scene, LogC or DWG. When I use CST (No matter if LogC or DWG) the grading tools inside DaVinci always feel the same. And most important: The footage also looks the same. No matter what I select in "timeline color space". I read the manual, but I am still confused about the "timeline color space" settings and if it has any effect at all when using CST sandwich.
Don't know why Resolve defaults to rec709( scene) I can't imagine any time where anyone would want rec709(scene) or what would be a reason to choose it. The timeline color space in the project settings are just setting a default - anytime you place a CST it overrides the choice in the project settings.
Thanks Jim, that has been my experience. Why do you think that (scene) is Davinci's default? Seems like they would have a reason, or at least understand most users don't want it 99% of the time.
@@JoshuaKirkNZ I still don't know why - I have discussed this with Daria Fissoun and she talked to the engineers. Even though she told me - it didn't make sense. My only guess would be that they think if it is not color managed through Resolve, or ACEs, etc. then they think that you want to grade display referred. Which would include adding your own gamma curves to taste.
And to actually pull that off you would want the camera colorspace and gamma to start ( i.e. Rec709( scene)). But I think making it the default when you switch from color managed to non color managed in project settings, might be confusing to new users who don't understand what rec709( scene ) is and think that is the place to start.
Resolve does things like that without explanation - sometimes, like when using stabilization, the first choice on the dropdown menu is the not the default best option, or a fast, better, best choice - it's simply alphabetical.
Tools like the HDR Palette and the Color Warper are going to default to that Timeline Color Space!
Very good explanation!!
So what exactly is the input to working important? I see professionals not using it so I’m wondering what it helps with when grading. I guess my question is what is Davinci wide gamut?
Well explained. I watched numerous videos to comprehend CSM and CST but I always felt confused. Thank you for your time and effort.
A little late to the party but in this vid + your color accurate export for yt vid you explain the color managed setup incorrectly. Or rather very unsuitable. SDR100 is not the timeline luminance you want to work in. If you do this you are tonemapping the camera space into only 100nits SDR DWG/Intermediate which results in the working space not being 'true log' anymore. The result of this is that your offset wheel will not behave as exposure in the same way you'd have in manual CST methods. For DWG/Int I'd recommend setting it to 4000 which I believe is in line with what the CSTs do. Maybe only a slight difference. In truth, converting from camera into a working space shouldn't have mapping at all and the InputDRT that defaults to DaVinci should actually be disabled but this creates other headaches with how Resolve works and I'll spare you the painful details on that.
So when you say create a node underneath what do you mean? Layer node? Serial node?
Ah is it a serial before node?
Sorry, yes a 'node underneath' means a node prior.
True hero! Looked for a video like this for quiet some time
🙌
Great video. The only difference in my workflow on Resolve 18, is that within Project Settings, Color Management tab, I separate the Color Space and Gamma selections just so I’m explicit in the values for both. My only other change is that I shoot on RED, so my input color space/gamma are different. It’s great to validate that I have been on the right track!
Awesome. Great thoughts!
I would love to see how to integrate this workflow while using the fusion page.
I don't like the fusion page! Haha, only because I don't spend a lot of time in it and to be honest I don't have a deep understanding of colour management for VFX workflows. What are you wanting to know?
@@JoshuaKirkNZ Well since my post I've learned a lot. I've been trying to find a way to easily make fusion viewing windows work outide of linear to rec709 viewing luts. it's doable with CST nodes inside fusion when working in DWG but once you start working in HDR deliverables it's an absolute nightmare.
I watched the tutorials on the Black Magic website and while they are great, your tutorial explains perfectly what you need to do before starting in Davinci Resolve. I added a subscription because the tutorial is perfect. Thanks.
You just earned yourself a new subscriber
Appreciate it!
Great tutorial! Is it possible to setup so DaVinci always opens with three three node setup?
And does the node color management setup override the system color management setup?
Thank you for your video! Im wondering how you would set up the color transform for a footage fillmed with an iPhone 14 pro, which screen has a DCI-P3 color space?
On your colour space transform select Rec.2020 as the inout color space, and Rec 2100 HLG as the inout Gamma.
🙏@@JoshuaKirkNZ
And I have a monitor with sRGB, Rec709 and DCI-P3 color profiles. Could you please tell me which of these profiles and when it should be used? Thank you.
Best explanation of this in existence. Thanks!
Thanks!
You really know how to explain things in a very calm slow pleasing way especially for us newbs thank u
Thanks for this, glad it is helping!
Best video I've seen explaining this. Instant subscribe and this is the first video I've seen of this channel.
Hi Joshua, thanks for the video. I have a doubt. Can you make a video to explain what is tone mapping and gamut mapping and is it important to understand those? Thanks!
Outstanding explanation. Best I've come across yet, thank you Joshua
Great explanation! This makes more sense when trying to figure out color space.
Amazing video ! I just have 2 questions. 1) if you want to put some noise reduction, it should be before or after the LOGDWG ? 2) if we want to add an final LUT, it should before or after the DWG709 ?
If you are using the CSTs there isn't a right or wrong way to apply the luts. What you'll discover is some luts are designed to be given Rec709 and others are designed for Davinci WG. If you put a DWG Lut after the DWG709 it won't do a lot and like wise your rec709 luts won't act properly in the DWG working colour space. I use some luts from Cullen Kelly that work lovely inside a DWG working colour space. In terms of Noise reduction you can add this inside the DWG working space no problem (that is essentially what you are doing anyway if you are using the Global colour management) Let me know if you have any other Q's
@@JoshuaKirkNZ thanks for your answer !