Thanks Stefan! I noticed you referenced FilmBox briefly. I'm a big fan of Video Village. What would you say their plugin does well already (e.g., split toning), and where could I benefit from integrating your plugins into an existing FilmBox workflow?
FilmBox really shines when it comes to providing quick and straightforward film profiles for achieving filmic looks. But if you're in the mood for more hands-on control or want to craft your own unique film styles, my DCTLs can help. They work well alongside FilmBox's simplicity, allowing you to play around. Regarding how to integrate these two, it really is up to the users how they use the tools. Pre-defined profiles by FilmBox are great, but with the DCTLs, you can create film profiles from scratch or complement a FilmBox profile. It's all up to the users how they use the tools.
Thanks Stefan! I’ve just placed the order of both colour shift and split tone tools before this video ended. Highly recommend your works. Moreover, I wish the slope can be smoother a little bit though.
Just bought this and twist dctls from your website and immediately wished you make ability to link all 3 colors from hi to give them the same number. Same goes for the mid and low ranges.
Thanks for the great feedback! Your suggestion to link the RGB values for global contrast adjustments and highlight/shadow rolloff is definitely intriguing. While the original design of this tool focused on 'splitting' RGB values for detailed control, the idea of linking them for broader adjustments is worth exploring. I'll think about this and experiment with how it could be implemented effectively. If it works well, I might release a third DCTL in the pack that includes these features. It's always beneficial to consider new ideas and see how they can enhance the tool's capabilities.
I picked up all of your dctls, recently. Any specific order you should put them in and should I have them serial, parallel or layer? I’m having a great time using them by the way. Game changer for sure!
Thank you! About the order and method of applying these tools, I intentionally don't provide specific guidelines. This is because the tools are designed to operate in broad strokes, allowing for freedom in combination and application. One sequence may work well for a particular project, but it doesn't necessarily mean it's the best approach for another. Therefore, I recommend experimenting with these tools at the timeline or post-group level, but ultimately, the choice is yours.
I have a question with the pivot mid slider say i want the mid gray not to move when im split toning and im using Arri footage would i type 0.391 since thats arri log3 midgrey vaules or would i just leave it alone
@@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
Thanks for introducing this dctl...but i have some questions...is this additive or subtractive...since what can see is that it splits only RGB from the RGB(Y) curve...basically means the Y luma channel/curve is adjusted accordingly to the RGB adjustment which means its additive...Can I request you to add an alternate version which is based on subtractive color with luma (Y) curve split included or as a standalone version...I think luma (Y) curve works exceptionally well in setting the dynamic range/contrast if done separately before the RGB, saturation & density adjustment..Thanks in advance...
In the realm of color grading, terms like 'additive' and 'subtractive' can sometimes be interpreted differently, leading to a mix-up in understanding. Regarding your question about whether it's additive or subtractive: When the RGB slider values are increased in our tool, they actually reduce the intensity of these colors, diverging from the neutral line's baseline. Increasing the sliders results in lowering the color intensity, akin to moving the adjustment beneath the neutral line. This is indicative of a subtractive approach, where the tool's adjustments reduce the intensity of specific color channels rather than enhance them, aligning with a downward movement from the neutral Y-axis.
@@StefanRingelschwandtner please that would be a great help...because atleast in my knowledge there is nothing in the market that helps in adjusting luma as dctl and works underneath the subtractive space...also try to make it work along the zero line of the absolute black and white level...ad it would help in adjusting the dynamic range of the underexposed/overexposed extreme ends..
@@krishnak4 I'll take your feedback into account and consider how this functionality can be integrated into future versions. Your input is greatly appreciated!
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.
The RGB Split Tone DCTL I offer is specifically designed for DaVinci Resolve and unfortunately, it's not compatible with Baselight. As for creating halation effects in Baselight, I'm not equipped to provide guidance on that, as my expertise is focused on DaVinci Resolve tools and workflows.
Yes, Color Shift is a great choice! As for the second one, it really depends on your needs. Maybe consider RGB Crosstalk. Remember, there are free demos available, so feel free to test them all and see which one suits you best.
I haven't personally tested the iPad version of DaVinci Resolve, but I don't believe DCTL support is available on it. If you have an iPad, I recommend downloading the free demo versions of DCTLs to test this out for yourself.
Hi Stefan, interesting DCTL but I think the HDR controls in Resolve, especially the HDR curves window is a much more powerful tool for split toning. It has the added benefit of splitting the image into photographic zones and works in stops. It even displays the current image in stops or range either side of the midtone. It is also almost impossible to break the image using the HDR tools on any image. Is more powerful than the DCTL and more precise allowing for incredible subtle or powerful effects at the same time as creating natural filmic looks.
Yes, I agree with your opinion regarding the effectiveness of DaVinci Resolve's HDR controls. These tools, with their ability to work in stops and segment the image into photographic zones, are indeed powerful for split toning. However, my preference leans towards the DCTL approach due to its more user-friendly method of direct RGB manipulation. The HDR wheels in Resolve require adjustments along X and Y axes, which, in my opinion, are less intuitive than using RGB sliders. This aspect of the HDR tools can make them feel less approachable, especially for those who prefer straightforward, direct color adjustments. The HDR tools are excellent for their specific purposes, particularly in controlling luminance and creating subtle effects, the DCTL script offers a different kind of control that some users, including myself, might find more intuitive for certain color grading tasks. It's about choosing the right tool for the job, and in some cases, the direct and simple approach of the DCTL might be more suitable.
I appreciate the suggestion to include presets with the DCTL tool. However, I intentionally designed this tool to start with settings at zero, allowing users the freedom to dial in their own specific looks. This approach encourages users to explore and understand the capabilities of the tool more deeply, and tailor it to their unique needs. Once they achieve a look they like, they can save these settings as a power grade in Resolve.
Stefan does great work -- these DCTLs are genuinely useful for creating interesting and unusual looks.
I picked these up a few weeks ago, another fantastic tool to help me get better grades, thanks Stefan 🤗👍
Wow it's so useful and save my time for color grading, Great tools ! I like it
Great break down and work!
Thank you!
Thanks Stefan! I noticed you referenced FilmBox briefly. I'm a big fan of Video Village. What would you say their plugin does well already (e.g., split toning), and where could I benefit from integrating your plugins into an existing FilmBox workflow?
FilmBox really shines when it comes to providing quick and straightforward film profiles for achieving filmic looks. But if you're in the mood for more hands-on control or want to craft your own unique film styles, my DCTLs can help. They work well alongside FilmBox's simplicity, allowing you to play around. Regarding how to integrate these two, it really is up to the users how they use the tools. Pre-defined profiles by FilmBox are great, but with the DCTLs, you can create film profiles from scratch or complement a FilmBox profile. It's all up to the users how they use the tools.
Thanks Stefan! I’ve just placed the order of both colour shift and split tone tools before this video ended.
Highly recommend your works. Moreover, I wish the slope can be smoother a little bit though.
Smoother slope?
Just bought this and twist dctls from your website and immediately wished you make ability to link all 3 colors from hi to give them the same number. Same goes for the mid and low ranges.
Thanks for the great feedback! Your suggestion to link the RGB values for global contrast adjustments and highlight/shadow rolloff is definitely intriguing. While the original design of this tool focused on 'splitting' RGB values for detailed control, the idea of linking them for broader adjustments is worth exploring. I'll think about this and experiment with how it could be implemented effectively. If it works well, I might release a third DCTL in the pack that includes these features. It's always beneficial to consider new ideas and see how they can enhance the tool's capabilities.
I picked up all of your dctls, recently. Any specific order you should put them in and should I have them serial, parallel or layer? I’m having a great time using them by the way. Game changer for sure!
Thank you! About the order and method of applying these tools, I intentionally don't provide specific guidelines. This is because the tools are designed to operate in broad strokes, allowing for freedom in combination and application. One sequence may work well for a particular project, but it doesn't necessarily mean it's the best approach for another. Therefore, I recommend experimenting with these tools at the timeline or post-group level, but ultimately, the choice is yours.
I have a question with the pivot mid slider say i want the mid gray not to move when im split toning and im using Arri footage would i type 0.391 since thats arri log3 midgrey vaules or would i just leave it alone
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.
Thanks for introducing this dctl...but i have some questions...is this additive or subtractive...since what can see is that it splits only RGB from the RGB(Y) curve...basically means the Y luma channel/curve is adjusted accordingly to the RGB adjustment which means its additive...Can I request you to add an alternate version which is based on subtractive color with luma (Y) curve split included or as a standalone version...I think luma (Y) curve works exceptionally well in setting the dynamic range/contrast if done separately before the RGB, saturation & density adjustment..Thanks in advance...
In the realm of color grading, terms like 'additive' and 'subtractive' can sometimes be interpreted differently, leading to a mix-up in understanding. Regarding your question about whether it's additive or subtractive: When the RGB slider values are increased in our tool, they actually reduce the intensity of these colors, diverging from the neutral line's baseline. Increasing the sliders results in lowering the color intensity, akin to moving the adjustment beneath the neutral line. This is indicative of a subtractive approach, where the tool's adjustments reduce the intensity of specific color channels rather than enhance them, aligning with a downward movement from the neutral Y-axis.
@@StefanRingelschwandtner please that would be a great help...because atleast in my knowledge there is nothing in the market that helps in adjusting luma as dctl and works underneath the subtractive space...also try to make it work along the zero line of the absolute black and white level...ad it would help in adjusting the dynamic range of the underexposed/overexposed extreme ends..
@@krishnak4 I'll take your feedback into account and consider how this functionality can be integrated into future versions. Your input is greatly appreciated!
Hey Steran, does the Pivot value number on the slider reflect the IRE number on the waveform?
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.
Is this also available for baselight? Do you know how Halation in baselight can be created?
The RGB Split Tone DCTL I offer is specifically designed for DaVinci Resolve and unfortunately, it's not compatible with Baselight. As for creating halation effects in Baselight, I'm not equipped to provide guidance on that, as my expertise is focused on DaVinci Resolve tools and workflows.
Hey Stefan,
i would like to buy two of your dctls. What are the most powerful ones you should buy first? Color Shift would definitely be one of them.
Yes, Color Shift is a great choice! As for the second one, it really depends on your needs. Maybe consider RGB Crosstalk. Remember, there are free demos available, so feel free to test them all and see which one suits you best.
Can we use these on DaVinciResolve for iPad?
I haven't personally tested the iPad version of DaVinci Resolve, but I don't believe DCTL support is available on it. If you have an iPad, I recommend downloading the free demo versions of DCTLs to test this out for yourself.
كيفيه تثبيته
Hi Stefan, interesting DCTL but I think the HDR controls in Resolve, especially the HDR curves window is a much more powerful tool for split toning. It has the added benefit of splitting the image into photographic zones and works in stops. It even displays the current image in stops or range either side of the midtone. It is also almost impossible to break the image using the HDR tools on any image. Is more powerful than the DCTL and more precise allowing for incredible subtle or powerful effects at the same time as creating natural filmic looks.
Yes, I agree with your opinion regarding the effectiveness of DaVinci Resolve's HDR controls. These tools, with their ability to work in stops and segment the image into photographic zones, are indeed powerful for split toning.
However, my preference leans towards the DCTL approach due to its more user-friendly method of direct RGB manipulation. The HDR wheels in Resolve require adjustments along X and Y axes, which, in my opinion, are less intuitive than using RGB sliders. This aspect of the HDR tools can make them feel less approachable, especially for those who prefer straightforward, direct color adjustments.
The HDR tools are excellent for their specific purposes, particularly in controlling luminance and creating subtle effects, the DCTL script offers a different kind of control that some users, including myself, might find more intuitive for certain color grading tasks. It's about choosing the right tool for the job, and in some cases, the direct and simple approach of the DCTL might be more suitable.
It would be nice if you included presets too
I appreciate the suggestion to include presets with the DCTL tool. However, I intentionally designed this tool to start with settings at zero, allowing users the freedom to dial in their own specific looks. This approach encourages users to explore and understand the capabilities of the tool more deeply, and tailor it to their unique needs. Once they achieve a look they like, they can save these settings as a power grade in Resolve.
@@StefanRingelschwandtner ok
Is it possible to get a “clean black” and “clean whites” to bring the the rgb deviations back together at the very top and bottom?