DaVinci Wide Gamut Film LUTs are no longer available. You can still use the standard method of using the preinstalled film LUT in Resolve via the Color Space Transform tool. Leave the ODT Input Color Space/Gamma settings as DWG and DWGI and set the output settings to Rec.709 & Cineon Film Log. Then apply the stock Resolve Film LUT in a node immediately after the ODT CST node. If you have questions about this process, start a thread on this comment and I'll help you out. Apologies for any inconvenience.
@@audaz5186 Sometimes that gives good results but it may cause some colors to look weird depending on colors in the shot. You can also try the Hue composite mode.
@@audaz5186 if you create a new timeline with just the CST and film LUT then you can save that as a DWG film LUT. Works for me fine, but not sure if george knows of any potential colour issues with that?
I've been using resolve since v9 and didn't know you could use the qualifier to make anchor points on the custom curves. I'm going to have to book a lesson with you in the new year!
Hey Kyle. Yes! The LUT pack comes with a few D-Log conversion LUTs as well as some creative LUTs. You can find that LUT pack here. nomadicgeorge.sellfy.store/p/air2sluts/
Im using DaVinci YRGB so my color management is done in the node tree. That's why I am using the IDT and ODT nodes so I can see all my conversions upfront.
Great video man, once again! Quick question: I still get lost in regards to the IDT/ODT nodes. I'm using the Sony a7iii - Slog2 and I know the settings I should change in the first color space transform, the issue is that I get a bit lost with the second CST, if I even need to add a second one or if I should be using Wide Gamut/intermediate. Thank you!
The second CST node is for transforming from DaVinci Wide Gamut into your output color space, in this case (and most cases) Rec.709 for proper display. You should add a second one so you can better reference your final image which will most likely need to be in Rec.709. Any nodes you add in-between the IDT and ODT nodes will be working in a DWG color space anyways. Thanks for watching.
@@george.colorist hola!! Muchas gracias!!!! Lo he importado y se ve bastante neutra la imagen….parece mas una lut tecnica rec709…..en cualquier caso, muchas gracias de nuevo y buen trabajo!
It looks like prior to your adjusting anything you already had space on the waveform for your “print black” ? Was anything else adjusted prior to the video in settings or something to achieve this?
Why would you lower the shadows/mid for grain when film has more grain in the shadows? I'm not a colorist but I am a compositor with 20yrs in feature films. A big part of our job is grain management -- and I'd do the opposite as you. Leave the shadows and lower the grain on the highlights depending on the film stock.
It’s true that many classic film stocks have more grain in the shadows, however not all film stocks and modern film emulations feature more grain in the shadows than in the midtones and/or highlights. Outside of trying to replicate the film grain of classic film stocks 1:1 as much as possible, film grain texture is a creative choice with more flexibility now that we have these adjustable film grain effects.
Just looking for clarification. Since this is Rec 709, aren't you just changing the container without affecting the color space? Rec 709 is changing to DaVinci Wide Gamut, but it doesn't expand the colours. Isn't this similar to changing sRGB file to ProPhoto and exporting as sRGB in the end?
Hey george, i have a question for idt and odt. I put the same value but my videos looks like without conversation. I have slog 3 footage. I noticed that in IDT i have to put in "input color space: Sony S-gamut.Cine and Imput gamma: Sony slog 3". In the OGT i leave the same in your video. Why? Maybe you should explain the color managment in project settings. Also the link for the wide gamut film look is offline. Thank you
The ODT should be set to output the correct color space for your display purposes. Setting it to a Rec.709 output is most common if we’re uploading things online. My color management is set to DaVinci YRGB so my color management is taken care of in the node tree. At some point I’ll do a tutorial on color management. The DWG LUTs are no longer available. You can find updated and improved versions of these LUTs in my K83 and F13 LUT packs. Thanks for watching. Let me know if you have any other questions.
Great video but i do wonder why every colour grading channel i see always centres around broadcast and uses REC709 as there output i mean i guess i could do a channel myself and break the mould and do videos on other outputs such as festivals DCI-P65 however as we all know keeping a marketing level of social media presence is highly demanding enough but to the social media presence to this level would take me away from my film projects i work on so i would like to ask people that do this already could you not explore other outputs than REC709 that i constantly hear on all CG channels not all fo us graders work on broadcast jobs. I myself stick with film unless the BBC come a knocking and want to me to work on Doctor Who then yes until them most projects i work and probably a whole load of other colour graders are films and most of them films will be going into festivals that will require a different colour space hence a different output.
DaVinci Wide Gamut Film LUTs are no longer available. You can still use the standard method of using the preinstalled film LUT in Resolve via the Color Space Transform tool. Leave the ODT Input Color Space/Gamma settings as DWG and DWGI and set the output settings to Rec.709 & Cineon Film Log. Then apply the stock Resolve Film LUT in a node immediately after the ODT CST node. If you have questions about this process, start a thread on this comment and I'll help you out. Apologies for any inconvenience.
is it possible to use the composite mode to color on Resolve 2383 lut?
@@audaz5186 Sometimes that gives good results but it may cause some colors to look weird depending on colors in the shot. You can also try the Hue composite mode.
@@george.colorist thats great tips thank a lot
@@audaz5186 if you create a new timeline with just the CST and film LUT then you can save that as a DWG film LUT. Works for me fine, but not sure if george knows of any potential colour issues with that?
Bro... I have been color grading for years and have never thought about doing what you did at 4:45. That just blew my mind. Thank you! haha
No problem Jackie! Thanks for watching.
Really great tutorial! Mellow, informative, dulcet tones of your voice, just great! Thanks for this! 🙏
Thnaks for watching and for the kind words. 🤝🏼
You just blew my mind. So many techniques I've never even heard of. Thank you!
More to come. Thanks for watching.
This is a wonderful tutorial! Thanks! Using the film lut in color is completely new to me.
I've been using resolve since v9 and didn't know you could use the qualifier to make anchor points on the custom curves. I'm going to have to book a lesson with you in the new year!
Glad it was helpful! Thanks for watching and hope to see you soon for a lesson.
really great tip about creating seperation with the film grain shadows/mids etc. creates a very nice effect
Beautiful Look 😇 I adore him. I would like to see a series of even more beautiful combinations. Thanks 💫
Very underrated, this is masterclass
As always you helped me out a lot sir. Thank you
Im glad to hear that. Thanks again for watching. 🤝🏼
Thank you so much for this tutorial. Really clear and concise.
Amazing work
As a total color grading noob, this video was delicious, thank you so much
No problem. More to come!
These tips are gold! Great stuff, George, really nice job explaining everything :)
Thank you
🤝🏼
Bro, i am trying to follow your tutorial, however not seeing the link for converted film looks, can you say where they are respect
Thank you.
I noticed you had a DJI Air 2S LUT, is the one you have useful, and if so could you direct me where to get it? Thanks!
Hey Kyle. Yes! The LUT pack comes with a few D-Log conversion LUTs as well as some creative LUTs. You can find that LUT pack here. nomadicgeorge.sellfy.store/p/air2sluts/
Hi! Elegant node tree, dude! Whats your color management setting in the prefs? Thanks
Im using DaVinci YRGB so my color management is done in the node tree. That's why I am using the IDT and ODT nodes so I can see all my conversions upfront.
Great, thanks!
don't comment. Just subrice for this guys.
Great video man, once again! Quick question: I still get lost in regards to the IDT/ODT nodes. I'm using the Sony a7iii - Slog2 and I know the settings I should change in the first color space transform, the issue is that I get a bit lost with the second CST, if I even need to add a second one or if I should be using Wide Gamut/intermediate.
Thank you!
The second CST node is for transforming from DaVinci Wide Gamut into your output color space, in this case (and most cases) Rec.709 for proper display. You should add a second one so you can better reference your final image which will most likely need to be in Rec.709. Any nodes you add in-between the IDT and ODT nodes will be working in a DWG color space anyways. Thanks for watching.
Hola, gracias por el video!!!! Una pregunta: las LUTS que has subido valdrían para importarlas en el ATOMOS NINJA V?
Hola. Si. Puedes usar los LUTs con tu ATOMOS 👍🏼 Si tienes algún problema, me mandas mensaje en Instagram y te ayudo. Gracias.
@@george.colorist hola!! Muchas gracias!!!! Lo he importado y se ve bastante neutra la imagen….parece mas una lut tecnica rec709…..en cualquier caso, muchas gracias de nuevo y buen trabajo!
Me puedes mandar mensaje en Instagram? Cuál LUT usaste?
Will this work well with 8bit slog2 footage or will it break?
You'll have to apply these adjusments to it and see. You can always dial them back a little so they work well with your footage.
It looks like prior to your adjusting anything you already had space on the waveform for your “print black” ? Was anything else adjusted prior to the video in settings or something to achieve this?
Hey there. Not sure what you mean by a space in the waveform. Can you clarify?
Why would you lower the shadows/mid for grain when film has more grain in the shadows? I'm not a colorist but I am a compositor with 20yrs in feature films. A big part of our job is grain management -- and I'd do the opposite as you. Leave the shadows and lower the grain on the highlights depending on the film stock.
It’s true that many classic film stocks have more grain in the shadows, however not all film stocks and modern film emulations feature more grain in the shadows than in the midtones and/or highlights. Outside of trying to replicate the film grain of classic film stocks 1:1 as much as possible, film grain texture is a creative choice with more flexibility now that we have these adjustable film grain effects.
Just looking for clarification. Since this is Rec 709, aren't you just changing the container without affecting the color space? Rec 709 is changing to DaVinci Wide Gamut, but it doesn't expand the colours. Isn't this similar to changing sRGB file to ProPhoto and exporting as sRGB in the end?
What camera did you use to shoot this on mate? ❤😮
The clip is stock footage. Im not sure what camera was used to shoot this clip.
Thank you!
Keep the nice work 👌
DaVinci Wide Gamut Film LUTs Are not available on your link 😢
The DWG Film LUTs are no longer available. You can find new and improved versions in my K83 or F13 LUT packs.
Hey george, i have a question for idt and odt. I put the same value but my videos looks like without conversation. I have slog 3 footage.
I noticed that in IDT i have to put in "input color space: Sony S-gamut.Cine and Imput gamma: Sony slog 3".
In the OGT i leave the same in your video. Why?
Maybe you should explain the color managment in project settings.
Also the link for the wide gamut film look is offline.
Thank you
The ODT should be set to output the correct color space for your display purposes. Setting it to a Rec.709 output is most common if we’re uploading things online. My color management is set to DaVinci YRGB so my color management is taken care of in the node tree. At some point I’ll do a tutorial on color management.
The DWG LUTs are no longer available. You can find updated and improved versions of these LUTs in my K83 and F13 LUT packs.
Thanks for watching. Let me know if you have any other questions.
what are your color management color settings under project settings ??
in the 18 version not the 18.5 how can i change de composite of node to color??
You can use a layer node and set the layer mixer to the desired composite mode.
I don't have the swap button what can i do as a alternative
The swap button comes with version 18.5. You can update Resolve to get the feature or you can just input the color space settings manually.
what color management are you use??
Im using DaVinci YRGB 👍🏼
@@george.colorist thank you 👍
How is this look called
It doesn’t really have a specific name. Speaking generally, it’s a variation of a “cinematic” look.
My nodes not giving the composition options
Upgrade to Resolve 18.5 👍🏼
Great video but i do wonder why every colour grading channel i see always centres around broadcast and uses REC709 as there output i mean i guess i could do a channel myself and break the mould and do videos on other outputs such as festivals DCI-P65 however as we all know keeping a marketing level of social media presence is highly demanding enough but to the social media presence to this level would take me away from my film projects i work on so i would like to ask people that do this already could you not explore other outputs than REC709 that i constantly hear on all CG channels not all fo us graders work on broadcast jobs. I myself stick with film unless the BBC come a knocking and want to me to work on Doctor Who then yes until them most projects i work and probably a whole load of other colour graders are films and most of them films will be going into festivals that will require a different colour space hence a different output.
Thank you.