I was literally stressing out last night about fixing this issue on a project I’m working on and I wake up to this vid! Prayers answered Thanks Cullen!
Thank you Cullen! The tool works great with traffic lights in a night shot. Have tested it in a node-based DWG workflow and think it performs best not before the final display conversion node (DWG>709), but before the creative look LUT.
Thank you Professor C,... I am actually dealing with this issue in a a project I created in After Effects. I cannot wait to apply and experiment with your creation.
Just an FYI, this already exists in Resolve as a Resolve FX plugin in the ACES Transform plugin, choose parametric mode and you have all controls/sliders, plus input/output space selections supported by ACES. Admittedly DWG/I is not there but most spaces are and you can transform in/out as needed. - Hook
I like to go into hsv and lower the density of very saturated colors, that not only desarurates but also pushes them into the odt shoulder. Makes bright saturated lights look more natural.
THANK YOU SO MUCH!! Very appreciated because recently I was using your new Fuji film emulation LUT and had issues with artifacting in my compressed 8bit slog2 footage. Great content ❤
Can"t wait to try this tool :) As someone mentioned in the comment section, I've been using the aces parametric gamut mapping so far to adress out of gamut values, but this will be a great addition becasue of the in built selective colorspace menu :)
FYI the aces effect will work with any colourspace too. The only unique thing I see in this is the graphic overlay. Which is a nice way to visualize what the tool is doing.
Great video and solution to this problem! How do you recommend that cinematographers light better on set with saturated colors but make sure to avoid this issue in post?
Hi Cullen, could you please explain why we have to use it in the last of node graph? I remember Andy from filmlight in one of the tutorials about baselight, he said that, it’s better to use gamut compression at the beginning to avoid any color artifacts.
Great question! If you sign up for my newsletter via the links for freebies in any of the video descriptions, you’ll get upcoming dates and sign up links for CCA!
Thank you! Do I drop this folder inside the CKC folder that's inside the LUT folder?
3 месяца назад
Hi Cullen! Great video and tool! This issue only occurs when grading raw video, right? Cuz every log color space (except arri logc4?) are technically inside the davinci wide gammut and aces color space... Am I correct or am I missing something?
Most (though not all spaces) are smaller than DWG, but same isn't true for the ACES grading space (ACEScct). This space is smaller than many camera or working spaces -- in fact this space is the one this gamut compression tool was originally designed for, due to the large number of gamut issues colorists were encountering. Hope this helps!
I've been looking for this for a while now, but if I understand correctly, this only works in Resolve Studio, right? Second problem, I don't do video, just RAW still images (Nikon nef) that I convert to DNG (DXO PureRaw), and I think resolve is not very good with DNG files, no? Now, I'd like to know if this is only good for Rec709 output? There is no IDT for my camera, what would be the next best thing before any clipping occurs? Thanks.
Yep, that's correct, you need Resolve Studio to use a DCTL like the one I'm sharing here. Re DNG files, Resolve can definitely work well with those, and this tool isn't limited to Rec709 output. Hope this helps!
@@CullenKelly Maybe the Studio version can open DNG but I can't using the free version. To make a long story short, I shoot almost exclusively flowers in raw. At this point, I haven't found a way to insure that my shot are no clipped in some fashion during the initial conversion from RAW. I see many video camera gamut are out of the visual locus which make even Aces 2065-1 inadequate to hold all the cameras gamut without some low level gamut mapping from the sensor data, as I assume Video camera manufacturers provide in some way. Your video kind of confirm there is still a need for intelligent gamut mapping after the initial raw to whatever colorspace is used for video cameras. I'm very impressed with your work in general, thanks again for your time.
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I was literally stressing out last night about fixing this issue on a project I’m working on and I wake up to this vid! Prayers answered Thanks Cullen!
Thanks DCTL tools really extend the color grading tool box. I use them all the time for those tricky tasks like this.
Thank You Cullen!!! I love how all of your tools consolidate functionality and makes it all more readily accessible.
Thanks Cullen. A really useful addition to the Resolve FX ACES Transform plugin. The overlay is a very nice touch.
Thank you Cullen! The tool works great with traffic lights in a night shot. Have tested it in a node-based DWG workflow and think it performs best not before the final display conversion node (DWG>709), but before the creative look LUT.
Thak you Cullen! This is a huge issue! Love that you have build it for DWG. And thank you for all the insight provided!!
Thank you kindly for sharing your knowladge, experience, and the tools to make our life easier!!!!
Thank you Professor C,... I am actually dealing with this issue in a a project I created in After Effects. I cannot wait to apply and experiment with your creation.
Nice! Of all other options for dealing with out-of-gamut color, this is already my preferred option. Thank you for making it available to all.
Wow, I was just dealing with this issue two days ago and did some quite complicated ways to fix it. This makes it so easy! Thanks a lot Cullen!
That's amazing Cullen. Thank you!
Just an FYI, this already exists in Resolve as a Resolve FX plugin in the ACES Transform plugin, choose parametric mode and you have all controls/sliders, plus input/output space selections supported by ACES. Admittedly DWG/I is not there but most spaces are and you can transform in/out as needed. - Hook
The overlay graph is really nice to have though.
I think the point is that this is specifically for dwg which is the space most of his teaching is done in
I like to go into hsv and lower the density of very saturated colors, that not only desarurates but also pushes them into the odt shoulder. Makes bright saturated lights look more natural.
THANK YOU SO MUCH!! Very appreciated because recently I was using your new Fuji film emulation LUT and had issues with artifacting in my compressed 8bit slog2 footage. Great content ❤
Can"t wait to try this tool :) As someone mentioned in the comment section, I've been using the aces parametric gamut mapping so far to adress out of gamut values, but this will be a great addition becasue of the in built selective colorspace menu :)
FYI the aces effect will work with any colourspace too. The only unique thing I see in this is the graphic overlay. Which is a nice way to visualize what the tool is doing.
This is an amazing and super useful tool. thank you Cullen for creating this and I can't believe your giving us this tool for free THANK YOU!
Thanks Cullen, most generous!
You are a goldmine Cullen. Thank you.
Great tool!! Thank you for the sharing
This is amazing. Thank you for doing this.
Nice!
So helpful! Thank you…
Amazing! Thanks a lot Cullen.
Thank you, Cullen.
Amazing video as always. cheers mate
Love your lessons
Luven me some Cullen! Thanks my friend :)
How is this any different to using the aces transform effect? It exposes all these sliders too and can be used any time if you're in aces or not.
THANK YOU CULLEN!
Thank u so much sir🙏
Great video and solution to this problem! How do you recommend that cinematographers light better on set with saturated colors but make sure to avoid this issue in post?
thank you
Hi Cullen,
could you please explain why we have to use it in the last of node graph?
I remember Andy from filmlight in one of the tutorials about baselight, he said that, it’s better to use gamut compression at the beginning to avoid any color artifacts.
Dope!
Thanks a ton for all the Informative videos you make. Just wanted to know why are you still using 18.5 beta ? Is there a specific reason?
THANK YOU CULLEN KELLY
Where can I sign up for the pro colorist school you mentioned a couple of videos ago?
Great question! If you sign up for my newsletter via the links for freebies in any of the video descriptions, you’ll get upcoming dates and sign up links for CCA!
Dont worry?! I want more ACES!
Thank you!
Do I drop this folder inside the CKC folder that's inside the LUT folder?
Hi Cullen! Great video and tool! This issue only occurs when grading raw video, right? Cuz every log color space (except arri logc4?) are technically inside the davinci wide gammut and aces color space... Am I correct or am I missing something?
Most (though not all spaces) are smaller than DWG, but same isn't true for the ACES grading space (ACEScct). This space is smaller than many camera or working spaces -- in fact this space is the one this gamut compression tool was originally designed for, due to the large number of gamut issues colorists were encountering. Hope this helps!
I've been looking for this for a while now, but if I understand correctly, this only works in Resolve Studio, right? Second problem, I don't do video, just RAW still images (Nikon nef) that I convert to DNG (DXO PureRaw), and I think resolve is not very good with DNG files, no? Now, I'd like to know if this is only good for Rec709 output?
There is no IDT for my camera, what would be the next best thing before any clipping occurs? Thanks.
Yep, that's correct, you need Resolve Studio to use a DCTL like the one I'm sharing here. Re DNG files, Resolve can definitely work well with those, and this tool isn't limited to Rec709 output. Hope this helps!
@@CullenKelly Maybe the Studio version can open DNG but I can't using the free version.
To make a long story short, I shoot almost exclusively flowers in raw. At this point, I haven't found a way to insure that my shot are no clipped in some fashion during the initial conversion from RAW. I see many video camera gamut are out of the visual locus which make even Aces 2065-1 inadequate to hold all the cameras gamut without some low level gamut mapping from the sensor data, as I assume Video camera manufacturers provide in some way. Your video kind of confirm there is still a need for intelligent gamut mapping after the initial raw to whatever colorspace is used for video cameras.
I'm very impressed with your work in general, thanks again for your time.
Where do i place the gamut compress dctl node if am color managing in nodes base...should it be after the rec 709 or before?...thanks for the dctl
Great question! You would want your gamut compression before the rec709 cst node.
CCA CREW WHATS UP
I thought this would be a good channel to check out to increase my Divinci skills, up until you started hawking your products in the video.