I have three students who should be submitting films to your contest by Tuesday. It was really fun to have this opportunity for them--it's different from the usual assignment
This is the video I am looking for, because I primarily shoot in standard profile (most tutorial in youtube use log profile and my camera don't shoot log) and it works... Perfect, now I don't need.
It's to be noted that cineon log can not actually retain the dynamic range of modern motion picture film. Regular cineon log encodes a printing density of 0.002 per code value over 10-bits. 16-bit encoding is far more common today and or a density encoding of 0.0025 per code value. For a lot of modern digital cinema cameras, cineon encoding would clip about 2 stops of light.
Recently seen like 10 diff people make vids on options how to do this, glad people finally gonna start using it properly. But i feel like there's a better option for non log/8bit footage, or 10bit iphone footage. If you use layer nodes through luminance, you can get the colors without affecting the gamma. This way it doesn't stretch the footage with lower bitrate and creates a better image. Pls don't use log on 8bit footage
@@Vamoshh Well, if we're talking about working with 8 bit footage, there's shouldn't be any cst in the first place(Meaning shoot in rec.709 if you only have 8 bit,) then yeah, apply the look after basic corrections. If you can, u can shoot hlg in 8bit, like on sony a7iii, then cst comes at the very end, as always, and look after basic corrections
@@valentinmanyanin9871 what should be the logical pipeline on DR for videos captured on Android phones? I mostly shoot videos on me android phone as I don't own a proper camera. I use an app called "Motion Cam" which allows raw DNG captured (works by burst capture).
You did it with a standard, non Log picture profile then you did it with Log footage. Where does Raw stand in that? Black Magic Raw specifically. Great stuff by the way, right to the point, and well stated. I'm not quite a beginner but I'm not hearing it in real time yet. Gotta think hard while it sinks in. I truly want to know it the second I hear it some day and be able to grow with it you know. Thanks again, all of you natural born teachers out there are amazing.
Thank you for the compliment. I think BRaw would work the same as the Log workflow essentially. You would set the color space and gamma inputs in the color space transform using whichever BMD film gen you prefer then set your output gamma to Cineon just like the others. You will have the added flexibility of the Raw controls to adjust your image in the same way as normal. I'd do that kind of stuff prior to the 2383 LUT. Maybe I can do another vid addressing the BRaw workflow if I can get my hands on a camera sometime
Great tutorial, it earned you a subscription! I was going to buy some power grades, but I think I’ll muck around with these first & see how I go. Thanks 🙏 🥰👍
Very nice! A little off topic here but damn that Sm7B sounds fantastic. I've been putting off buying it because of the cost but man...there just isn't another mic that has that full warm sound.
Thanks. I’ll take any comments I can get! The SM7b is amazing. I think it’s worth the money because it will be the last VO mic you’ll buy. And in the world of mics, it’s not even that expensive
It's up to you. If you're satisfied with how it looks then you can be done, but if you want to alter it, then that's completely fine as well. Typically, the "Look LUT" would be the last thing in the node graph but you can absolutely make changes to nodes before--which will affect how the 2383 LUT appears in the end. Waqaz Qasi has a really great tutorial utilizing the Kodak 2383 LUT. He show's multiple options.
Thank you so much for demonstrating it on non log footage. Also, is there any extra steps that I need to follow if I shoot in 8 bit neutral profile flat look -3 -1 -1 on sony apsc cameras?
Should be able to. They are .cube which is standard LUT format. Open up your project settings in Resolve, scroll down to the Color Management tab and open that. Midway down is the Lookup Table section. Click the button to "Open LUT Folder". This will take you to the folder on your hard drive where Resolve keeps the LUTs. You can drag and drop or save the ones you want to a different folder for easy access and to load onto your monitor
Thanks for the interesting tutorial, Philip! So now I guess I bought Dehancer in vain... ehehe.. just kidding... It's always good to have a good and free alternative solution :)
I think most computer monitors are sRGB and most televisions are rec709, so the correct device display colorspace should be sRGB, assuming you're using a computer monitor.
That's a great point. I must confess to not understanding color space and gamma at a particularly high level but I think that a.) sRGB and rec.709 are pretty close anyway and b.) devices are able to display the rec.709 color space and gamma properly based on the metadata of the file but that might not be the case with a TV so that's why the default is to output rec.709. After all, it's the default setting in Resolve, Final Cut, and Premiere.
@PhillipRPeck I think there's a lot of confusion about it. The default hardware lut used by the OS and the factory is sRGB for equipment used in an office. Televisions are set up with rec709. The best way to calibrate is to use an actual TV as an external device (sdi/HDMI) like they do in color suites in a studio. If you can create a QuickTime and open it in a standard vanilla video player and have 100% color match to your resolve viewport, then you know you have everything set up correctly.
The color space and gamma will still be what you have your camera set to, recording externally doesn't change that. So in the CST you'd want Canon Cinema Gamut then whatever Clog you shot in (1, 2, or 3)
Thank you for this video! I've been looking for how to achieve that film look for a while. Do you know a method to add halation without plugins like Dehancer?
Oh, right. I remember that's the other reason not to use Color Managed. So, you should be able to do it by adding a CST and changing output gamma to cineon, but I can't get it to look right... so there's definitely something I'm missing. I remember seeing a couple of workflows that address this from Waqas Qazi and Darren Mostyn (I think). But, for now, I'm not exactly sure how to make it work. If I figure it out, I'll message you
I think because Cineon Film Log was developed by Kodak as the Log to Rec709 conversion for its own print film emulations (2383). Also, you can use Arri Log-C to Rec709--apparently the C in Log-C stands for Cineon. You can also try experimenting with other Log to Rec709 color space transforms to see what gives you the best results; all that matters is that you like it. I just wanted to present the simplest, standard workflow as far as I know so that people could apply it and adapt if for themselves. Lastly, I did show an example in the video where I didn't use Cineon and the 2383 LUT was way too contrast-y and didn't look right.
Hi, Very useful tutorial. What I usually do with this setup, is making corrections after the conversion from Rec to Cineon. So I make a extra note before the lut but after the CST. II get better results with this set up. BuI wonder if this is the right way. I have no issue with clipping because Cineon is not a smaller colorspace than Rec if I am right. What's your opinion about this way. Greetings Richard
That makes sense to me. I think as long as you have the Film LUT activated so that you can see what effect your adjustments are making with that LUT applied. Honestly, I'm not really sure what the best workflow is with CSTs, I've seen it done in a variety of ways, but I think as long as the final result looks how you want it, it doesn't really matter how you got there. Maybe one piece of advice is just checking your final image on a couple different displays to verify that it's working, but otherwise, I think you're good to go. Thanks for the comment
thanks for the video. I have a question. When you said you lost the details after the luts and you tried to put less contrast (in the other nods), isn't it better to have the opacity of the LUT itself a bit lower?
I mean, if it works, then that's what matters. But I'd say that by reducing the opacity of the LUT, you're losing the character that makes the LUT worthwhile in the first place and that there are adjustments you can make in prior nodes that will balance out the contrast and saturation while keeping the character of the LUT intact
@@PhillipRPeck cool. Another question. When you start from a log, why would you transform to rec then back to log to apply a lut. This might sound stupid (i'm a beginner) but I don't get it. Why not transform from that log to lut ?
@@k1k13004 It's because the way Kodak 2383 was created it's expecting the starting point of the footage to be Cineon film log. That's not typical for most LUTs, just these particular film emulation LUTs
Hi! Would you please explain, how can I use this method of color grading for photos in lightroom? It's clear with kodak lut, but how to change it's gamma to cineon film log?
Thanks for sending me down this rabbit hole 😅 ... Unfortunately, I'm not sure if it's possible. There is a way to apply a LUT, so, you could apply a Cineon LUT (I can't find one, but the Arri LogC to Rec709 LUT is close enough) but then I don't know how to add the Kodak 2383 on top of that... I'll keep looking into it because this would be a cool workflow. There is Dehancer for LR which has a built-in 2383 emulation, but that's a $200 plugin
@@PhillipRPeck There was a problem with a Cineon lut at first, so if you say that's Arri log is similar enough, I can try this method too and send you back how it would work like. I though about grading photos right in davinci either, but not sure about export it correctly :D
ProRes Raw doesn’t work in Resolve unfortunately so you would need to convert it to regular ProRes. After that, the process would be the exact same. For Braw, you can make whatever Raw adjustments you need then the process would be the exact same. Add a CST, set your inputs to your preference, then set output to Cineon. Add 2383 to last node
@@PhillipRPeck I didn't word my question well, but I think you answered it. Since Raw has no real input, I can choose whichever I prefer like you mentioned. As in, choose Alexa since I like that color science, even if it wasn't shot on an Alexa. Thanks!
That's a good question. I think, unless it's advertised to support some flavor of HDR (Dolby Vision, HDR 10, Rec2020, etc), it's a safe bet that it's Rec709. There might also be settings in the monitor menu to switch between different color spaces if it supports things like SRGB, AdobeRGB, etc. If it's not set to one of those, it should be Rec709. Unfortunately, manufacturers don't often make it simple and clear
These specific print film LUTs in Resolve are designed for the Cineon gamma. I don't know why, it's a result of how and when they were created back in the day. You can try using them with a different gamma, but you will see how they don't look right if you do
The output gamma should be Cineon before you apply the Film LUT. The Film LUTs are looking for the Cineon gamma, otherwise, the LUT doesn't react the right way to the footage
hey man, your LUT looks super dark from here for your first clip in resolve. I use that film LUT a lot and never seen it crush the blacks that bad unless I accidentally have the CST node wrong for inputs. I could just be trippin cuz im on my phone. like you said though, could very well be the screen recorder cuz your intro footage looks proper. also if you right click on the LUT in your file browser to read it in a text document it has the metadata for color space (some times ha ha). Thanks for the video, we all need all the help we can get
Thank you for the comment and that helpful information about the text docs. I didn't know that. I do think the screen capture crushed the blacks a bit in comparison to what I was seeing on my monitor. It's been a while since I made this video and I can't remember all the details. Hopefully the information is still accurate enough even if I bungled the delivery!
@@PhillipRPeck ha ha you got it man. I know, I get comments from 5 years ago and im like "whats this all about". hope youre doing well man, and hope youre still making the dream come true over there. stay healthy and happy and thanks again for helping everyone out along the way. have a great weekend.
I would recommend log to retain most dynamic range and most flexibility in the grade, but as I showed, you can use any picture profile you prefer as long as you convert to Cineon Film Log before adding the film lut
I think Premiere has those film LUTs built in. But it doesn’t have color space transforms for Cineon Film Log. If you shoot in log, you could probably apply the 2383 and just tweak it
Hey! Sorry I didn't see this until now. YT doesn't alert me on these replies and re-replies. That's shot with an iPhone? I think it looks great! It has a very film-like vibe. Very rich and saturated. I love the contrast. A lot of people think that film has a faded, low contrast look with boosted shadows, but the opposite is usually true. Movies often have super deep blacks. A couple suggestions (just my opinions, I am not a professional). The shadow side of her face is leaning a bit towards green. This might be the iPhone kinda falling apart but maybe try to subtract a bit of green to clean up her skin tone a bit. And the reds and oranges might be a bit too saturated. You're pushing the boundaries on the vectorscope. Overall, I think it looks really cool. Thank you for sharing this
D60 would be the default for most situations. If your white balance is neutral (i.e., white is white), then that would be the one to use. D55 skews warmer, so if you footage has a cool cast to it and you want to make it more neutral, then use D55. Or, if your footage is neutral but you want it to look warmer, then D55. D65 is the opposite. If your footage is too warm and you need to cool it off, then use D65. Or, if your footage is neutral and you want it to look cooler...D65 Does that make sense? I'd say in the age of digital, D60 is appropriate 95% of the time
Thank you so much for this video. You are the first who explain it in this way.
lovely and straight to the point!
i definitely didn't set my monitor's color space before and now I learned how, so thank you!
Thank you. Glad it helped
BROOOOOOOO I literally have been toying with this Kodak film stock look for the FP this week.
Sweet. I can't wait to see what you do with it!
I have three students who should be submitting films to your contest by Tuesday. It was really fun to have this opportunity for them--it's different from the usual assignment
What an awesome and easy hint! And so down to earth. Very pleasing. Thank you!
This is the video I am looking for, because I primarily shoot in standard profile (most tutorial in youtube use log profile and my camera don't shoot log) and it works... Perfect, now I don't need.
Came across you today, instant sub
Thanks! Hopefully one or two will be interesting! 😅
Helped me a lot thank you!
It's to be noted that cineon log can not actually retain the dynamic range of modern motion picture film. Regular cineon log encodes a printing density of 0.002 per code value over 10-bits. 16-bit encoding is far more common today and or a density encoding of 0.0025 per code value. For a lot of modern digital cinema cameras, cineon encoding would clip about 2 stops of light.
This totally went above my head but i beleive you! 😊
dude you're doing really great job ... thanks for this tutorial...subscribed ❤️
Awesome, thank you!
Brilliantly done sir, sub and 👍🏻 for sure
Awesome, thank you!
Recently seen like 10 diff people make vids on options how to do this, glad people finally gonna start using it properly. But i feel like there's a better option for non log/8bit footage, or 10bit iphone footage. If you use layer nodes through luminance, you can get the colors without affecting the gamma. This way it doesn't stretch the footage with lower bitrate and creates a better image. Pls don't use log on 8bit footage
Good tip. So basically applying the lut directly through luminance without CST?
@@Vamoshh Well, if we're talking about working with 8 bit footage, there's shouldn't be any cst in the first place(Meaning shoot in rec.709 if you only have 8 bit,) then yeah, apply the look after basic corrections.
If you can, u can shoot hlg in 8bit, like on sony a7iii, then cst comes at the very end, as always, and look after basic corrections
@@valentinmanyanin9871 what should be the logical pipeline on DR for videos captured on Android phones? I mostly shoot videos on me android phone as I don't own a proper camera. I use an app called "Motion Cam" which allows raw DNG captured (works by burst capture).
@@loveinthelandfill1124 for getting film look? what i wrote preciously in the comment about layer nodes throgh luma
This is really Helpful ,
I hope it will help me make a Look similar to the film "equalizer 3 " that I wanna create for my film
Thanks a lot! Amazing tutorial
You did it with a standard, non Log picture profile then you did it with Log footage. Where does Raw stand in that? Black Magic Raw specifically. Great stuff by the way, right to the point, and well stated. I'm not quite a beginner but I'm not hearing it in real time yet. Gotta think hard while it sinks in. I truly want to know it the second I hear it some day and be able to grow with it you know. Thanks again, all of you natural born teachers out there are amazing.
Thank you for the compliment. I think BRaw would work the same as the Log workflow essentially. You would set the color space and gamma inputs in the color space transform using whichever BMD film gen you prefer then set your output gamma to Cineon just like the others.
You will have the added flexibility of the Raw controls to adjust your image in the same way as normal. I'd do that kind of stuff prior to the 2383 LUT.
Maybe I can do another vid addressing the BRaw workflow if I can get my hands on a camera sometime
This is really helpful! Thank you so much Phillip :)
You're very welcome!
thanks for this. Clear and concise. Keep it up 👍
this was so helpful. thank you for insights.
very well explained....thanks
Great tutorial, it earned you a subscription! I was going to buy some power grades, but I think I’ll muck around with these first & see how I go. Thanks 🙏 🥰👍
thank you so much!
Thanks
i also prefer adding grain
Very nice! A little off topic here but damn that Sm7B sounds fantastic. I've been putting off buying it because of the cost but man...there just isn't another mic that has that full warm sound.
Thanks. I’ll take any comments I can get! The SM7b is amazing. I think it’s worth the money because it will be the last VO mic you’ll buy. And in the world of mics, it’s not even that expensive
You just made an iphone 14 movie amazing
Wait, what?
Sorry 😅 i meant currently me and my friends are filming a movie on iphone 14 and with this… dude it look incredible
Shit i wrote from two profiler lol
Lovely,subscribed
Thanks and welcome
Much appreciated 👏🏻
Excellent video !!
Thank you very much!
Thanks brother
extremely helpful, thank you!
Glad it helped!
Great information,but one thing,if i want to apply any other luts do i need to put cineon film log
Not usually. Really only the film look LUTs in Resolve
Great stuff!
Thanks for the video!! One question though, the idea of using this LUT is to leave it as it is or to do some further color grading?
It's up to you. If you're satisfied with how it looks then you can be done, but if you want to alter it, then that's completely fine as well. Typically, the "Look LUT" would be the last thing in the node graph but you can absolutely make changes to nodes before--which will affect how the 2383 LUT appears in the end.
Waqaz Qasi has a really great tutorial utilizing the Kodak 2383 LUT. He show's multiple options.
Thank you so much for demonstrating it on non log footage. Also, is there any extra steps that I need to follow if I shoot in 8 bit neutral profile flat look -3 -1 -1 on sony apsc cameras?
Hi. I wouldn't think so. I mean every camera and color profile is going to be have differences so you may have to tweak things after applying the 2383
awesome, thank you.
applyng 2383 print also denoises video. (good for smartphone video).
Is that right? Interesting
Great!! Thanks
Thanks brooo
Can I download these luts to load in my external camera monitor?
Should be able to. They are .cube which is standard LUT format. Open up your project settings in Resolve, scroll down to the Color Management tab and open that. Midway down is the Lookup Table section. Click the button to "Open LUT Folder". This will take you to the folder on your hard drive where Resolve keeps the LUTs. You can drag and drop or save the ones you want to a different folder for easy access and to load onto your monitor
Thanks for the help!
Happy to help!
Thanks for the interesting tutorial, Philip! So now I guess I bought Dehancer in vain... ehehe.. just kidding... It's always good to have a good and free alternative solution :)
Thank you! Dehancer is still completely worth it, IMO, given all the other tools it has. 2383 is just one potential component
I think most computer monitors are sRGB and most televisions are rec709, so the correct device display colorspace should be sRGB, assuming you're using a computer monitor.
That's a great point. I must confess to not understanding color space and gamma at a particularly high level but I think that a.) sRGB and rec.709 are pretty close anyway and b.) devices are able to display the rec.709 color space and gamma properly based on the metadata of the file but that might not be the case with a TV so that's why the default is to output rec.709. After all, it's the default setting in Resolve, Final Cut, and Premiere.
@PhillipRPeck I think there's a lot of confusion about it. The default hardware lut used by the OS and the factory is sRGB for equipment used in an office. Televisions are set up with rec709. The best way to calibrate is to use an actual TV as an external device (sdi/HDMI) like they do in color suites in a studio.
If you can create a QuickTime and open it in a standard vanilla video player and have 100% color match to your resolve viewport, then you know you have everything set up correctly.
Thanks sir
awesome tip
Will have to give this a try. One question, if my camera is Canon log but I record external in prores what would be the best input color space?
The color space and gamma will still be what you have your camera set to, recording externally doesn't change that. So in the CST you'd want Canon Cinema Gamut then whatever Clog you shot in (1, 2, or 3)
@@PhillipRPeck much appreciated.
Thank you!
Can you apply 2 luts at once like the p4k2alexa and then the kodak 2383?
I guess you could, but not sure how it would look
Thank you for this video! I've been looking for how to achieve that film look for a while. Do you know a method to add halation without plugins like Dehancer?
Glad it was helpful. Resolve Studio has a Halation effect. I'm not sure if it's in the free version
@@PhillipRPeck It's not available on the free version.
thanks bro nice viddd❤
Thank you
Good tutorial. Question: What if my settings for my Sony were Gama Cine4? What should I select in the input color space and gama?
I think you can leave them as timeline because that should be a Rec709 color space and gamma already
Why do you use YRGB in color space instead of "Color Managed" that there you take better advantage of the range of colors?
Just trying to make it simpler for people to start out
@@PhillipRPeck ok, in case it is Color Managed, can you give me the configuration? I'm working with Blackmagic 6k
Oh, right. I remember that's the other reason not to use Color Managed. So, you should be able to do it by adding a CST and changing output gamma to cineon, but I can't get it to look right... so there's definitely something I'm missing. I remember seeing a couple of workflows that address this from Waqas Qazi and Darren Mostyn (I think). But, for now, I'm not exactly sure how to make it work. If I figure it out, I'll message you
THANK YOU !
YOU'RE WELCOME ! 😁
why Cineon? I have seen this posted several times but never got an explanation.
I think because Cineon Film Log was developed by Kodak as the Log to Rec709 conversion for its own print film emulations (2383). Also, you can use Arri Log-C to Rec709--apparently the C in Log-C stands for Cineon.
You can also try experimenting with other Log to Rec709 color space transforms to see what gives you the best results; all that matters is that you like it. I just wanted to present the simplest, standard workflow as far as I know so that people could apply it and adapt if for themselves.
Lastly, I did show an example in the video where I didn't use Cineon and the 2383 LUT was way too contrast-y and didn't look right.
Do you not need to color transform gamma back to gamma 2.4?
The 2383 LUT takes it back to gamma 2.4
Hi, Very useful tutorial. What I usually do with this setup, is making corrections after the conversion from Rec to Cineon. So I make a extra note before the lut but after the CST. II get better results with this set up. BuI wonder if this is the right way. I have no issue with clipping because Cineon is not a smaller colorspace than Rec if I am right.
What's your opinion about this way.
Greetings Richard
That makes sense to me. I think as long as you have the Film LUT activated so that you can see what effect your adjustments are making with that LUT applied. Honestly, I'm not really sure what the best workflow is with CSTs, I've seen it done in a variety of ways, but I think as long as the final result looks how you want it, it doesn't really matter how you got there.
Maybe one piece of advice is just checking your final image on a couple different displays to verify that it's working, but otherwise, I think you're good to go.
Thanks for the comment
@@PhillipRPeck thank’s for reply
Cheers Richard
thanks for the video. I have a question. When you said you lost the details after the luts and you tried to put less contrast (in the other nods), isn't it better to have the opacity of the LUT itself a bit lower?
I mean, if it works, then that's what matters. But I'd say that by reducing the opacity of the LUT, you're losing the character that makes the LUT worthwhile in the first place and that there are adjustments you can make in prior nodes that will balance out the contrast and saturation while keeping the character of the LUT intact
@@PhillipRPeck cool. Another question. When you start from a log, why would you transform to rec then back to log to apply a lut. This might sound stupid (i'm a beginner) but I don't get it. Why not transform from that log to lut ?
@@k1k13004 It's because the way Kodak 2383 was created it's expecting the starting point of the footage to be Cineon film log. That's not typical for most LUTs, just these particular film emulation LUTs
@@PhillipRPeck thank you Phillip
Nice!
I'm a new sub
Cool! I'm a not sub to your channel as well.
Hi! Would you please explain, how can I use this method of color grading for photos in lightroom? It's clear with kodak lut, but how to change it's gamma to cineon film log?
Thanks for sending me down this rabbit hole 😅 ... Unfortunately, I'm not sure if it's possible. There is a way to apply a LUT, so, you could apply a Cineon LUT (I can't find one, but the Arri LogC to Rec709 LUT is close enough) but then I don't know how to add the Kodak 2383 on top of that... I'll keep looking into it because this would be a cool workflow.
There is Dehancer for LR which has a built-in 2383 emulation, but that's a $200 plugin
Or just grade your photos in Resolve!
@@PhillipRPeck There was a problem with a Cineon lut at first, so if you say that's Arri log is similar enough, I can try this method too and send you back how it would work like.
I though about grading photos right in davinci either, but not sure about export it correctly :D
You can export JPEGs in the Deliver tab
Hey Phillp I tried to follow this but got kinder lost
Lol. Sorry. Let me know if I can help
Thank You :)
You're welcome!
How would you do this for RAW footage? Like Pro Res RAW 444, or blackmagic RAW.
ProRes Raw doesn’t work in Resolve unfortunately so you would need to convert it to regular ProRes. After that, the process would be the exact same.
For Braw, you can make whatever Raw adjustments you need then the process would be the exact same. Add a CST, set your inputs to your preference, then set output to Cineon. Add 2383 to last node
@@PhillipRPeck I didn't word my question well, but I think you answered it. Since Raw has no real input, I can choose whichever I prefer like you mentioned. As in, choose Alexa since I like that color science, even if it wasn't shot on an Alexa. Thanks!
Gotcha. You can do the same regardless whether you shot Raw or not. I've used Arri LogC on a lot of different cameras. it usually works pretty well!
How do you figure out what your monitor's color space is? I'm on a fairly new Samsung monitor. I got it about a year ago. Thanks for this!
That's a good question. I think, unless it's advertised to support some flavor of HDR (Dolby Vision, HDR 10, Rec2020, etc), it's a safe bet that it's Rec709.
There might also be settings in the monitor menu to switch between different color spaces if it supports things like SRGB, AdobeRGB, etc. If it's not set to one of those, it should be Rec709.
Unfortunately, manufacturers don't often make it simple and clear
@@PhillipRPeck Thank you for the clarification! I just recently found your channel. And it's been very helpful.
@@niclagra Thank you!
At 9:42, why do you have to change the output gamma to Cineon? I'm confused by that.
These specific print film LUTs in Resolve are designed for the Cineon gamma. I don't know why, it's a result of how and when they were created back in the day. You can try using them with a different gamma, but you will see how they don't look right if you do
You forgot a major step in the alexa footage in cst! You have to transform it as usual in rec709 and instead of gamma 2.4 you do coneon
The output gamma should be Cineon before you apply the Film LUT. The Film LUTs are looking for the Cineon gamma, otherwise, the LUT doesn't react the right way to the footage
hey man, your LUT looks super dark from here for your first clip in resolve. I use that film LUT a lot and never seen it crush the blacks that bad unless I accidentally have the CST node wrong for inputs. I could just be trippin cuz im on my phone. like you said though, could very well be the screen recorder cuz your intro footage looks proper. also if you right click on the LUT in your file browser to read it in a text document it has the metadata for color space (some times ha ha). Thanks for the video, we all need all the help we can get
Thank you for the comment and that helpful information about the text docs. I didn't know that. I do think the screen capture crushed the blacks a bit in comparison to what I was seeing on my monitor. It's been a while since I made this video and I can't remember all the details. Hopefully the information is still accurate enough even if I bungled the delivery!
@@PhillipRPeck ha ha you got it man. I know, I get comments from 5 years ago and im like "whats this all about". hope youre doing well man, and hope youre still making the dream come true over there. stay healthy and happy and thanks again for helping everyone out along the way. have a great weekend.
Thank you! You as well
What picture profile must be used in order for this built in LUT to be used correctly ? Log, Cine, Neutral ?
I would recommend log to retain most dynamic range and most flexibility in the grade, but as I showed, you can use any picture profile you prefer as long as you convert to Cineon Film Log before adding the film lut
How to get it to premiere pro 😩
I think Premiere has those film LUTs built in. But it doesn’t have color space transforms for Cineon Film Log. If you shoot in log, you could probably apply the 2383 and just tweak it
can you do similar for gopro flat?
Yes. As long as the exposure is good it should turn out pretty well
Awesome . Can this work for iPhone 13 Pro max video ?
Try it out! I'm not sure how good it will look, but the process should work
Thank you . This was an absolute game changer for me . Now all I need is to find the secret to audio to match this cinematic look
Audio. Jeez. Who knows what to do with that!
@@PhillipRPeck Please tell me your opinion be honest . ruclips.net/video/xT2FJ-ye-Sc/видео.html
Hey! Sorry I didn't see this until now. YT doesn't alert me on these replies and re-replies. That's shot with an iPhone? I think it looks great! It has a very film-like vibe. Very rich and saturated. I love the contrast. A lot of people think that film has a faded, low contrast look with boosted shadows, but the opposite is usually true. Movies often have super deep blacks.
A couple suggestions (just my opinions, I am not a professional). The shadow side of her face is leaning a bit towards green. This might be the iPhone kinda falling apart but maybe try to subtract a bit of green to clean up her skin tone a bit. And the reds and oranges might be a bit too saturated. You're pushing the boundaries on the vectorscope.
Overall, I think it looks really cool. Thank you for sharing this
Is the cineon lut available in the free version of resolve?
I am not sure but I've never heard of that being a limitation of the free version
@@PhillipRPeck I found it. It's on the free version.
Supp I'm new on your channel you can do the same way for a tuto on premiere pro??
Hey! I don’t think you can do the same thing in Premiere because it doesn’t have color space transform
@@PhillipRPeck okokokoko i got you thanks definitely i switched to Resolve 😂
When to use wich kodak 2383?
D60 would be the default for most situations. If your white balance is neutral (i.e., white is white), then that would be the one to use.
D55 skews warmer, so if you footage has a cool cast to it and you want to make it more neutral, then use D55. Or, if your footage is neutral but you want it to look warmer, then D55.
D65 is the opposite. If your footage is too warm and you need to cool it off, then use D65. Or, if your footage is neutral and you want it to look cooler...D65
Does that make sense? I'd say in the age of digital, D60 is appropriate 95% of the time
Lol.. it works.
What is D-Cinema....?
Not sure what you’re referring to… What part of the video?
@@PhillipRPeck when you were scrolling imdb at 0:35 on film printed they mentioned 2383 and D-Cinema
what if my footage was shot in HDR?
I mean, if you shoot in Log or HLG, then your footage is HDR. But how to grade for HDR is a whole different ball game that I am not equipped to play
Without clearly defining your input gamma, this is silly.
Thank you so much for this. This was amazing insight.
Thank you!