This DCTL bundle is quickly becoming a vital part of my look dev kit. It's so easy to create complex & interesting behaviours that are still super smooth & robust across a variety of challenging imagery. I really dig it
You're killing it Max, these look excellent. One small vote from me would be to center the slider positions at default so that you can note current modifications at a glance. I'm guessing that's something you compromised on to achieve the min/max you wanted and control the sensitivity of the slider? Also, which color model are you using for your Hue shifts?
Thanks very much Henry! Re centering slider positions at default - I think I'm being a bit slow, could you help me understand what you mean? In my mind all the sliders are centered at default (unless they're one-directional in which they're all the way to the left or right) but I think you may mean something else than I do? Or do you mean for the saturation module specifically? For saturation they're off centered because the conventions are different, i.e. the number reflects the amount of multiplication, so 1 is no change and the minimum is necessarily 0 because you can't have less than no saturation, and the maximum in this case is 3 because that seemed like the highest reasonable number. This means the default value ends up being left of centre. Is that what you mean? In that case it wouldn't be hard to change the parameter scaling for values >1 so that 2 represents 3, but it would indeed make the slider very touchy on the positive side. I'm honestly agnostic on what is better. I didn't make a conscious choice against that, I just defaulted to an accurate numerical representation of the math, so I'm open to changing that in the future. Or did you mean something else? Color model for hue shift is cylindrical. :)
@@IridescentColor Yeah, you got it - i was noticing the Saturation module specifically. Might be worth testing parameter scaling to see if the increased sensitivity is manageable or not. I could definitely see that increased precision might be the preferable option here if parameter scaling makes it feel way too sensitive, but I'm guessing it wouldn't be too extreme of a change given you choose a reasonably confined max value
@@HenryBobeck Gotcha! Will definitely try it out to see if it feels ok sensitivity wise. I kind of agree that it would be preferable from a UX point of view to see at a glance what's going on. Thanks for the feedback, always much appreciated :)
loving this all all the content you're putting out. I do have a question for you or others who may read this. I apologize if this a stupid question but when you use this bundle, is it best to apply these dctls at the timeline, and then go to clip level and use the same dctls to make adjustments where needed? I know it probably depends on what you're grading, but I'm asking what's generally a good starting point? I'm relatively new to this and have found your other tools to be really helpful. I basically just trying to figure out how start and create a workflow that allows me to get the best image possible. Many thanks and greetings from Australia!
Not a stupid question! As a rule of thumb, your overall look is something that should live at the timeline level (or perhaps a group post level in some cases) and consist of adjustments that all of your shots would benefit from, i.e. your overall color palette, contrast curve and (if applicable) split tone and textural elements. Of course, these adjustments by definition need to be conservative and gentle enough that they work across all shots. So something like my saturation example with the red dress is probably more a shot level adjustment where you can go much narrower, because the only thing that matters is if it works on that particular shot. Usually, you'll set your overall look first and then do the shot level work underneath. You obviously can still iterate on the look after. The IRIS bundle is very much designed to shine at the timeline level but especially the surgical and dynamic versions allow for the flexibility to also make narrower adjustments at a clip level. Hope this helps and love to Australia!
density pro is a lot "safer" in that it has more guardrails built in to make it better suited for timeline level looks. it also has "negative density" which bleaches out colors and the ability to protect lower sat colors like skin tones. There are also three different versions with more control over hue angle/radius. Plus, instead of selecting different methods you can smoothly morph between them.
I'll be on vacation for a few days, so won't be able to do anything to this effect but I'll consider it when I'm back. I'm not categorically opposed to the idea but it does create more admin work for me so I need to see if there's a sensible way I can make that happen. I'll definitely think about it though.
Hi,Please make a dctl which can create look from colour palette. Or reference image from movies. And there is nobody showing a single tutorial how to use color palette in davinci resolve ( not to create palette) ..am i right anyone ?? Respond..Please request like me..
Kaur Hendrikson has a Palette DCTL for exactly this purpose but there is no shortcuts for creating looks because not every palette fits every image. You can use his DCTL to enter RGB codes and refine the hues (tutorial on his RUclips).
@@alexantonyp.g5125 do it in set design. post has limitations & it is not possible to change hues for 30-300 scenes without breaking the pallet. Even Kaurh's one will work smoothly for 12-bit or above, still with certain limitations.
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This DCTL bundle is quickly becoming a vital part of my look dev kit. It's so easy to create complex & interesting behaviours that are still super smooth & robust across a variety of challenging imagery. I really dig it
Thank you so much Gabriel! Really glad to hear it. Thank you for all the support along the way!
This bundle looks amazing! I really like the guardrails and overlays you've built in.
Thank you Ismael! Appreciate it :)
This is amazing, man! I am very excited to incorporate this tool and other DCTLs you've made into my workflow. CCA represent! 🥳
Thank you! 🙌
You're killing it Max, these look excellent. One small vote from me would be to center the slider positions at default so that you can note current modifications at a glance. I'm guessing that's something you compromised on to achieve the min/max you wanted and control the sensitivity of the slider? Also, which color model are you using for your Hue shifts?
Thanks very much Henry!
Re centering slider positions at default - I think I'm being a bit slow, could you help me understand what you mean? In my mind all the sliders are centered at default (unless they're one-directional in which they're all the way to the left or right) but I think you may mean something else than I do? Or do you mean for the saturation module specifically? For saturation they're off centered because the conventions are different, i.e. the number reflects the amount of multiplication, so 1 is no change and the minimum is necessarily 0 because you can't have less than no saturation, and the maximum in this case is 3 because that seemed like the highest reasonable number. This means the default value ends up being left of centre. Is that what you mean? In that case it wouldn't be hard to change the parameter scaling for values >1 so that 2 represents 3, but it would indeed make the slider very touchy on the positive side. I'm honestly agnostic on what is better. I didn't make a conscious choice against that, I just defaulted to an accurate numerical representation of the math, so I'm open to changing that in the future. Or did you mean something else?
Color model for hue shift is cylindrical. :)
@@IridescentColor Yeah, you got it - i was noticing the Saturation module specifically. Might be worth testing parameter scaling to see if the increased sensitivity is manageable or not. I could definitely see that increased precision might be the preferable option here if parameter scaling makes it feel way too sensitive, but I'm guessing it wouldn't be too extreme of a change given you choose a reasonably confined max value
@@HenryBobeck Gotcha! Will definitely try it out to see if it feels ok sensitivity wise. I kind of agree that it would be preferable from a UX point of view to see at a glance what's going on. Thanks for the feedback, always much appreciated :)
@@IridescentColor appreciate ya!
These look awesome, got my eyes on the dynamic one, seems great for quick but detailed adjustments
loving this all all the content you're putting out. I do have a question for you or others who may read this. I apologize if this a stupid question but when you use this bundle, is it best to apply these dctls at the timeline, and then go to clip level and use the same dctls to make adjustments where needed? I know it probably depends on what you're grading, but I'm asking what's generally a good starting point? I'm relatively new to this and have found your other tools to be really helpful. I basically just trying to figure out how start and create a workflow that allows me to get the best image possible. Many thanks and greetings from Australia!
Not a stupid question! As a rule of thumb, your overall look is something that should live at the timeline level (or perhaps a group post level in some cases) and consist of adjustments that all of your shots would benefit from, i.e. your overall color palette, contrast curve and (if applicable) split tone and textural elements. Of course, these adjustments by definition need to be conservative and gentle enough that they work across all shots. So something like my saturation example with the red dress is probably more a shot level adjustment where you can go much narrower, because the only thing that matters is if it works on that particular shot. Usually, you'll set your overall look first and then do the shot level work underneath. You obviously can still iterate on the look after. The IRIS bundle is very much designed to shine at the timeline level but especially the surgical and dynamic versions allow for the flexibility to also make narrower adjustments at a clip level. Hope this helps and love to Australia!
@@IridescentColor thank you for your insight. I love your work and I’m grateful for you. Keep up the good work!
@@jj3396 You're welcome and thank you for your kind support!
What is the different between Density DCTL and Density Pro?
density pro is a lot "safer" in that it has more guardrails built in to make it better suited for timeline level looks. it also has "negative density" which bleaches out colors and the ability to protect lower sat colors like skin tones. There are also three different versions with more control over hue angle/radius. Plus, instead of selecting different methods you can smoothly morph between them.
i need density & hue pro
is it possible to release pro versions as separate plugins? i can't afford all.
I'll be on vacation for a few days, so won't be able to do anything to this effect but I'll consider it when I'm back. I'm not categorically opposed to the idea but it does create more admin work for me so I need to see if there's a sensible way I can make that happen. I'll definitely think about it though.
Thank you
Hi,Please make a dctl which can create look from colour palette. Or reference image from movies. And there is nobody showing a single tutorial how to use color palette in davinci resolve ( not to create palette) ..am i right anyone ?? Respond..Please request like me..
Kaur Hendrikson has a Palette DCTL for exactly this purpose but there is no shortcuts for creating looks because not every palette fits every image. You can use his DCTL to enter RGB codes and refine the hues (tutorial on his RUclips).
You are right, I already tried demo version but i failed.For me it was difficult to achieve the look.Thank you for replying brother 🤍
@@alexantonyp.g5125 do it in set design. post has limitations & it is not possible to change hues for 30-300 scenes without breaking the pallet. Even Kaurh's one will work smoothly for 12-bit or above, still with certain limitations.
This is cool 🥰 Max I sent you an email with a question... Can you check it? Thanks Marceli
Hi, sorry I'm just on vacation and can't monitor my email but I'll get back to you as soon as I get the chance.