lkakwars.blogg.se - Film luts for davinci resolve

The scanned film footage comes in the color space gamma “Cineon Film Log”. Why “Cineon film log”? That is because the LUT is actually designed for scanned film footage.

To fix this, we’ll select the node before and change the output gamma to “Cineon Film Log”.

But as we apply the Rec709 LUT, we see that it is overly contrasty footage.

We will go to film looks under LUTs and select Rec709 Kodak 2383 D55.

But that will be the topic of some other day. It basically works in replacement of a Log to Rec709 LUT, only offering more utility and flexibility. For those who don’t know what the last node does here, it basically transforms your footage from the color space it was shot into Rec709. Our current node tree involves white balance, Primaries, grain, and Rec709 Color Space Transform.

After we have imported and graded the footage.

This means you will have to do a lot of color and gamma manipulation to get a good image with controlled saturation. It's gamut is wider than Alexa Wide Gamut but the tone curve has far less dynamic range than Log-C.

You should grade in nodes after the transfer function luts but before the PFE lut and, if your doing something for TV or the web, always use the scopes to ensure your colors and levels stay legal.īMD Film is a very big colorspace. The color gamut will still be BMD Film so you will still need to do some work with the color and contrast/curves/LGG etc.

The built-in Film luts in Resolve expect print density input so you need to get from BMD Film log to Cineon log (or carefully manipulate the curves) then add the Resolve film lut - but remember, Resolve VFX luts only allow 1D transforms (i.e. If your 2393 lut is not from VisionColor you will be better off staying with BMD Film colorspace. Why do you want to use the BMD Film to VisionLog lut? AFAIK it's only for VisionColor Osiris luts.