#Best cinelike d lut davinci resolve software#
#Best cinelike d lut davinci resolve professional#

I tried various techniques for making the G6 emulate a logarithmic colour space: putting all the picture profile settings to -5, raising the gamma and lowering the contrast in post, as well as Juan Melara’s video-gamma-to-log LUT, which you apply before the film stock LUT. The results would be very aggressive and pushed, over-saturated and contrasty to the point of solarisation.

Using these LUTs with the G6 footage was tough.

#Best cinelike d lut davinci resolve software#

The problem has been that many of the film stock LUTs that are available online or come bundled with software like DaVinci Resolve assume that you are shooting with a camera that has a 10, 12-bit or RAW colour space, or else a logarithmic (log) recording format. I understand why the qualifier was given, to tamp down expectations in the face of uncertainty.I’ve been experimenting with using film stock emulation LUTs (look-up tables) with footage shot on my Panasonic G6. I have been recently researching an optical addendum to that, and will be publishing the details a bit down the road. There are post settings to simulate the OLPF texture, as measured in side-by-side. I supplied raw side-by-side footage from both cameras for everyone to confirm the match:

The actual core conversion, which Cameron does not show in the video, is a technical transform to a measured LogC (through the lens). Granted 1) the footage was shot under reference sun or halogen lighting 2) with a neutral WB 3) within the limited DR of the GH5, GHa really will make the GH5 (not the S) look *exactly* like the Arri Alexa at identical settings, with the same lens I love that you got around to Emotive Color. Here is a response I gave on Reddit sometime back: Over the past year, the response has been so positive, but there has been a group that doesn't actually look into what it is I'm doing, because of the prevailing reputation of look-up tables. I hope you'll take a closer look with this one.' The LUT format is a simple, elegant tool that may be used to achieve a thing of beauty, or most often, blunder. Raw footage side-by-sides are available for anyone to confirm, for themselves, the extent of the color science match. It is not an instant grade, a notion which runs counter to the ethos of the project (as in the PDF, at minimum the luma of each shot must be placed)Īdditionally, the project has involved discovering and correcting for NLE distortions of formats and color grading tools (especially PPro), measuring and standardizing OLPF texture emulation, and developing a starting color base that rivals quality colorist pipelines (and emphasizes correct cinema luma placement). One could think of it as an epic color chart match, of one color science to another cherished color science (well beyond a Resolve color chart match), with special provisions for rolloff. Coded a custom color engine to interpolate between those ~55K data points Bought an actual Alexa Classic to iterate with (really) Built my own sample system that measures ~27K color points for each camera Smoothness (silk gradients, not a single artifact)

Absolute accuracy to the Alexa's actual response (not just LogC format params), at every point in the color space Since April of last year, I have continuously refined the model to achieve two things: something, not in any way connected to the cinema screen.

#Best cinelike d lut davinci resolve professional#

I understand LUTs have a poor reputation, appropriately so, because they have often been used to achieve lackluster color, not geared for professional purpose (artifacts, garish saturation, weird hues). 'Hey, Alex here (author of the GHa conversion)