You’re probably using DaVinci Resolve’s Film Look LUTs incorrectly.
But wait, LUTs are easy, right? You just add it to a node and you’re done, right!? Sometimes, sure.
And sometimes you can adjust the key output gain to adjust the LUT’s intensity. But that’s not how Resolve’s Film Look LUTs are supposed to work.
Watch the video above and Darren Mostyn will set the record straight once and for all.
Darren will show you:
- The wrong way
- Using a CST to change the output gamma, prior to the LUT
- Using compound nodes to dial back the look
Why does it work this way?
Film Emulation LUTs were developed for film that was scanned into a computer and graded that way. But colorists needed a way to visualize what the image would look like once it was printed back onto film.
Hence, film print emulation LUTs and why the Cineon film gamma is needed.
Cool tip, huh?
Remember, this doesn’t apply to all LUTs. In this case, it’s just the built in Film Looks in Resolve.
But keep in mind that every LUT expects a certain input and delivers a certain output.
If a LUT isn’t behaving the way you want, try giving it a different input or check with the creator of the LUT to make sure you’re using it correctly.
Gedaly is the Founder and Lead Educator of DVResolve.com and is Blackmagic Design Certified Master Trainer. He’s edited commercials for major brands and has done color & VFX for independent films. He consults on post-production workflow and creating online education. Gedaly is the co-founder of Working.Actor, a former marketing manager for large brands, and creates original film projects with his production company Razee.