Canon log2 lut davinci resolve how to#
Canon log2 lut davinci resolve iso#

Part 3: Using DaVinci Resolve LUTs in Photoshop Turning a LUT down by half would be a value of 0.5

Key Output controls the opacity for that node (and the LUT applied to the node).

Open the Key panel from the panels toolbar.

Apply the LUT by dragging and dropping from the LUT browser to a node in the node graph.

The LUT browser panel on the Color page works great for this (it includes a hover-scrub preview too!)

Find a LUT you want to apply to your shot.

Apply a LUT to Any Node in the Color page

Canon log2 lut davinci resolve how to#

These could work in short films, as well as any stylistic project.ĭownload Moody Travel Color Grades Now Part 2: How to Control the Intensity of a LUTįound the perfect look for your project, but the results are perhaps too bright or colorful? Read on to find out how to tone down a LUT (or any single node) in DaVinci Resolve. Deeply rich mid-tones, muted colors, and soft highlights build out an excellent starting point for all kinds of different projects. I thought I had performed a similar process with drone footage a year ago, but I couldn't remember exactly how to do it (or I probably just used a LUT, which I think works the way I did it).Moody Travel Color Grades will transform landscape photography with a dramatic twist. Since a lot of people tend to shoot LOG overexposed, and since LOG can contain a lot more brightness than standard definition, you might have to reduce the brightness. Then in Input Gamma you want to select Canon Log 3 (or whichever version of Canon log you are using). Then in the Settings for that Color Space Transform, you would change Input Color Space to Canon Cinema Gamut Instead, you would look in the Node Library (it is to the right of the node tree), scroll down to you see the Resolve FX Color nodes, and then drag and drop a Color Space Transform on to that node. What you are doing is just telling Resolve, 'I want to WORK in the Log Gamma and the CLog Color space.'įor the clips to 'look normal' (meaning not washed out), you will need to CONVERT the clips to a Rec 709 image.įor your example, you would NOT change the gamma and color space in the first node. When you do that (right click the node, select the Log Gamma and the Color Space in the node), you are not actually 'converting' anything. The above steps you did are fine (it's one way of doing it), but the step below is probably NOT what you want to do:

Am I doing it wrong?Īlso, do you overexpose your log files compared to 'normal' video? Do you have zebras set up, to what levels? I right-click the node and select both the log gamma and the color space.ĭoing the above changes the curves in the bottom panels, but the clip itself renders exactly the same as before.I find the 'default' node that davinci creates in the upper right corner.Though I have already tried to play with the mentioned settings and it did not seem to affect my clips at all.

Here is an example, with no other processing: I use DaVinci Resolve Studio color management, setting the input gamut to Canon.cinema (which is what I use) and the input gamma to Clog 3. I have shot the same short inddor clip in both normal mode, and with different log settings, and no matter what I do the log clips never look nearly as good as the normal shot.Ĭan anyone share their workflow? How do you expose properly? What LUT's are you using? what nodes/settings? I just want a baseline that roughly looks like the 8bit video shot, then I can color grade and process from there. I have tried the LUT built in to Davinci Resolve 17 (on my macbook), but it still looks like ****. When I shoot log video the image comes out far grainier and different looking than the 'normal' video.

Canon log2 lut davinci resolve iso#

I usually leave sharpening to the last node, and in those instances, I change the color space of that sharpening node to LAB and then I un-check Channels 2 and 3, which means that (theoretically, at least) I am applying sharpening to luminance contrast and not to color contrast, so again, theoretically, wouldn't amplify color noise too much.ĭo you know what ISO you were shooting at when you were shooting in CLog? The first node in my node tree would be for exposure corrections (so using HDR panel) second node would be my primary color corrections and third node would be my secondary corrections. Then go to your media bin and right click on your Canon RAW files, and change the Input Color Space of the files to CLog3

Then in the Resolve Color Management Preset box directly below it, change it to Davinci Wide Gamut Go in to Settings -> Color Management -> Color Science and change it to Davinci YRGB Color Management. I don't shoot with Canon (I use panasonic) but I agree with that you should try to use Resolve 17's YRGB Color Management and Davinci Wide Gamut, along with the new HDR panel, when grading.