- OUTPUT LUT DAVINCI RESOLVE HOW TO
- OUTPUT LUT DAVINCI RESOLVE SERIAL
- OUTPUT LUT DAVINCI RESOLVE PRO
- OUTPUT LUT DAVINCI RESOLVE SOFTWARE
OUTPUT LUT DAVINCI RESOLVE SERIAL
To better understand how serial nodes work, let’s have a look at our node tree above and see what’s going on there. Our node tree would look something like this: When using serial nodes, they are applied in a serial fashion, meaning one is applied after the other and each serial node is “fed” with the result of previous serial nodes. Next we will create 4 serial nodes in total. To do so, go into Camera Tab and select the following:ĭecode Quality: Whichever quality your machine can cope withĭecode Using: Clip – this will allow you to decide on Decode settings on a per clip basis So the very first step we need to get right is to make sure we’re interpreting our RED footage as IPP2.
OUTPUT LUT DAVINCI RESOLVE HOW TO
Please have a look at this short video tutorial explaining how to work with IPP2 footage in DaVinci Resolve. Again, I suggest you read our previous tutorial to understand better why it’s important to make all your color grading decisions in REDWideGamutRGB and convert into Rec709 at the very end. Personally I prefer to make the conversion into Rec709 on the last node in DaVinci Resolve but you could also use the Color Management tab in the project settings. No matter which route you decide to go, you should make sure that conversion from REDWideGamutRGB and Log3G10 into Rec709, or any other viewing color space for that matter (P3 for example or Rec2020), happens at the very end of your color grading pipeline.
OUTPUT LUT DAVINCI RESOLVE SOFTWARE
Log3G10 is a log curve specifically designed to encode camera data in REDWideGamutRGB color space for subsequent color grading and transformation to HDR, SDR or any other encodings. This simplifies the workflow tremendously. This means RED is now using one color space rather than infinite number of color spaces differing upon the characteristics of the camera and the development settings of the raw information. Those of you who remember the days of the CameraRGB and are familiar with it, can think of the new color space from RED as CameraRGB albeit standardised.
Essentially REDWideGamut is a standardised CameraRGB color space. REDWideGamutRGB is a camera color space designed to encompass all colors a RED camera can generate without clipping.
Here’s a quick recap of the basic things you should know about IPP2. If you haven’t read our previous tutorial, I suggest you do so before reading this tutorial as some of the basic concepts of working in a wide gamut RGB color space are covered there and we won’t go into great detail here again. So, without further ado, Let’s get into it.
OUTPUT LUT DAVINCI RESOLVE PRO
Since our last tutorial on how to correctly color grade RED IPP2 footage in Premiere Pro we got a lot of emails from you guys asking for a tutorial how to do the same in DaVinci Resolve.