jingnan shangguan June 22, 2021 Share June 22, 2021 Do you all know how to use filmlook LUT scientifically under Da Vinci's wide color gamut? Please help me to upload a picture example. Link to comment Share on other sites
Martí Somoza June 30, 2021 Share June 30, 2021 I haven't tried it, but it should be similar to building an empirical LMT for ACES. Basically color space transform from davinci wide gamut to the input color space of the LUT, apply the LUT, color space transform from the output color space of the LUT to davinci wide gamut again. Keep in mind that if the LUT was built for SDR it will probably compress and clip data. Also make sure all of the transforms are identical to the input and output transforms used for color management. Link to comment Share on other sites
Bruno Mansi July 1, 2021 Share July 1, 2021 If you're talking about the film emulation LUTS included in Resolve, Darren Mostyn covered this recently on YouTube. 1 Link to comment Share on other sites
Martí Somoza July 1, 2021 Share July 1, 2021 45 minutes ago, Bruno Mansi said: If you're talking about the film emulation LUTS included in Resolve, Darren Mostyn covered this recently on YouTube. Any LUT has a determined input and output color space, so the footage and display should always match those. If the footage doesn't match you should transform before the LUT, if the display doesn't match you should transform after the LUT, and of course if none of them matches it should be transformed before and after the LUT. In a color managed system with an intermediate working color space such as ACES or RCM2 the input and output transforms are already there, so you have to compensate for those before and after the LUT. There's this post about empirical LMTs that covers this: https://community.acescentral.com/t/lmts-part-2-how-do-they-work-and-how-are-they-made/1203 1 Link to comment Share on other sites
