5 gain > any final adjustments like using the log wheels to add a little tint to the highlights or compressing the custom curves to get a nice milky lift.īig color houses like Company 3 do use LUTs for looks.

My main look node tree looks something like this - contrast > saturation > custom curves (mainly for HSL curves) > saturation using the gain in HSV > 2383 D65 LUT set to. From there, you can build a node tree around it that will allow you to create whatever “cinematic” look you want. If what you’re looking for is a cinematic look, start with the Kodak 2383 LUTs that come free with Resolve. I agree with most of these comments, I wouldn’t waste your money on a LUT pack. If you live three miles from the pub, you'll end up in someone's back garden wondering why there is no beer. This is great if you live 12 doors up on the right. And I think new video/colour learners are getting themselves in a real pickle with log, raw and LUTs, when a decent video gamma/colour space would suit their work much better.Ī LUT gets you to the pub by turning left and going 12 doors down. I just think it kills the curiosity of colour work if you want a finished image from a LUT. Or you might be using a specific camera *in exactly the scenario/exposure* that the LUT was built for and it will give you a good starting point. You might get lucky and have a good result. There's nothing wrong with mis-using tech - we've been doing it well for ages. They aren't designed to give a creative 'look' to anything, but they've been marketed as a magic bean. I always hate sounding like a snob when I suggest this, but I think LUTs have illustrated how confusing the collision between professional cinema and amateur video can be.

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