The only reason why we are doing this is that this LUT is expecting ARRI footage and it is meant to work only with ARRI color specification. Since our footage was shot on a BMPCC 6K, go into CST’s ‘Input Color Space’ and ‘Input Gamma’ and select black magic 6k pocket camera, and in ‘Output Color Space’ and ‘Output Gamma’ select ‘ARRI Wide Gamut 3’ and ‘ARRI LogC3’ respectively.Īlso, click on the ‘Tone Mapping Method’ and select none in it. Let’s go ahead and click on the effects tab and apply the Color space transform (CST) on the node. Let’s quickly move to our second shot which has been shot on a black magic pocket 6k camera and find out how to apply our free 2383 scene LUT correctly on it by using the Color Space Transform tool. You can see the visible difference, the shot has much more baked-in 2383 contrast and saturation. We will add a serial node just before our CST node and apply our free 2383 scene LUT. On the classic Arri test shot on our timeline, we have applied the color space transform (CST) node to it. Now that we have some background knowledge on the LUT, let’s jump into our blog and find out how to apply the LUT inside Davinci’s resolve. Nonetheless, the look serves as an amazing starting point for your projects. Hues and creative contrast curves present a closer match to the classic 2383 style look, but there’s an additional attempt to add a negative film-like saturation. We’ve rebuilt this LUT from scratch in Fusion and while this is an attempt to emulate the LUT as closely as possible, a creative flavor is added to it. This separates the creative look from the color space transformation that’s baked in Resolve’s version of LUT. To solve this minor inconvenience, we have created a 2383 Film Emulation LUT that emulates just the look element of our classic 2383 LUT. While our digital workflow allows us to recreate the film look on digital footage, the log to display color space, that is rec709, is baked in within the LUT that comes with resolve. As a creative manipulation, many colorists and filmmakers around the world have started using the LUT as a starting point for their grades. It was meant to be applied to the processed and scanned film footage. You must already be aware of the film LUT that comes with resolve for free – ‘The Kodak 2383 Print Film Emulation LUT’. FILM PRINT STOCK – Kodak Vision Color 2383/3383 INCEPTION FILM NEGATIVE STOCK – Kodak Vision3 250D 5207/7207 Neg. MAD MAX: FURY ROAD (2015) FILM PRINT STOCK – Kodak Vision Color 2383/3383 JOKER(2019) FILM PRINT STOCK – Kodak Vision Color 2383/3383 But even in the era of all-digital acquisition and production, getting that “photochemical processed film look” is still a top priority for many modern Filmmakers, Cinematographers, and Colorists. Gradually, digital acquisition of imagery became more common. THE GODFATHER: Directed By Francis Ford CoppolaįILM NEGATIVE STOCK – Eastman Kodak Color Negative 100T 5254/7254 FilmĬINEMA PARADISO : Directed By Giuseppe Tornatore When a picture was developed and transferred to print stock for further distribution, its final look was determined by this photochemical process. In this blog, we will tell you about the 2383 LUT that we have created and how to apply it correctly inside Davinci’s resolve.īefore the widespread adoption of digital cinematography, films were shot on film stocks and processed in specialized photochemical laboratories. Hope you all are overflowing with ideas and beaming with imagination.
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