GUI LUT Any Chance?

[Robbie Carman]

[Toby Risk] “Currently, as far as I can see all the LUT’s affect all the outputs, which is limiting in terms of achieving accurate colour on the colourists monitor and the client monitor.”

Huh? Sorry to be slow on this one but grading should be taking place on a dedicated, calibrated and accurate reference monitor. While I can see some limited use of applying a LUT to the preview on the GUI I’m not quite understanding why not having this feature is limiting? The action is taking place on output monitoring.

Same goes for a client monitor – a proper client monitor should be in one way or another inline with your SDI output path. Are you using the GUI preview for client monitoring?

Robbie Carman
—————-
Colorist and Author
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[Juan Salvo]

Only GUI LUT I’d like is one to make it b/w to keep ppl from looking at it.

Colorist | Online Editor | Post Super | VFX Artist | BD Author

https://JuanSalvo.com

[Robert Houllahan]

Yep make the GUI B&W totally! Don’t look at the GUI…. nothing to see there…. you don’t like the GUI image better than the monitor… You don’t…..

-Rob-

Robert Houllahan
Director / Colorist
Cinelab Inc.
http://www.cinelab.com

MAHC-PRO 6-Core 2X GTX580 20Tb SAS Wave Panel Panny 11UK SDI Plasma. Light-Space CMS + Hubble

[Toby Risk]

Different setup ideas.

If all monitors were perfect then we’d be in heaven but they aren’t.
Clients get a nice big plasma with a LUT on it’s input to correct for deviation from REC 709. That’s a LUT produced by a 4 hour probe on Cinespace with a Klein K10 probe.

If I apply this LUT in Davinci then sure the plasma is equally well aligned but then it affects the GUI monitor, and all the SDI outputs which make the stand alone scopes incorrect.

Although the plasma is colour accurate it’s a little too far away for the colourist for fine detail work.

So we’d like a colour accurate monitor on the desk for the grader.

Ideally this would be the GUI monitor to avoid introducing yet another different coloured monitor into the room. Sure I know that there will be differences between the two according to the characteristics of the individual monitor, mainly the respective black points of the monitors, but we have several senior colourists come through here operating exactly this way on Scratch, which allows for seperate GUI and SDI path LUT’s.

So yes a GUI LUT would be a very useful addition.

Client monitor with LUT loaded into eeColor LUT box = correct Rec709
GUI display LUT on DaVinci = correct colourist monitor.
SDI output clean = scopes accurate.

Thanks

Colourist | Editor | Post-Production Consultant — 23 years at the post-production coalface, and still loving it.

[Margus Voll]

you need lut box for every display to be separate. specially plasma. then you can calibrate each monitor separately when you look them on sdi chain. now it seems that you have one lut in resolve that affects all displays. no wonder they look different. fyi plasma is not so good compared to lets say big tft to get it matching with your colorist dedicated tft. different technologies will be always a bit different.

—

Margus

https://iconstudios.eu
https://vimeo.com/iconstudioseu/videos

DaVinci 9, OSX 10.7.4
MacPro 5.1 2×2,93 24GB
GTX 470 / Quadro 4000
Multibridge 2 Pro

[Michael Stirling]

I use a AJA hi5 to split my output from Resolve to go straight to my FSI 2461w one way and through the eeColor to the projector the other. Works for me.

I guess you could have your internal LUT for your GUI on in Da Vinci THEN generate a new LUT for the client monitor from this output and store it as an option in the eeColor.

M.

[Sascha Haber]

It would be sooooo easy to implement this..
I am asking for that on the Scratch list for years as well.
At least they have the option to load in multiple LUTs, so I made myself a BW one.
But simple button would be so handy.
I mean, I turn my scope screen also to BW.
I think the engineers shoudl spend a day in a grading room with clients breathing over your should comparing screens.
They always do…you can tell them to walk away and only look at the dedicated screen.
And the trouble starts when they like your UI better.

So, i second this request big time…either separat LUTs or a simple BW button…Yes please

A slice of color…

Resolve 9.1.1 OSX 10.8.2

Colorist / Aerial footage producer
https://vimeo.com/saschahaber

[Joseph Owens]

[Sascha Haber] “And the trouble starts when they like your UI better.”

(this should be read as a LouisCK-ish rant, so proceed with caution)

Hmmm… sounds familiar… where have I heard this before…. oh , yeah, nearly every day for almost 20 years. From before we had dependable monitor-matching… to now when there are almost no standards in place that anyone pays any attention to, or are possibly not aware of, plus we are no longer grading for a well-defined target, which used to be strictly broadcast. And everything, at least here, was 525i. Plus ça change…

Sounds like the UI display device should be… maybe at least a calibrated, characterized Dreamcolor, rather than any random $75 Insignia sRGB graphics display from Staples or Future Shop. Okay, the colorspace may be similar to, but it isn’t 709.

And I somewhat agree that the UI should probably be monochrome. I use it for conform, tracking and setting up power windows. That is all. Grading with your nose up against the glass is no way to get a sense of the picture values. Close enough, all you see is pure RGB dots, let alone a nuanced, contrast-balanced rendition. It occurs to me that someone who is re-painting every single element in a scene is a graphic artist, not a colorist. But this may be an out-moded world view, which is related to an also possibly dated interpretation of what DP/Cinematographers do.

I mean, how on earth did we possibly function with the text-only displays we had with daVinci Renaissance? event-beep. {static][-1][preview][dissolve] = auto dynamic scene ripple…. woooooo….(the little three-eyed guys from Toy Story, who obviously see in Technicolor).

“I can’t work this way!”, “no brown M&M’s…”

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.

[Eric Johnson]

Not to flog a dead horse here, and correct me if I’m wrong, Even if you had an EIZO or Dreamcolor wouldn’t it be for naught? As I understand it, the GUI (in Resolve) isn’t even designed to represent full color… even with a LUT… I mean, isn’t it subsampling the image so as to alleviate resources for the actual monitoring and application of corrections?

That’s the impression I always got from the Apple Color GUI preview… and like I said, I could be wrong…

[Kurt Hennrich]

for me the resolve monitor is too bright, disturbing the looking to the projection.
lowering the monitor brightness in hardware is no option because I dont want to fidel around when switching to photoshop etc…
for now I am using the Brightness app (mac) to dim the screen while grading. quitting it sets the brightness back to normal.

so a brightness/saturation control for the resolve interface screen would be wellcomed option.

kurt

Kurt Hennrich
1z1screenworks
1z1 tools for FCP : https://www.1z1.at/plugins/