-
How to assign Lut to selected shots
Hi, all.
The current project is mixed by alexa, 5D, Film Neg, so I need to assign Arri_film lut to alexa materials, lin2log lut to 5D, and keep film neg normal.
How can I do that in several clicks?
Mark
-
10 Replies
-
Group the shots you want to have the LUT in, make a node, load the LUT, apply to group, ungroup.
Thats given the fact you are doing this BEFORE grading.
After grading, you have to save one with a LUT node, open the node graph
and drag it into the graph on the shots you want it.And yes, again the request for copying nodes to trees still stands.
A slice of color…
DaVinci 8.0.1 OSX 10.7
MacPro 5.1 2×2,4 24GB
RAID0 8TB eSata 6TB
GTX 470 / GT 120
Extreme 3D+ WAVE -
In fact, the only step you skipped is the one I really concern, that is how can I select/group those shots easily? around 1500 shots by alexa, 300 by 5D, and 600 by film neg…
-
Maybe you are lucky and they can be sorted by timecode.
Switch to that view and see if group-able shots are next to each other.
Then click first hold shift click last and Add to current group.
If they are all over the place, well, single clicks then.A slice of color…
DaVinci 8.0.1 OSX 10.7
MacPro 5.1 2×2,4 24GB
RAID0 8TB eSata 6TB
GTX 470 / GT 120
Extreme 3D+ WAVE -
Either that, or….
You could take the EDL into either a text editor or a spreadsheet and sort it by reel. That would group all like shots together according to their source, not just their time code (something Resolve really should do in C mode, but doesn’t). You could then do a conform with this EDL and assign the nodes as you need to. Then bring in the original EDL and do another conform. The Master Session will already have those nodes attached, so they should appear in the 2nd conform already.
Personally, I just keep those node configurations in scratchpads and apply them as needed as I work my way into the show. I don’t really see a need to do it ahead of time, since LUT’s can be attached to any node anyway, and their order in the evaluation stack thus controlled, thereby allowing corrections before or after the LUT.
-
For me personnally, I always believe start from somewhere as close as it could be to the “neutral and natural” point, is the rule for grading. So arri logc to film neg lut is absolutely needed b4 start real grading job. Which gives you natural saturation, which can’t achieve easily by grading.
Of course I know colorists doesn’t even use a film look lut, and they manipulate log dpx as linear files, still they got good results on final prints. But that’s not my way. -
I doubt if that kind of neat editors even exist around me. In fact, in the xml I got, there’s NO reelname for all the 5D and film neg materials…
I guess I will call the assistant editor, ask her for some decent help… -
>Of course I know colorists doesn’t even use a film look lut, and they manipulate log dpx as linear files, >still they got good results on final prints.
I don’t know why you would think that, but in general that’s not true. And in cases where it is true, the colorists in question are not doing their job properly and not getting optimal results. And a LUT has nothing directly to do with “film look” unless you’re working in a film targeted DI environment, in which you’re specifically using a film print preview to simulate the resulting print.
-
Instead of creating an EDL, you can also create an empty session/timeline, and then sort the media pool to locate the source easily, and then add these clips to this timeline. Apply the group grades to this timeline, and once you are done, you can ungroup them, and delete this timeline. The grades will be stored with the master timeline, and will reflect on your original EDL timeline.
Also – it would help if you organize the different sources in different media pool folders.
-
If you make yourself three settings on memory A B C its a matter of minutes to got through the whole show and press the keys.
Always given the fact you didnt start grading yet.A slice of color…
DaVinci 8.0.1 OSX 10.7
MacPro 5.1 2×2,4 24GB
RAID0 8TB eSata 6TB
GTX 470 / GT 120
Extreme 3D+ WAVE -
After more than a year of users asking for, Resolve still hasn’t implemented Log style grading controls. It doesn’t mean, that you can’t grade Log material with traditional telecine controls, nevertheless it would’ve gone a long way toward making Log environment complete. Personally, I too haven’t found, that working in video gamma for video deliverables to be detrimental to the quality of the finish.
Reply to this Discussion! Login or Sign Up