Color nodes help.

I see people using a CST at the front and one at the end.I have 2 camera angles, one a pocket 3 and the other a sony fx 30.
This wouldn't work with say a camera needing a lut like the DJI pocket 3 conversion lut or if so how would this be presented on the node line?
Trying to wrap head around this.
I was just adding a node and applying the dji lut for pocket 3 from their website since the ones in Resolve are not the correct ones. Then grading in front of the lut.
I am also using footage from a sony cam using cine log 3 together on the time line.
Sorry for the mess here. ; (

Create groups based on their codec, then for each group add CST-in/LUTs node Group pre-clip and CST-out node Group post-clip. Now you can grade each clip individually without the need to add LUTs or CSTs nodes again.

https://documents.blackmagicdesign.com/ ... -Guide.pdf

Page 227

Thank you for this.
But how can you do a cst/in and cst/out using the dji pocket 3 lut which is D Log M, since I am not able to add this as the input for the cst/in?
There is no codec in resolve for the dji pocket 3 which is d log M.

Do you know its color space? Im sorry my experience is limited to braw.

I did a quick search, it looks like its color space is Rec.709. Maybe you can CST-in Rec.709/Gamma 2.4 —> DaVinci wide gamut and then reversed in CST-out. Just a thought. I hope someone else more experienced than me has a better idea.

So Omar’s suggestion of grouping is a good way to accomplish this. For the DJI pocket 3, you might not want to do a cst/in and out but just in that post group apply the LUT from DJI, the one that you believe is the correct LUT for it.

Continue on with your workflow until you want to apply a secondary grade, but before doing so, my suggestion is to do another transform to a color space that you will be able to work with and also plan to modify the look. For example, if I want to give it the Kodak film look, I would apply a cst in that’s from timeline to cst out of rec709 with Cineon gamma. Then I apply the Kodak look LUT. Following that is another cst in of rec709/gamma 2.4 to cst out of rec709 and gamma rec709 for delivery. Again, this is just another example.

My simple workflow pipeline is IDT -> CDL -> ODT -> LMT -> Delivery

IDT = An input color space maps the colors from a specific camera into a unified color space for grading.

CDL = Color adjustment nodes (LGG, etc.)

ODT = conversion to an output color space that you want to work on a use (I.e. Rec709)

LMT = The look management transform, applying look or show LUTs, etc.

Delivery = Delivery transformation nodes depending on what and where your picture will be delivered to. Example, broadcast cst to rec709, cinema house cst to dci-p3 color space… or whatever the director may want.