Updated Color Space Transform for G2

Hi guys,
I've been trawling the forum and have gathered advice given for colour space transform etc but with the introduction of GEN 5 colourspace within DR, id love to know the proper settings I should be inputting for my URSA G2 to get a proper transform. Also if you'd humour me, the settings where I want to be set to apply a Kodak film LUT 2345

I know this is a basic question so forgive me, I've just noticed within my research that there are some people who do a Basic CST at the beginning of their node tree, then do the grade in between and then apply a Kodak LUT at the end.

Thank you.

If you shoot BRAW then you can navigate to Camera RAW Settings in the Project Settings and tell Resolve and the Project to convert all the Gen 4 Color Science footage to Gen 5 through the RAW. I've saved this as a Default setting for all new Projects.

Then with your first CST Node you can do Blackmagic Gen 5 Film to DaVinci Wide Gamut DaVinci Intermediate. Do all your grade in the following nodes, and then close out with a final CST that goes from DWG to Rec709. That's my basic approach to start with a saved CST Node Tree PowerGrade.

The Kodak Film LUT 2345 can be applied after that Second CST towards the end of the pipeline. You can choose to go from DWG to a different color space and then transform that to the Kodak LUT using the right LUT input. I'll have to look at what options are there again for the LUT as I haven't used any LUTs for a while and can't remember off the top of my head.

The Kodak and Fuji print LUTs that install with Resolve were designed specifically to be applied to film negative scans in Cineon log as a display transform used in digital intermediate workflows where the result of the grade was going through a film-out back to print stock for projection.
To use them for a digital finish from digital cinema camera source media (a purpose for which they were not designed), they should be applied after a transform from your working color space to the Cineon log transfer function curve and also with a color matrix transform (usually in the form of a LUT) to adjust the color gamut of the working color space to account for (as much as is possible) the amorphous gamut of scanned film negative. These days there are plenty of film emulation plugins made specifically to be used with digital cinema camera log/raw sources that will deliver good results with less difficulty. Two of the better ones to take a look at are Filmbox and Colourlab Look Designer. Filmbox has the advantage of additionally including emulation options for film halation, grain, dust and gate weave.

I'll also add a plug for Dehancer Pro: https://www.dehancer.com

Two of the better ones to take a look at are Filmbox and Colourlab Look Designer. Filmbox has the advantage of additionally including emulation options for film halation, grain, dust and gate weave.

I like Filmbox and have used it in one production run. It is rather expensive and on a Windows PC, it only works with a NVidea GPU. I had an AMD card and had to get an NVidea card just for it and for the duration of the project. Colourlab Look Design is something I have been looking into and for less than 1K, it’s worth the investment.

FilmConvert Nitrate is worth a look too, quite a bit cheaper and still better than any LUTs.
They seem to have their New Year's sale still going on.