What version LUT uses DVR?

I am using DaVinci Resolve Studio 18 to edit video footage from a Nikon Z9, which was shot in NRAW N-log format. My preference is to utilize Color Management within DaVinci Resolve.

Usually, I simply choose the appropriate Input Color Space from the Color Management settings menu. In this case, I am able to select Nikon N-LOG as my input color space. Additionally, I can download the Z9 N-Log 3D LUT from Nikon's support website. The latest version available is from October 2022 (V0104W).

My question is: Which version of the LUT does DaVinci Resolve use? Is it a LUT that Blackmagic Design developed independently, or is it the most recent version provided by Nikon, or something else?

Furthermore, do you have any recommendations on the best LUT to use for this situation?

Errr, "Nikon N-LOG as input color space" is not a LUT.
So, none, is the answer.

Why it's brilliant: A LUT is a "This specific color in gives this specific color out" unchangeable. Color management is a lot more flexible and adjustable.
See chapter 9 in the manual

You don't (can't) choose an Input Color space with raw formats using Resolve Color Management (RCM) which handles it all behind the scenes.

P209 Resolve Manual - Identifying Input Color Space: If the source media is a camera raw format ....... DaVinci Resolve uses manufacturer-supplied colorimetry to automatically debayer the clip and identify its Input Color Space.

If you want further control, use the Raw tab in the Color Page and hit Decode Using Clip. This gives a big range of decode options with NRAW.

My question is: Which version of the LUT does DaVinci Resolve use? Is it a LUT that Blackmagic Design developed independently, or is it the most recent version provided by Nikon, or something else?

To more specifically answer your question, Blackmagic doesn't create LUTs for each specific camera. They've developed a Display Rendering Transform or DRT which is called DaVinci. When you use their color management this mechanism converts the capture scene data to the display with preferential contrast and tone mapping similar to what a camera vendor supplied LUT does. The difference is that a DRT is a generalized method to serve virtually any (sensible) input data and produce a predictable result so it is not tuned to a specific brand or sensor. They are developed to serve as a global color management system for film productions. No DRT looks the same, but they're all purposed to serve as starting point for grading and be robust and predictable enough to reach creative intent for any display standard it supports.

Ha, the moment you realise I know nothing. I thought I had a grip on color management (CM), but turns out I don't know as much as I thought. Thanks for all your help! Someone told me to use the Z9 N-Log 3D LUT to convert my footage to Rec 709, but I've never done that before.

After thinking about it, I'll just stick to my usual method - I'll use DV color management, edit in DV Wide Gamut, and then convert to the color space I need when I'm ready to deliver. But I'm still gonna check out Chapter 9 to get a better understanding of what's going on behind the scenes.

You don't (can't) choose an Input Color space with raw formats using Resolve Color Management (RCM) which handles it all behind the scenes.

P209 Resolve Manual - Identifying Input Color Space: If the source media is a camera raw format ....... DaVinci Resolve uses manufacturer-supplied colorimetry to automatically debayer the clip and identify its Input Color Space.

If you want further control, use the Raw tab in the Color Page and hit Decode Using Clip. This gives a big range of decode options with NRAW.

I must admit that I don't fully understand this either.

From what I know, shooting in a log format means that the video has already gone through the debayering process. So, I'm not sure why there would be a difference between shooting in NRAW and NRAW N-log.

When using DV, I choose the input color space as Nikon N-Log. This indicates that the NRAW footage is debayered to a log gamut curve, which then becomes the input color space that DV utilizes.

You don't (can't) choose an Input Color space with raw formats using Resolve Color Management (RCM) which handles it all behind the scenes.

P209 Resolve Manual - Identifying Input Color Space: If the source media is a camera raw format ....... DaVinci Resolve uses manufacturer-supplied colorimetry to automatically debayer the clip and identify its Input Color Space.

If you want further control, use the Raw tab in the Color Page and hit Decode Using Clip. This gives a big range of decode options with NRAW.

I must admit that I don't fully understand this either.

From what I know, shooting in a log format means that the video has already gone through the debayering process. So, I'm not sure why there would be a difference between shooting in NRAW and NRAW N-log.

When using DV, I choose the input color space as Nikon N-Log. This indicates that the NRAW footage is debayered to a log gamut curve, which then becomes the input color space that DV utilizes.

You are definitely misunderstanding and it is partly due to Nikon's terminology for NRAW (Log or SDR Tone Modes in the Z9 settings). The good thing is that you don't actually need to understand it to use it properly.

The bottom line is that if it's NRAW then it is a raw format and you have no choice of input color space when using RCM. You can choose an input color space in the Project settings but it makes no difference - Resolve won't use it if it is a raw format. Resolve will perform the debayering behind the scenes and your choice of Input Color Space is irrelevant when using RCM.

You are getting confused because of the two Tone Mode options for NRAW (N-Log or SDR in the Z9 settings). To be clear, the same options are available for ProRes Raw, ProRes and H265 10-bit (which also has a HLG option). This is very confusing terminology in fact. I think Nikon could have come up with something a bit more accurate for what these mode settings actually do. I can understand why you are confused and the Z9 manual doesn't say much about this. All it seems to say is that you should use the N-Log option for best preservation of highlight detail and the SDR option for better noise control in the shadows. Basically this is all related to the various ISO options. To be honest I don't really understand it properly myself but I do know how to use it. Each of the Log and SDR options can be used for HDR as well as SDR - very confusing.

If you want to record an actual non-raw log format, then use the ProRes or H.265 options and choose log to see how this works. You will then be able to set an Input Color Space on a clip by clip basis which you can't do with NRAW.

My advice is don't overthink it - just use it. The NRAW quality is amazing whichever setting you use.