Export a monitoring LUT from a color managed workspace

My question is:
How do I export a LUT created in a color managed environment for use in a non-color managed environment? Specifically, for use as a monitoring LUT, loaded into an Ursa Mini 12k.

Some details:
Using test footage, I created a look in Resolve that I plan to use on an upcoming project. I would like to export this look as a LUT and load it into the Ursa Mini 12k we are shooting on, to have it as an option for monitoring on set.

The problem is that the LUT does not look correct when displayed from the Ursa. On the Ursa, the contrast is very washed out. But it does look correct when I apply the LUT to the same footage in resolve.

I suspect this is because I am grading in resolve’s DaVinci YRGB color managed environment, set to HDR davinci wide gamut intermediate. I’m guessing that the way that color management translates the BRAW footage is not recorded as part of the exported LUT. Which would make sense, if you wanted to use the LUT in another color managed environment.

Any ideas on the best way to export this LUT for use in the Ursa Mini? I would prefer to generate the LUT from the color-managed grade, rather than have to recreate the LUT from scratch in a non-color managed environment.

If you don't like the LUTs coming with the camera, I'd switch to manual, RAW input to log and manually make a look that satisfies you.
Export that as LUT.

So, I figured out how to do it, the solution is simple enough.

If you are building your look within Davinci Color Management, or otherwise have a LUT made for an intermediate color space such as DaVinci Wide Gamut, here's how you can export the DWG LUT for use in-camera.

First, in your color managed project, pick a clip and create the look you want. Then generate a 33 point LUT from the clip. This is the DWG version of your LUT.

Second, create a new project. This second project does not use color management. Instead, use the following color settings:
* color science set to DaVinci YRGB
* timeline color space set to DaVinci WG/Intermediate
* output color space set to Rec.709(Scene)

Next, import a clip so that you have something on your timeline. Then, on the color page, create three serial nodes. The first and last nodes are Color Space Transforms, the middle node is your LUT.

This is just a run of the mill color space pipeline. But done this way, the color space transforms are baked into the LUT, and the results will look correct when you load the LUT into your camera and view the live feed on a monitor.

If you are unfamiliar with setting these color space transforms up, here are the details.

On the first node, add the CST plugin and set the input color space and gamma to whatever matches your camera output. In my case, the camera is the Ursa Mini 12k. So I'm using "Blackmagic Design Video Gen 5" as my input color space and "Blackmagic Design Film Gen5" as my input gamma. If you are using Arri, Red, Sony, etc, use the appropriate settings for those cameras. Set the output color space to "DaVinci Wide Gamut" and the output gamma to "DaVinci Intermediate".

On the second node, apply the DWG version of your LUT.

On the third node, add the CST plugin and set the input color space to "DaVinci Wide Gamut" and the input gamma to "DaVinci Intermediate". Set the output color space and gamma to "Rec.709".

At this point, you should see the that the LUT is applied correctly to the clip. Generate a 33 point LUT from the clip. This is a Rec.709 version of your LUT which will work correctly in your camera.

This workflow is nice, because you can just save the second project, and use it to easily update your LUT as you continue to develop your look in your original project.

Hope this helps someone else!

Cheers.

That's the scientific approach! Thanks for posting.

So, I figured out how to do it, the solution is simple enough.

Your thought process is correct but one step is too complicated and inefficient. You don't have to export your initial grade as a LUT. You can simply grab a still and save it in your stills folder if it's within your project or a powergrades folder if you want to save it on the entire database. Then follow the other steps as is but just load the grade in between those conversions. This way all the adjustments are still from the original math instead of a double baked LUT. It may give a bit cleaner results. The other benefit is that your looks will be saved as grades instead of LUTs so easily adjustable and movable in post.

You also don't really need a new project to create the LUT, you could also throw on the CSTs inside your managed project temporarily to export the LUT and take them off again afterwards. Your viewer will look funky but what's on the node tree is only what gets baked in.

If for whatever reason you still prefer creating the initial LUT first, probably make sure you have Tetrahedral LUT interpolation enabled in the color settings before creating that second LUT.

Your viewer will look funky but what's on the node tree is only what gets baked in.

Just right click on the clip and temporarely select Bypass Color Management. Apply a CST before and after the grade that mimics what CM did before.

Those are both great improvements, thanks!

Just created a monochrome Rec.709 monitoring LUT for my Pocket 4K using this information.

Must add that that was after spending days trying to wrap my head around how to do it.

Thank you, Ted and Shebanjah for sharing your knowledge, really appreciate it.

I am on a Mac, and often use REC709-A as my timeline color space with a YRGB project. If I wanted to create LUTS for use in both Davinci and Adobe Premiere Pro, what color space should I use for my timeline space? Or what output should I set on a CST at the end of my node tree? (Does the timeline space matter when exporting LUTS? Is timeline space only used for viewing but doesn’t affect color transforms?)