Blackmagic Forum

Hey all - I'm not a professional in any way, but do take pride in creating videos for my (and my mates) mountain biking escapades. A month or so ago I tried Resolve and now I'm absolutely hooked and just paid for the Studio version last week.

My question is this. I'm starting to take color grading much more seriously but I cannot work out how to get my flat GoPro profile image mapped to a Rec.709 space so as to give myself a consistent starting point. Does anyone have any experience of how to do this please?

From what I can see this appears to be a common issue with all action cameras (DJI Osmo, GoPro Hero 7, 8, 9, etc).

Thanks

There are no profiles for GoPro cameras included with Resolve, so the two ideas I have are:

1. Don't shoot flat, or...
2. Find a LUT somewhere on the Internet and use that.

I've developed IDTs for GoPro Protune if you're looking to dabble in ACES.

https://github.com/xtremestuff/protune-transforms

I could possibly add a transform for Rec 709 Scene conversion if there's a request to do so.

Ground Control groundcontrolcolor.com/ has a free GoPro Protune to rec.709 LUT.

RikshaDriver wrote:I've developed IDTs

I'm not aware of any way for us to add those to Resolve.

Are you?

Save the DCTL files in your LUT folder, then load them via the LUT drop down for the Clip (or DaVinci CTL if using Resolve 16 and below). You just need to bypass any input transform for the Clip. That's how it's been for years.

Jim Simon wrote:

RikshaDriver wrote:I've developed IDTs

I'm not aware of any way for us to add those to Resolve.

Are you?

You have already asked it, multiple times if I remember correctly, and it has been answered how it works, also multiple times. Search the forum.

RikshaDriver wrote:I've developed IDTs for GoPro Protune if you're looking to dabble in ACES.

https://github.com/xtremestuff/protune-transforms

I could possibly add a transform for Rec 709 Scene conversion if there's a request to do so.

Lots of info - thanks all

I have never heard of ACES and so I just did a quick google and read up on it a bit. So as I understand it all camera manufacturers have at least one IDT for their cameras, sometimes multiple for different wb settings. This almost appears to reverse engineer the manufacturers camera data back into a pure linear light info (following the ACE standard). If I've understood that correctly then I can see how this would probably work for me - it seems the ACEScc is somewhat similar to Rec. 2020, but I guess as long as that's a consistent starting point then I should be okay to grade my clips from there??

I think I'll see about giving this a go. Thanks

Fellow mountain-biking GoPro user here. The Leeming Pro range have a couple of GoPro LUTS which are easily added to Resolve. I often use them myself to get GoPro 8 Protune flat to Rec 709 for YouTube. However Leeming LUTS are definitely picky about the camera settings and exposure. Have a look at the setup guide for the appropriate LUT for your GoPro model. Colour must be FLAT and white balance NATIVE otherwise things get weird pretty quickly. I find the Leeming LUTS generally need plenty of light in the shot - he recommends ETTR, but that's not really an option on a GoPro. So sometimes it's a great LUT for a GoPro, other times not so much, and I often choose to hand-grade the output instead, especially for darker footage.

GoPro flat can usually be hand-graded fairly easily though. Just treat it like a LOG grade (plenty of Resolve tutorials out there for basic LOG grading) and you can get it looking decent in no time. Then copy that grade to to the other shots as a base point to work from.

bobosola wrote:Fellow mountain-biking GoPro user here. The Leeming Pro range have a couple of GoPro LUTS which are easily added to Resolve. I often use them myself to get GoPro 8 Protune flat to Rec 709 for YouTube. However Leeming LUTS are definitely picky about the camera settings and exposure. Have a look at the setup guide for the appropriate LUT for your GoPro model. Colour must be FLAT and white balance NATIVE otherwise things get weird pretty quickly. I find the Leeming LUTS generally need plenty of light in the shot - he recommends ETTR, but that's not really an option on a GoPro. So sometimes it's a great LUT for a GoPro, other times not so much, and I often choose to hand-grade the output instead, especially for darker footage.

GoPro flat can usually be hand-graded fairly easily though. Just treat it like a LOG grade (plenty of Resolve tutorials out there for basic LOG grading) and you can get it looking decent in no time. Then copy that grade to to the other shots as a base point to work from.

Thanks for that! After posting earlier today I found his site and actually messaged as he doesn't yet have a LUT for the Hero 9 which I'm mostly using. Having said that he did say he would created one in the next few weeks. Problem is I need something now

I have been hand grading and doing fine with that (quite enjoy it actually), but if I want to use some LUT looks I see online they have to start from a known point and that often appears to be Rec. 709. It was really more for that.

Oh, and you're just down the road from me (Newbury). We'll have to swap mtb rides and trails stories some time

RikshaDriver wrote:Save the DCTL

Wait. You said you made an IDT?

lrose69 wrote: but if I want to use some LUT looks I see online they have to start from a known point and that often appears to be Rec. 709. It was really more for that.

Fair enough. Like you I started on Resolve Free and soon upgraded to Studio (not least for the lens correction tool for GoPro footage). I've been down the LUT rabbit hole and have wasted money on all sorts of LUTS (for other cameras as well as the GoPro) which promised a magic bullet for effort-free grading, but which almost never delivered, or at least rarely. So expect to be somewhat disappointed in the world of LUTS

Oh, and you're just down the road from me (Newbury). We'll have to swap mtb rides and trails stories some time

Heh, not much riding going on here right now because all my good trails are a drive away and Boris is watching me...

Jim Simon wrote:

RikshaDriver wrote:Save the DCTL

Wait. You said you made an IDT?

A DCTL can be used as an IDT, an ODT or anything in between

lrose69 wrote:Thanks for that! After posting earlier today I found his site and actually messaged as he doesn't yet have a LUT for the Hero 9 which I'm mostly using. Having said that he did say he would created one in the next few weeks. Problem is I need something now

I have been hand grading and doing fine with that (quite enjoy it actually), but if I want to use some LUT looks I see online they have to start from a known point and that often appears to be Rec. 709. It was really more for that.

ProTune Flat (a Gamma curve) with Native (Color Space) is virtually the same across the GoPro range.

You're heading in the right direction though given you'd like to start off from a standard base. Thankfully in Resolve you also have Resolve Color Management in addition to ACES.

Unfortunately the first thing that tends to get recommended is a LUT which is like bringing a knife to a gunfight. LUTs have a use, but can't stand up to the accuracy of technical transforms. This is where Resolve really shines over other applications like Premiere where LUTs are really the only option.


Any way, I'll add the Rec.709 Scene ProTune transforms to github soon.

RikshaDriver wrote:Any way, I'll add the Rec.709 Scene ProTune transforms to github soon.

Awesome. That'll give me time to work out how to set it up in Resolve's Colour Management (and for my license key to arrive as using DCTL's appears to be Studio only). Time to google...

2 Transforms added on Github.

GoPro_Protune_Native_Rec709_Scene.dctl
GoPro_Protune_Rec709_Rec709_Scene.dctl

RikshaDriver wrote:2 Transforms added on Github.

Thanks very much for doing this work. I dropped both into my LUT folder and could use them like a LUT immediately. I'm very impressed so far, but can I ask for a clarification on the best use settings in the GoPro please?

I assume both are for the GoPro Protune flat colour profile, but one is for use with 'Native' WB and the other for use with 'Auto' WB? Is that right?

Or is the 2nd one to bring the rather-too-vivid GoPro colour profile back to Rec709? If so, then which WB setting should be used?

Sorry for my confusion here but I have little knowledge of DCTLs and what they do exactly. I believe in this case that they offer a true mathematical colour transform as opposed to a LUT which can only offer lookup values at fixed intervals (and thus must interpolate for in-between values)?

RikshaDriver wrote:2 Transforms added on Github.

GoPro_Protune_Native_Rec709_Scene.dctl
GoPro_Protune_Rec709_Rec709_Scene.dctl

Whoah! You rock dude. Thanks. I'll give these a try

bobosola wrote:Thanks very much for doing this work. I dropped both into my LUT folder and could use them like a LUT immediately.

lrose69 wrote:Whoah! You rock dude. Thanks. I'll give these a try

Always happy to help

bobosola wrote:I assume both are for the GoPro Protune flat colour profile, but one is for use with 'Native' WB and the other for use with 'Auto' WB? Is that right?

The first one is specifically for Protune Native

The second one is for use with Protune and "auto", or one of the other White Balances, as long as it's not Native. The color gamut of these settings is Rec.709

Unfortunately GoPro confuses a lot of people with their terminology.

Protune and GoPro Color are referencing Gamma curves.
Native covers a particular color space and all the other white balances cover a Rec.709 color space.

bobosola wrote:Sorry for my confusion here but I have little knowledge of DCTLs and what they do exactly. I believe in this case that they offer a true mathematical colour transform as opposed to a LUT which can only offer lookup values at fixed intervals (and thus must interpolate for in-between values)?

You've understood about right.

Hence why talking about LUTs when DCTLs are mentioned is the equivalent of bringing a knife to a gunfight

Just to verify my understanding of how to set this up in Resolve.

Color Science: DaVinci YRGB
Timeline color space: Rec.709 (Scene)

and then I just apply the GoPro_Protune_Native_Rec709_Scene.dctl to the clip(s) from the GoPro shot with the WB set to Native?

One other question (still trying to get my head around all this) is the GoPro Flat mode capturing in Log?

lrose69 wrote:Just to verify my understanding of how to set this up in Resolve.

Color Science: DaVinci YRGB
Timeline color space: Rec.709 (Scene)

and then I just apply the GoPro_Protune_Native_Rec709_Scene.dctl to the clip(s) from the GoPro shot with the WB set to Native?

Yes.

If you're using DaVinci YRGB Color Managed, just make sure your Input Color Space for the clips is set to bypass to avoid any incorrect tagging via metadata.

lrose69 wrote:One other question (still trying to get my head around all this) is the GoPro Flat mode capturing in Log?

Short answer: Yes

Thanks! You've helped me understand a lot! Appreciated.

I am trying to "fix" some shots I made with my gopro hero 7 in native as well. I am sure never touching native again, it only gives me headaches. I am trying this GoPro_Protune_Native_Rec709_Scene.dctl file, but I think my knowledge isn't good enough. I downloaded the file, dropped it in my LUT folder, and then try to apply it as a LUT on a node in the colorpage. Where am I going wrong?

Are you working in a color managed or non color managed workflow?

Hi I have a couple of queries when trying to use either the For pRo Out for Rec 709 or the ACES transforms.

Go Pro Lut - I've managed to import into my LUT folder and can apply the to a clip. The issue I have is for any indoor shot scenes this seems to crush the shadows substantially on the scopes which I can't seem to get back some of the detail. I'm applying to flat profile native colour in Davinci RGB color managed.

ACES - having downloaded the IDT file the guide says to save to the following folders -

Mac

~/Library/Application Support/Blackmagic Design/DaVinci Resolve/ACES Transforms/IDT/

The issue is there is no /ACES Transforms/IDT/ folder located here. Have tried creating it but the IDTs still don't show in ACES Transform on the clips. Is the location incorrect?

gripen40 wrote:Go Pro Lut - I've managed to import into my LUT folder and can apply the to a clip. The issue I have is for any indoor shot scenes this seems to crush the shadows substantially on the scopes which I can't seem to get back some of the detail. I'm applying to flat profile native colour in Davinci RGB color managed.

Have you selected "Bypass" for the input Color Space on the clip? Sounds like it may be selecting "Rec.709" as the default

gripen40 wrote:The issue is there is no /ACES Transforms/IDT/ folder located here. Have tried creating it but the IDTs still don't show in ACES Transform on the clips. Is the location incorrect?

The ACES IDTs were introduced in Resolve 17. For any Resolve version below that, you will need to follow the "DaVinci CTL" method. The ability to select them at the individual clip level was only added in Resolve 17.2

Are you on the latest version of Resolve?

RikshaDriver wrote:I've developed IDTs for GoPro Protune if you're looking to dabble in ACES.

https://github.com/xtremestuff/protune-transforms

I could possibly add a transform for Rec 709 Scene conversion if there's a request to do so.

I want to thank you for taking the time to make these available. You totally transformed some GoPro issues, thank you so much!

ChasingPhotography wrote:

RikshaDriver wrote:I've developed IDTs for GoPro Protune if you're looking to dabble in ACES.

https://github.com/xtremestuff/protune-transforms

I could possibly add a transform for Rec 709 Scene conversion if there's a request to do so.

I want to thank you for taking the time to make these available. You totally transformed some GoPro issues, thank you so much!

I downloaded the LUTS from GitHub today. As soon as i apply the Lut, Resolve puts a screen saying its a Studio feature. I am on the free version. Does the LUT need a Studio version?

These are DCTL files, not LUTs.

DCTLs are a Studio only feature.

With that said, I believe you can still use custom DCTLs as ACES IDTs in the Free version of Resolve.

HI,

New to the board and just found this thread. I am unable to get either the ACES input or any of the LUTs to work.

I am using Studio 18.1 on a Mac. I watched the tutorial video. I have the Input file in the IDT folder. I have tried a couple different LUT files and put them in the main LUT folder. Resolve sees the LUT files but gives me an error message saying it can not process the file. Resolve never sees the input file. When I set the color science to ACEScc and right click to select ACES TRANSFORM DCTL, nothing pops up as available to select.

Not sure what I am doing wrong but would appreciate any assistance. Thank you.

The ACES Transform folder is located under Library in your home directory, not under the root Library folder.

Thanks for the reply. I found the correct folder. They still do not show up in the ACES Transform menu. Neither does a Fuji IDT file I downloaded. Interestingly, if I add a DCTL effect to the clip, I can select the fuji and I see the GoPro file; however, the GoPro file does nothing and the fuji looks lousy on clips shot in F-log. Perhaps ACES and I were not meant to be!

If it's not showing up under the ACES Transform menu, then it still may not be in the right folder.

RikshaDriver wrote:If it's not showing up under the ACES Transform menu, then it still may not be in the right folder.

Thanks. I'll check again. I had to show the hidden folders to find the ACES Transform folder.

For whatever reason, none of the LUTs I downloaded work either. They show up in the LUT menu but I get error messages when I try to use them. Other LUTs (.cube) I've installed work well. The issue is likely on my end.

RikshaDriver wrote:

lrose69 wrote:Just to verify my understanding of how to set this up in Resolve.


If you're using DaVinci YRGB Color Managed, just make sure your Input Color Space for the clips is set to bypass to avoid any incorrect tagging via metadata.

Newbi here, and still trying to get my head around color management.

1. If I am only using GoPro clips in my edit then I presume given the above there is no point in selecting DaVinci YRGB Color Managed given we subsequently disable it?

1b In fact is there any point in using DaVinci YRGB Color Management when one is not using any camera for which Resolve offers a profile (profile might be the wrong term)?

2. When I do select DaVinci YRGB Color Managed, there is no bypass option on the Input Color Space menu, there is a Same as Timeline option instead, though straight underneath that Input Color Space menu is an option Bypass Color Management - so is that what should be selected (I assume yes).

Cheers Andrew

1. If you're just outputting to Rec.709 / Gamma 2.4 where the source is SDR as well, then you really don't need a Color Managed workflow.

If you're just starting off with Color Management, I would recommend you avoid YRGB Color Managed and use ACES instead. It's much simpler and there are less "gotchas" you need to be aware of.

2. The wording was changed from "Bypass" to "Same as Timeline" at some point recently, so use that instead. "Bypass Color Management" is not what you want.

Thank you very much for that reply, very helpful, Cheers Andrew

RikshaDriver wrote:I've developed IDTs for GoPro Protune if you're looking to dabble in ACES.

https://github.com/xtremestuff/protune-transforms

I could possibly add a transform for Rec 709 Scene conversion if there's a request to do so.

Hi again. I wonder if you would consider doing the same for the DJI Mini 3 Pro 10 bit. I think there would be a great deal of demand. I would certainly be willing to pay for some. I note DJI do provide some LUTs of their own, in fact I am experimenting using the DJI_X7_DLOG2_REC709 right now despite it being for a completely different camera. It does seem to help and simplify the grading process but I am sure it can be considerably improved on.

Thanks again for the GoPro IDTs I think I will be using them a lot.

Cheers Andrew

Resolve already includes DJI D-Gamut & D-Log for YRGB Color Managed workflows.

Or are you talking about ACES here?

I am concerned I may be taking the thread into a new topic. It is clear I do not understand anywhere near enough about color management. I have tried every combination I can think of with DaVinci YRGB and DaVinci YRGB color managed and then applying the DJI D-Gamut (I don't see the DJI D-LOG anywhere) to my clip and there are no visible changes to the clip though the custom curves histogram changes. I have watched your YouTube clip on Custom ACES as well and so far nothing is falling into place. I watch other tutorials on YouTube on the same topic and I see substantial image improvements from applying color management but as I said so far I am not managing to make it work for me. I seem to be able to add LUTs but that's about it so far. Perhaps I should drop out of the discussion and do a lot more learning. Thanks for your input, I bought your set of GoPro LUTs just now.

Cheers Andrew

Probably create a separate thread for the D-Log discussions and leave this for GoPro. With that said, my recommendation is to use HLG instead of D-Log.

RikshaDriver wrote:Probably create a separate thread for the D-Log discussions and leave this for GoPro. With that said, my recommendation is to use HLG instead of D-Log.

I've been experimenting with DaVinci Color Management since I was unable to get the ACES Transform to work. I set my GoPro to flat color and any WB other than Native. DaVinci automatically sets the input color space to Rec 709/2.4 and the footage looks pretty good to start.

With my DJI Air 2S, I did some side-by-side comparisons shooting in D-Log and HLG. In resolve, I applied the DJI-provided LUT to the D-Log footage. For the stuff shot in HLG, I let DaVinci manage the colors. It automatically recognized the footage as Rec 2100 HLG. Again, with no adjustments, the color managed footage looked pretty good to start. I preferred HLG/managed color to D-Log with the LUT applied.

I also have a Fuji XT4 so Davinci color management works well with that camera as well.

So in my very limited experience with very limited knowledge of color spaces, letting DaVinci manage the colors still has benefits for me despite using simple cameras. Again, I am totally new at this so take it for what it's worth.

Spent a few hours playing around with RCM and GoPro footage. What I've learned that others probably already know is that RCM works fine with GoPro footage. The footage out of the GoPro shot in flat and anything other than Native WB looks identical in non-RCM and RCM with the input set as Rec 709. So that tells me there is no harm in using RCM with GP footage as long as native WB isn't used. I've yet to use Native WB and gotten results that are worth the effort. There's probably not much benefit to using RCM if one is only shooting GP content. I am potentially mixing three different brand cameras so RCM potentially has some benefit. I also experimented with DLog-M out of the Air 2s but don't want to get this thread off topic.

RikshaDriver wrote:I've developed IDTs for GoPro Protune if you're looking to dabble in ACES.

https://github.com/xtremestuff/protune-transforms

I could possibly add a transform for Rec 709 Scene conversion if there's a request to do so.

I came here also looking for a LUT for Gopro and found this. Looks very promissing (and made me start reading a lot about color matrix, ACES color management, a topic I would like to learn more about). I'm not a Resolve user but with this, I must learn how to use it.

For me, having this is a gamechanger for this camera.

Thank you so much for sharing!