Favorites for CST and/or LUTs

i'm color correcting something shot in log and i find it a royal PITA to either set a color transform or add a LUT .
For a CST I have to reset the input and output color space and gamma every time I use it .
Can make a favorite that has those settings already in it?

Likewise if I want to work with LUT's its very time consuming to look up the LUT I want from a huge list every time. Can I set some kind of favorite for this also so i have fast access?

Also I just started using the mini panel. Can I get my favorite effects in the list of FX the Mini panel has access to so it shows up in the windows as a choice?

Thanks Lenny

You can use powergrade folders to save and organize your grades. Just right-click Add PowerGrade Album.
Add the CST or LUT to a clip without adding any other nodes and then grab a still of it with your desired power grade album selected. Then you can rename that still to whatever it is you saved and use it throughout projects that are in the same database.

Here's an example of what I have.

2023-02-14 10_26_14-Window.png (64.7 KiB) Viewed 1601 times

[CaptainHook]

There's a favourite system for LUTs and once selected as a favourite a couple of ways to get to the favourite list.

Marking a LUT as a favourite (click the star that appears when hovering over a LUT name):


Showing favourites in LUT panel:


Right clicking on a node:

i find it a royal PITA to either set a color transform

Thanks Jim , That was a great tutorial. Though as usual I still have a raft of questions.
I used to use LUT's instead of a color managed workflow untilI read something by Alister Chapman saying that Lut's could lead to banding and that CST was a better system. Until I watched this I was using the CST on a Node ( though I didn't put it on the end so that was a useful piece of advie. So here are my questions though

I generally deal with Sony cameras so I'm not seeing a place in Resolve to read the camera's Metadata. I could shoot different gammas in a Sony camera . The FS7 or A7s can shoot Slog 2 or 3 and while the FX9 shoots Slog3 it is expecting a different LUT (s709) rather than with the FS7 where I had a choice of standard 709 LUT or 709TypeA or 709A extended . So what is color management going to do with my FS7 footage?

Resolve Color Management worked automatically on FX9 footage but nothing happened with A7siii though both were shot Slog3 - maybe there is no metadata? But the A7siii did work if I chose the color space manually and I could do all my clips at once by grouping . That's all great but again - what if I shot Slog2 rather than Slog3? With A7 or A7sii we always shot Slog 2 because it was only 8 bit . No RCM?

Moreover . Resolve Color Management seems to require a 709 g2.4 timeline, but I've been happier using 709-A on the Mac . That's not available in RCM. Does that mean I can't use it at all at all or is there another place to set my timeline to 709-A .

I am about to undertake a colorist job where all the footage will be provided as ProRes from the output of the finished timeline so there won't be any metadata. I think I will generally know what camera is used though. so I think I will try using using CST as a n effect with all the specific settings try the PowerGrade Album technique as a way to not after keep resetting it every time. Maybe I can set them in advance in the Edit Tab rather than using a Node, but eitehr way won't be too hard.

(BTW - This also brings up a Sony LUT/CST question re the 709Type A LUT introduced in FS7. My understanding is that 709A was developed by Sony based on Art Adams discovery that a subtle but key distinction in both Film and Arri video is a progressively subtle de-saturation in the highlights as you get brighter . Does CST and RCM take this into account ? In fact does s709 do this? Certainly 709A looks flatter and more desaturated than s709.)

Incidently what is the relationship between the Sony 709 Type A LUT and the Resolve Timeline 709-A????

Thanks for all the help. Despite all these questions I'm much further along than a few days ago.

Hey Leonardo,

I used to use LUT's instead of a color managed workflow untilI read something by Alister Chapman saying that Lut's could lead to banding and that CST was a better system.

Possibly yes, but setting your project's LUT interpolation to Tetrahedral will give you probably a near exact image as using a CST if they apply the same operation. Creative LUTs could pose potential issues more than display rendering transforms depending on what they do.

The FS7 or A7s can shoot Slog 2 or 3 and while the FX9 shoots Slog3 it is expecting a different LUT (s709) rather than with the FS7 where I had a choice of standard 709 LUT or 709TypeA or 709A extended . So what is color management going to do with my FS7 footage?

I assume you are talking about what your monitoring options were in the camera? There is no such thing as 'expects'. When someone mentions "technical LUT" what is typically referred is the camera vendor's approach to converting the data to display. A pure technical transform would look very ugly. (Try a CST and set tone mapping to none) There is tone mapping and other rendering operations applied to those LUTs to create a preferential base look. This look is different with each vendor because of tastes and ownership. Some of them have thought out a full display rendering transform to bring further in to post production like RED's IPP2, ARRI's ALF-2 or in the case of Blackmagic Design they have DaVinciDRT within Resolve.

The 'look' part of a DRT is not bound to any input color space as this happens in a different linear space. All we need to do is be able to transform whatever our source is to that space. In Resolve RCM you can define your input color space by right clicking your footage and choose Input Color Space. For raw footage or material that holds metadata that Resolve can extract this happens automatically. SLog2 and SLog3 are available in that list so you can just assign it manually if it doesn't take the metadata.

Hello,

Where store the list of favorite luts.

I lost the list.

Reggards