Fri Apr 19, 2024 8:08 pm
So Omar’s suggestion of grouping is a good way to accomplish this. For the DJI pocket 3, you might not want to do a cst/in and out but just in that post group apply the LUT from DJI, the one that you believe is the correct LUT for it.
Continue on with your workflow until you want to apply a secondary grade, but before doing so, my suggestion is to do another transform to a color space that you will be able to work with and also plan to modify the look. For example, if I want to give it the Kodak film look, I would apply a cst in that’s from timeline to cst out of rec709 with Cineon gamma. Then I apply the Kodak look LUT. Following that is another cst in of rec709/gamma 2.4 to cst out of rec709 and gamma rec709 for delivery. Again, this is just another example.
My simple workflow pipeline is IDT -> CDL -> ODT -> LMT -> Delivery
IDT = An input color space maps the colors from a specific camera into a unified color space for grading.
CDL = Color adjustment nodes (LGG, etc.)
ODT = conversion to an output color space that you want to work on a use (I.e. Rec709)
LMT = The look management transform, applying look or show LUTs, etc.
Delivery = Delivery transformation nodes depending on what and where your picture will be delivered to. Example, broadcast cst to rec709, cinema house cst to dci-p3 color space… or whatever the director may want.
URSA Mini Pro 4.6K G2, Blackmagic Design Pocket Cinema Camera 6K, Panasonic GH5
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