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That's a good point! And all your other points make sense. Quite a pragmatic approach..

That would be immensely helpful Anton! Do share the article.. keen to read it. Reg. the strong greenish looks - what you described applies to the whole image, as a primary grade right? that means the skin too goes greenish.. ? I am trying to understand how to tackle that situation? what tones should the skin be?

Gotcha. Makes sense for most cases. Reg. the look LUT/manual created look - what if the intention is to push colors for style purposes - say like The Matrix - what's your recommendations in that case?

Agreed. Good lighting, good glass and on-set data is key. On an different note, let's say I have a heavy grade.. overall greenish tints.. if i try to pull a face mask and restore it to natural skin color by countering the heavy grade.. it somehow looks unbalanced to my eyes. Perceptually something seems off. Is there a rule-of-thumb for such cases you recommend?

My choice of adjectives was quite ambiguous. Rather let me share some pics for reference. In broad terms, its the quality of skin diffusion, glow and softness I am looking.

Lovely technique! Would be great to see more such awesome tips. Thanks for sharing Anton. Really appreciate it. Do you have any suggestions on how to get a creamy skin look?

Gotcha. Yea, i agree with you about the purpose of LUTs - the whys. I was more curios about the "hows".

Thanks Amada! I have an EIZO CG247x which i believe is fairly good by industry standard? So assuming that my monitor is calibrated correctly, display referred workflow is WYSIWYG. So what I am unclear is this - the color space is defined and interpreted (and or) at the following relevant junctures: 1) Resolve's Timeline Color Space in "Color Management" section of project preferences. 2) RED IPP2 decode workflow where you tell Resolve how to handle the color space via Camera RAW->Project Settings->ColorSpace (this is based on RED IPP2 pipeline) 3) Monitors supported colorspace. How are the three correlated? And my next question would be that if the above is somehow doing secret handshake and colorspace info is passed correctly for argument sake - how is using a Rec709 LUT useful(or not). Does it help put the colors in a "safe bracket" of rec709 gamut? I personally feel eyeballing the colors and relying on scopes gives me more freedom assuming my monitor is 100% or close to rec709 gamut. I am not vying for any option.. i just want to be clear about either choices. Thanks!

Any response guys? Or are my questions a bit too broad or not framed properly?

Hi all, New member on this forum. Hope to learn and share with the community here. 🙂 So here goes.. I am grading( on Resolve 16) a footage shot on RED (raw). I have an EIZO CG247 and calibrated for DCI-P3. It's my personal indie short film. Final viewing media will probably be film festivals and eventually for online streaming media. I am following the RED recommended IPP2 workflow. My questions are: 1) What is your recommended workflow. (Display referred or scene referred). ACES recommends scene referred as it help integrate VFX footage better? 2)Do I need to use a color space conversion LUT at the end of the grade chain everytime? Let's assume i am working display referred. Given my monitor is calibrated for P3, do I need to use RED provided REDRAW to (P3/REC709) LUT at the end of the grade graph after my color correction and creative grading? To elaborate, I start grading from scratch...no color space conversion LUTs yet. As I continue my color corrections and creative grading - I reach a stage and am happy with I see on the the physical monitor with my eyes and also the scopes on Resolve(for better understanding on RGB values) - do I still need to apply a rec709(or such LUT) at the end of my grade chain? Can I be sure that with a calibrated monitor like Eizo(or LG/BenQ or any decent one) I am seeing the right thing? I keenly look forward to your response.