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Hi! I'm a new member of the Lowepost family and a young aspiring colorist who saved up to buy a reference grade monitor. However, I am not 100% of how to set up my new DM240 for accurate monitoring. Flanders themselves offer a tutorial generally describing the process of profiling for generation of a monitor LUT, however FS tech support told me no calibration was necessary and didn't mention anything regarding monitoring LUTs. From previous experience, I am led to believe that generating a monitor LUT to be used on Resolve Color Management is absolutely necessary for accurate monitoring, but what I do not know is exactly what settings to tweak in both the monitor and the calibration software, in my case, DisplayCAL since I can't afford FSI's own $550 USD iProfiler/CalMAN bundle. Most of my work is for web, seldom any TV work. So should I mess with the monitor's luminance? Should I be using Video or Data as my SDI level? What settings should I tweak when setting up the calibration in DisplayCAL? I am aware that monitor calibration is no easy subject, but I'm willing to learn and offer any additional information that might help me with my journey as a colorist. Thank you!

Is possible to build a LUT that is based on the print data only, not both print and negative?

I have som *.3DL LUTs that I want to transform to *.Cube or anything else that can be read by DaVinci. Any idea about how I can transform them?

Hi there, So I have a question about the sequencing of LUTs in DaVinci Resolve version 12.5. If I have an "Input LUT" in the Project Settings, does that affect the film footage BEFORE or AFTER the LUT applied by right-clicking on a film clip in the "media/color page"?? I want to grade in P3 and I am converting clips from Rec709->P3 in the "Project Settings" Input LUT. But for the SLog clips (couldn't find a Slog to P3 LUT), I went into the Media page and added a LUT to convert from SLog to Rec709 just for those clips. Do they then become the "Input LUT" after the conversion to Rec709?? Am I seeing this the right way? The footage looks quite "good" on the monitor, but I just don't want to be "twisting" the signal, so to speak, before I get it to the grading step. Thanks in advance for any help, Jeffrey Yaworski

I get ProRes 444 XC log material all the time and I use to balance it out and do the log to lin transform manually. Any LUT's that will set this material back to the linear as shot condition?

Hi all, since there are many places in SCRATCH to load (and save) a lookup table, here's a quick guide showing all the possibilities when working with LUTs:

I've been using LUTs from different sources and for different purposes over the short time period I've spent learning a thing or two about color grading, and I was wondering what is the "standard" procedure for creating a LUT. I'm aware that several programs like Resolve or Photoshop are able to create one, and until now I've used those programs to cook my own LUTs, but I'm unsure whether that's "correct" and/or advisable, or whether there are other more professional ways to do it. I hope I was able to clearly express the question, please let me know if that is not the case.

Hi folks, since Pomfort and I basically live next door to each other here in Munich, we sat down together a couple weeks back and have developed a nice workflow to transfer looks from LiveGrade to Silverstack and from there to SCRATCH: http://pomfort.com/news/2016/08/livegrade-pro-silverstack-assimilate-scratch-one-seamless-workflow/ For everybody working on-set with either LiveGrade or Silverstack (or both), this might be pretty interesting - enjoy: Cheers, Mazze