Guides

What we learned building PursuitLuts, written down plainly. No sign-up, no upsell in the middle.

• How to install a LUT in DaVinci ResolveWhere LUT files go, how to make Resolve see them, where the LUT belongs in your node tree, and the three settings that make a good LUT look wrong.
• Color Space Transform settings for every cameraThe exact input color space and gamma to choose in DaVinci Resolve for RED, Canon, Sony and Nikon log, and what the tone mapping and gamut mapping options actually do.
• Canon Log 2 or Canon Log 3, and which LUT you needWhat separates Canon Log 2 from Canon Log 3, how to tell which one you shot, and why the wrong choice makes footage look about a sixth of a stop off.
• How we checked our LUTs against Resolve itselfWe had DaVinci Resolve generate LUTs from its own Color Space Transform and compared them with the camera makers' published math, for six log formats.
• Using these LUTs in Premiere Pro and Final Cut ProThe same .cube files work in Premiere and Final Cut. What changes is one setting in each app that otherwise converts your log footage before the LUT ever sees it.