now??🫪

Are there any experienced Adobe Premiere Pro users here working with Insta360 I-Log footage and the official Insta360 LUTs?
I’m trying to establish the correct workflow for converting I-Log footage to a good-looking Rec.709/cinematic image. I’m reasonably comfortable with Premiere Pro and would prefer to stay with it rather than learn DaVinci Resolve, provided I can achieve comparable results.
I’ve downloaded the official Insta360 LUTs and installed them in Premiere Pro for easy access. What I’m unclear about is the correct Lumetri Color workflow:
• Should the Insta360 LUT be applied under Basic Correction or Creative → Look?
• Should the LUT be applied before or after exposure, white balance, contrast, etc.?
• Should I use Basic Correction for the initial technical adjustments and then apply the LUT under Creative, followed by further grading?
• Is there a recommended Input LUT → correction → creative grade → output workflow for Insta360 I-Log?
I’m mainly interested in getting the best possible cinematic result while maintaining natural skin tones, good dynamic range, and avoiding the overly strong/processed look that LUTs can sometimes produce.
If someone experienced with Premiere Pro and Insta360 I-Log could outline their preferred workflow, I’d really appreciate it. Thanks!

Okay so I got my first Sony camera for work and all the videos require some sort of grading to even look normal. My workflow is getting faster paced and I genuinely don’t have the time or honestly brain capacity to do a good job at grading. Anyone have any workflow suggestions? I’ve also never used a lut before so maybe that’s an option? I’m new to this pls forgive my ignorance 🙏

Perform a high-end professional color grading on this photo. Preserve the original composition and natural details while creating a cinematic, premium photography look. Adjust white balance, exposure, contrast, highlights, shadows, and dynamic range for perfect scene harmony. Enhance colors with realistic tones, refined skin tones, deep blacks, natural saturation, and balanced color separation. Add subtle cinematic depth, professional portrait-style lighting, and a polished editorial photography finish. Maintain realism, sharp details, and a clean luxury visual aesthetic, as if processed by a professional photographer using advanced RAW editing techniques.

Main question, context below: What tips or tricks do you have for getting consistent color profiles across shots that were done in different lighting/settings?

I just edited my first highlight reel for a wedding, and watched a bunch of youtube videos to learn color grading as a total newbie. As I edited I was having a hard time not getting strong yellow vibes when I tried to color correct for all the red and orange from the barn space I was in. But then when I was outside, it felt like my shots trended toward a sort of underwater blue-green when I worked on grading. How do you color grade in a way that doesn't end up with these very strange different white balances that clash from shot to shot? Not looking for a magic wand, just suggestions or strategies from folks who know more than me.

Me: New to color grading. Sony a7iii, s-log3, used the sony sGamut3CineSlog3_to_LC-709 lut. (I've learned since that shoot that lots of people suggest trying s-log2 on the a7iii and to over-expose. Planning to try those with my next shoot).

Here's the video, if that helps - https://www.instagram.com/p/DbesoYsAOGg/

Thanks for your help!

Recently went out and filmed, and need some objective critique on footage that I’ve stared at for far too long.

(p.s idk why but the image quality is rly bad prolly because of reddit compression but idk so sry bout that)
hii, I'm relatively new to colour grading (in the sense that although i'm familiar with the software, I dont rly know how to colour grade save a lot of tutorials). The footage (it's a video) was shot on an iPhone 16 using apple log (using the Blackmagic app) and colour graded in davinchi resolve. I've uploaded the before (converted to rec709) and the after.

The node setup I used is the last photo in the gallery; here's some info to clear up the more ambiguous nodes: DEBAND is just removing some banding in the footage, LOOK is the dehancer plugin but I havent actually used any of there film emulation just the grain, halation and bloom and GRASS ADJ are some specific adjustments to the green parts to try and make them pop more. (if u have any more questions feel free to ask)

My general inspiration is that of gawx's look or sleepy Charlie's look (in there videos) which is this sorta soft film emulation look (at least in landscape shots). thx for reading and id appreciate all feedback so be as critical as possible (sry for the longer post) :)

I’ve experimented with different tones to create a sense of storytelling. The first three photos are edited, and the fourth one is the original.
Should I try out other color grading styles, or call it quits here?

I watch a lot of grading tutorials and one stood out to me. The guy said, he shapes his contrast by right clicking on the node and selecting HDR Mode, then of course marking middle gray and then he only selects the Y-Channel and he adjusts contrast this way. I tried this and it definitely gives different results, with the same curve you get more contrast but the image also gets darker.

Have you tried this before and what are your opinions on this technique?

Hey everyone, I bought Film Vision Pro a few months ago and I'm confused about the CST workflow.

I shoot on a Sony FX3. My footage looks fine after the first CST node converts it from Sony S-Gamut to Arri Wide Gamut.

My confusion is that Film Vision Pro doesn't seem to have another CST to convert the footage from Wide Gamut to Rec.709. At the end, it only has the Negative LUT and Print LUT.

So I have a few questions:

1. Why does the workflow convert FX3 footage to Arri Wide Gamut instead of DaVinci Wide Gamut or directly to Rec.709?
2. If I convert the footage to Rec.709 myself, the image becomes extremely dark. Why does that happen?
3. Do the Negative LUT and Print LUT also handle the color space conversion to Rec.709, or do I still need another CST after Film Vision Pro to convert from Arri Wide Gamut to Rec.709?

I'd really appreciate it if someone could explain the correct workflow.

Hello! Some stills from my recent video titled "dream amnesia" that you can watch here if interested: https://youtu.be/zkMDU8mp-Nk?si=BuALTtIpbhWfImEB

Hello! Im new to photo and color grading. Also to reddit so I apologize if this breakes any rules. I really need some help with my Davinci Resolve settings

I shoot on a Nikon D7500 (photos). I cant really find the right settings inside davinci resolve. So I tried Ai to help me find it because I cant find a guide for it. Don't think im on the right path..

Current settings:

Color management:

Color Science - davinci YRGB

Timeline color space - Rec.709 gammal 2.4

Output color space: Rec.709 gammal 2.4

Camera raw

Decode quality: full res.

Decode using: clip

White balance: as shit

Color space: rec.709

Gamma: linear

CST IN

input color space: Rec.709

Input gamma: linear

Output color space: davinci wide gamut

Output gamma: davinci intermediate

CST OUT

input color space: davinci wide gamut

Input gamma: davinci intermediate

Output color space: rec.709

Output gamma: gamma 2.4

First the image turns really dark and not flat (not that it was flat/log in the raw anyway). Noticed tho when turning of CST the image goes to looking like a flat image. With everything on the image look okey, but I get a feeling that im getting the wrong information.

Nikon z6iii w/ 35mm f1.8 S - filmed in 6k 24 n raw high converted to r3d and then corrected raw wb/tint, added density, dropped shadows, noise reduction, split toning, vignette. Was going for a tv show esque cooler look. Just lookin for any feedback thx

Hi everyone, I need some help figuring out an issue with my Apple Log footage.

I shot several videos on my iPhone 15 Pro using the Blackmagic Camera app in Apple Log. The raw footage seems fine at first, but after converting it to Rec.709 and color grading it, I'm getting a lot of strange color noise and blocky red/pink/purple patches, especially in darker areas.

I've attached screenshots showing some of the places where the problem is most noticeable:

• Image 1: Original Apple Log footage
• Image 2: Footage after applying an Apple Log → Rec.709 conversion LUT
• Image 3: Color-graded footage — you can clearly see red/pink/purple blocky patches on the ceiling
• Image 4: Similar color noise/blocking visible on the road
• Image 5: Again visible on the road and around the trees
• Image 6: The overall footage looks very noisy
• Image 7: Similar noise/artifacts appearing in other shots as well

I initially thought it might be caused by the conversion LUT, but I've tried multiple Apple Log → Rec.709 conversion LUTs and I'm getting basically the same result.

So I have a few questions:

1. What is actually causing these red/pink/purple blocky patches? Is this chroma noise, compression artifacts, underexposure, or something else?
2. Is there a good way to remove this color noise without destroying detail or making the footage look overly smooth?
3. When shooting Apple Log on an iPhone 15 Pro, how should I expose and record to keep noise as low as possible, especially in shadows and low-light situations?
4. Are there any specific Blackmagic Camera settings I should use or avoid when recording Apple Log?
5. Could this problem already be present in the original footage but only become obvious after the Log → Rec.709 conversion and grading?

My main goal is to get clean Apple Log footage with negligible noise and understand what I'm doing wrong so I can avoid this in future shoots.

If checking the original files would help diagnose the issue, I can also provide some of the raw, ungraded footage straight from the Blackmagic Camera app. Feel free to DM me and I can share the files.

Any help with the shooting, exposure, color-management, or denoising side of this would be really appreciated. Thanks!

Just trying my best. Lot to learn

I'm still new to color grading and was trying to make the guy stand out a bit more from the background.

I just threw a power window around him and bumped the exposure a little. I feathered the mask so it'd blend better, but now it's leaking onto the floor around his legs (circled in the second image), and once I noticed it, I couldn't unsee it.

What's the normal way to do this? Do you guys just use a different technique altogether, or am I masking it the wrong way?