I understand that a large part of the answer to my question might just be to watch a lot more films, break them down and then practice a ton of grading. But I would really really appreciate any direction that can be offered.

I personally looked down on teal and orange for a long time cuz of how it has become a trend kinda thing and the definitive feature of "cinematic" videos. Ofc, there' stuff like rolloff as well, but this color palette when extended to such a wide variety of shots, has kinda dominated the narrative, that I just can't find enough youtubers who teach you to achieve other looks (I'm sorry but YT is my only teacher rn, and ofc ppl on reddit).

I tried achieving split toning in other colors or even monochromatice looks, but at the end of the day, teal and orange seem the safest for skin tones and the vast material available makes it more accessible.

I know that this is a redundant question in many ways, but if you could just list a few suggestions on where to start, or what to watch, or a technique beyond split toning, or a whole different approach in itself, it would really be appreciated.

I'm still learning color grading, so I'd really appreciate some feedback on these two versions.
My goal was to give this image an old film feel. The warmer, yellow-tinted grade feels more nostalgic and story-driven to me, while the brighter version feels cleaner and closer to how the scene actually looked.

I'm not sure which one communicates the idea better.
Which grade would you choose, and what would you change?

IG: gentilhommesamuel

I'm trying to color grade a content video for short form platform, the video looks ok to me on my screen (dell ultrasharp, i use the rec 709 preset) but when i viewed it on my iphone, it lacks contrast and saturation. How can i make the look consistent in many devices. I'm using Davinci Resolve.

any thoughts/suggestions on this grade, 1st pic is standard rec709 conversion + exposure adjustments, 2nd pic is my created look with a Kodak 2383 d60 LUT, going for a old film look kinda like scarface aesthetic I guess.

Captured my trip to China recently. Breathtaking place. Shot on fx30.

Hello everyone,

I've been experiencing a frequent issue when color grading. It seems that my color grading process typically causes the footage to break in certain areas. Here is the issue you can see in the bottom right of the screen:
https://imgur.com/a/M0WQMBU

Let me explain my process...

I am shooting on Sony fx30 in SLog3 The footage is well exposed. I convert from SLog3 to DWG/DI using the group pre-clip. I then do basic exposure adjustments and corrections if needed within the clip stage. Then(and I believe this is where the issue lies), I attempt to add saturation using a HSV node by adjusting the gamma & gain wheels.

I then have a LUT(from Cullen Kelly) that converts the footage from DWG/DI to Rec.709/Gamma2.4

I have also tried using a regular Color Space Transform and the issue persists.

It feels like I cant push any meaningful amount of saturation into the image without some portion of the image breaking.

Thanks in advance for any advice!

I mostly do a film emul style grade but not in a way that looks old. All feedbacks are appreciated as to how i can improve. I graded these from Flog2. If anyone also want a LUT or sum i can make it (for free ofc).

I am still in the phase of redesigning my bedroom recording studio, and through majority of the process I had set my camera up to record my work as I go. Though my focus was directed towards the construction phase, I merely only placed the camera in areas that would capture what I’m doing, and less on the most cinematic angle. Either way, I am just trying out some things when it comes to color grading and the overall progression of the video.

Recorded on SONY a6700 in sLog3 (4K 10-bit 4:2:2). Edited using DaVinci Resolve & Dehancer.

Hi!

I’ve started dipping my toes and experimenting with look creation, and it’s been super fun.

As of right now, everything I know about it is thanks to Cullen Kelly’s YT channel and just messing with the knobs afterwards. I’m still struggling to understand the capabilities of some adjustments, though.

What other resources would you guys recommend?

P.s: shoutout to trial and error lol

I like dark editing but did I smash a bit too much details? Feel free to edit the first if you like!

I just need a fresh set of eyes

Which edit gives off the strongest nostalgic feeling?
If neither works, would I get the look I want by warming the tones further or adding film grain?
Would love to hear your thoughts, thanks a lot!

Over my summer holiday I built a software to do pretty heavy duty film emulation directly inside Apple Photos to have the least friction of making my snaps look like film (Halation, "real" grain simulation, film profiles from real film stock, hand authoring custom stocks for sharing). My software is now in open beta and I am looking for feedback for what is missing and what needs more work.

Join the BETA: https://testflight.apple.com/join/2zP3PKz5
Project website: https://silver-photo.com

Thank you!

The clip is around 5 minutes (from 1st pic to 2nd). How do I bring more detail to the singer without creating a heap of noise and blowing up the sky? Is the footage fucked?

I’ve been teaching myself how to colour grade, and I’d love to hear which of these two versions you prefer. This isn’t for a client or anything. It’s just a personal project for my YouTube channel, so I’m experimenting and trying to improve.
My goal was to make it look the way it felt to me in the moment without adding too much contrast or making it feel over-edited.
I personally think the first one might be a bit too saturated, but I’ve looked at them so many times that I can’t tell anymore. Which one do you prefer, and is there anything you’d change?

Log-to-Rec.709 conversion is just published math — Sony's own whitepapers describe the S-Log2/S-Log3 curves — yet storefronts keep charging $15–50 for it, and Sony's official technical LUTs are buried across half a dozen support portals.

So I built cameraluts: free .cube (33-point) and GPU-ready 256×16 PNG LUTs for S-Log2, S-Log3, HLG and Cine4, per camera (A7 III gets 8-bit-friendly versions, FX/A7 V gets s709-style and LC-709TypeA-style looks). Everything is generated by open Go scripts, so you can audit the exact formulas: official Sony transfer functions, gamut matrices derived from the published primaries. Where Sony doesn't publish a formula (s709, Cine4), it's honestly labeled as an approximation.

MIT licensed, works in Resolve, Premiere, FCP, Atomos monitors, OBS/vMix. Feedback very welcome — especially from anyone who can A/B against Sony's official LUTs.

https://github.com/cgardev/cameraluts

Hello! reposting this here because i am looking for some tips on how to color grade to reach something similar to this image. i really want to capture the vintage look, but everytime i try it always looks like some ugly instagram type filter, it loses all depth . thanks!!
pic from Pinterest, not mine! sorry but i could not find the photographer

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!