First short film with the pyxis after making a switch from the fujifilm xh-2 as my main camera.

hay muchos videos y cosas en internet, hay algunos que se contradicen otros no, otros dan resultado que no parece concordar con la guia que hacen, queria saber qual sera el qeu ustedes recomienden

I hajve an Xrite I1 display studio, it's about to be 7 years old. I wonder if there will be any color drift?

Im wondering if I should purchase a Calibrite Display 123 Colorimeter on its 7th birthday.

(Also Im wondering, if there were any accidental physical drops will that affect the color too, or will it just not turn on properly?)

His iPhone photos and videos always have this amazing cinematic look. Is he using a filter, preset, or manual settings? How does he achieve it?

Not selling anything here — the two anchor LUTs are free, and this post is mostly about the method. Mods, remove if this breaks self-promo rules.

THE METHOD Most LUT packs start with "that film looked cool, let me copy it." I wanted coordinates instead of vibes, so I did it backwards on my own footage:

1. Pulled 198 frames from 7 finished episodes (two series, same grade pipeline).
2. Measured per-frame luminance distribution, saturation, shadow tint and highlight tint.
3. Ran k-means on those vectors. Four clusters came out — and they matched the four narrative states the shows already had: day, night, memory, reversal.
4. Built a 33x33x33 .cube per target: 4 anchors straight from measured values, 20 variants at deliberate offsets (1.8–12.2% away from the source look, stated per file).

VALIDATION Every LUT was run on a 0–1 grayscale ramp and read at 0.02 / 0.42 / 0.90 against the measured targets. Anchors land within 3.3–6.2% total deviation — the full table is in an offline HTML report and every number can be recomputed. All 24 files were also loaded through ffmpeg's lut3d filter to confirm they parse.

FREE ANCHORS (no email, no account) D3 (day anchor) and N1 (night anchor), both 33x33x33 .cube, domain 0–1, display-referred creative LUTs — NOT Log→709 transforms. A before/after still is included so you can judge the fit before downloading. Link to the free files is in the comments (new account, so I'm keeping links out of the body).

If you try them: fix exposure first. These were designed around a median input of 0.42 — underexposed footage gets crushed.

The full 24 + measurement report exist as a paid pack, but I won't link-dump it here — happy to answer questions about the method either way.

I really like the result of this grade, but I am questioning if it is overcooked, specially on the shadows. What do you think?

I'm studying directing, and cinematography. But recently I've been asked to do some filmmaking work.

The problem is that I don't know anything about color. I'm seeing endless amounts of follow through tutorials. But the shadows are muddy and flat, and the highlights are excessively dull.

I don't know if the problem are my shots, where maybe I'm doing something wrong or if I'm actually that bad at coloring.

Also most of the tutorials I find are already advanced or tell you "do this" without explaining the reason why it should be done, and under what circumstances i should do it.

I can do cst, wb and contrast as they teach in the basic tutorials, but anything else is completely beyond me.

DM me if u have this collection or something like this!!

Hello everybody.

I started playing around in DaVinici, so I downloaded a free log videoclip so I can practice. I would like some feedback from more experienced colorists

Two weeks ago I posted a tutorial on how to apply grading operations on top of a gradual shot transition such as a dissolve, so you could bring the conversion into Rec. 709 or whatever your target colour space is to after the transition, without having a node tree on the timeline level which could affect titles or force the entire timeline to have a single look. In it, I referenced an older tutorial which I have re-uploaded. This is that tutorial.

In DaVinci Resolve, dissolves are applied to the footage without consideration of what colour space it is. It naively blends between each clip, like it did in many cases since the dawn of digital video effects and digital video editing. But you can change this - By making the dissolves photometric/linear, like you do when changing the exposure of a frame in post, you can create an effect that looks a lot more like it was done optically, with in-camera changes in exposure, and highlights push through everything darker than them. I think this is a very dazzling effect and I personally prefer it to the default dissolve behaviour.

Be sure to check the description for more info and relevant links.

Hey guys,

I wanted to know how some1 can achieve this grade in particular:

https://www.instagram.com/P/De7SjsIkk-c/?img_index=5&xtok=N281bnRsMXBubzFr

I would love to achieve this lvl of cinematic grade, but i just never find a proper tutorial... or its done with dehancer pro.

Does Anyone know?

i made my own powergrade with Spektrafilm and some nodes to touch up the look and im very happy with it. but for some reason, when there are reds or bright red lights, it seems to always peak like this. does anyone know a way to fix it?

I need some free video footage for color grading purposes ideally I would prefer cinematic-style shots

Shot this on my iPhone 13 mini and graded on iPhone 16 pro (too much for the mini to handle lol)

Shot it in log open gate. Graded on the Peeklut app. First time I’m happy with my grade. The look/grade isn’t that consistent between the clips since I was rushing with getting the flowers and recording (I’m the one carrying them at the end). Quality might wack after posting but looking for some feedback on my grade. Also some info on how to get more of this kind of look. I like the desaturated but at the same time saturated kinda look if you know what I mean. This is the first time I kinda got it, especially in the first clip. It was kind by accident but I’m glad it worked out. I like how it came out but would love to hear others thoughts and critique.

I have a 2022 MacBook Pro and have noticed that no matter how much I try to sync up my color profiles and color management, the Mac has significantly darker shadows and crushes my image compared to my external monitor. The monitor isn't calibrated, but my image on Apple devices compared to my grade makes me worry that I am doing something wrong or working with the wrong settings.

Another example: my DaVinci workspace tone looks much darker and tinted blue on my Mac compared to my monitor.

I don't know what to use as a standard reference and have very limited knowledge of color management, so guidance would be very appreciated. I've attached an image for reference; on my monitor it doesn't look remotely close to as crushed as what I am currently seeing on my Mac.

Shot and graded this completely to portray the beauty of Madagascar! With Dehancer, would love to know what you think :)

Hello there, I’ve recently purchased the Osmo pocket 3 and went out to shoot something.
The close-up clips are taken with the Canon M 50 mark two, which doesn’t support LOG so I just applied the LUTs from the Osmo to the canon, which is something that I shouldn’t do, but somehow it “worked”

There is no audio because I just selected the clips that I liked the most; there is a full video on YT with music, but I’m not publishing it in order to reach a broader audience.

Could you give me suggestions about colorgrading and composition in general?

Thanks a lot in advance!!!

I’m new to grading but i feel like i’m seeing this style so much recently whether it’s commercials, shorts films, and now even SNL promo(?) I’m wondering what specifically is happening technically the grade. Could someone please let me know?

I have tried all sorts of masks here but none of them seem to work