Guide to the interface of the Cinelook plugin

The Ravengrade Cinelook Plugin for DaVinci Resolve contains a set of complex looks and color grading controls for creatively shaping the image. In this guide we’ll walk you through the main features and functionality.

Workflows

The Cinelook Plugin is designed for both a standard rec709 workflow and color managed workflows including ACES and RCM, which allows for delivery in high-end display spaces such as HDR.

The visual representation of the looks made for the different workflows are slightly different. They are built under different pipelines in various external applications and the film print emulation components can vary. However, the names of the looks are identical between the workflows and they give a decent perceptual match.

Overview of the Cinelook controls

Input Color Space

Choose the color space of your footage or your preferred working space. ARRI, RED, BlackMagic, Sony, DJI, Panasonic, Z CAM and Canon are supported, and most popular color spaces are available.

Main Look

All available looks are listed here, choose the best starting point for your project.

Sub Look

The same looks are available here and can be mixed with the main looks with the “Mix Looks”-slider if the “Enable Sub Look”-checkbox is enabled.

Enable Sub Look

Activate the Sub Looks by enabling this checkbox.

Mix Looks

Mix between the Main and Sub looks to get access to countless look variations. Remember to enable the “Enable Sub Look”-checkbox to make this work.

Main Look Intensity

Scales the intensity of the Main Look. This is especially useful when mixing looks.

Sub Look Intensity

Scales the intensity of the Sub Look. This is especially useful when mixing looks.

Film Exposure

Exposure that works photometrically and operates with units of stops. Applies prior to the look transform and scales based on the shape of the curve the way film exposure works.

Gain

Controls the top end contrast.

Lift

Controls the low end contrast.

Cool/Warm

A LAB color space based temperature control.

Tint

Magenta vs. green balance.

Saturation High

Control how much saturation is introduced in the upper luminance range. The effect of the control varies based on how much luminance is available in the image, and overlaps slightly with “Saturation Low” to ensure a gentle transition and avoid artifacting.

Vibrance

Control how much saturation is introduced in the lower luminance range, but not in the absolute blacks. The effect of the control varies based on how much luminance is available in the image, and overlaps slightly with “Saturation High” to ensure a gentle transition and avoid artifacting.

Saturation Density

Determines how dark or bright the colors are as we saturate them. The tool allows to give the higher saturation a more subtractive and filmic quality when slided from left to right. The effect of the control varies on how much high-saturation is available in the image.

Channel Density Control

Color channel controls that darkens and lightens the individual color channels without shifting the luminance. Useful for enhancing skin tones, adding texture and depth by separating parts of the image by bringing what is most valuable to the front.

Highlight trim

Pull in og stretch out the peak highlights for a gently roll off. The effect of the control varies based on the luminance range of the image.

Highlight volume

Reducing contrast in the upper end of the image to create richer and thicker whites. Mimic the popular effect of playing the lift and gain against each other inside of a highlight key. Must be used in conjunction with Highlight Volume Ratio.

Highlight Volume Ratio

Determines how much of the contrast in Highlight Volume is coming from the lift (left) or gain (right).

Shadow trim

Pull in og stretch out the absolute blacks for a gently roll off. The effect of the control varies based on the luminance range of the image.

Shadow volume

Reducing contrast in the lower end of the image to create get more textured blacks. Mimic the popular effect of playing the lift and gain against each other inside of a shadow key. Must be used in conjunction with Shadow Volume Ratio.

Shadow Volume Ratio

Determines how much of the contrast in Shadow Volume is coming from the lift (left) or gain (right).

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