Where can I download the grading tools?
You can download them here
Where can I download the grading tools if I purchased before 15. September 2022?
You can download them here
What payment methods do you accept?
We accept all the most common available payment methods, including Mastercard, Visa and Paypal, and all of our payments are securely handled by Stripe.
Do you offer refunds?
Since the content are digital items and can’t physically be returned, there are no refunds offered on these products.
Which operating systems are supported?
Cinelook runs natively on Intel and Apple Silicon Macs, Windows and Linux.
How many computers can I use Cinelook on?
One license is required per user, and there is no strict limit to the amount of computers as long as you are the main user on them.
Will I see artifacting or clipping with the Cinelook looks?
No. Every technical component of the looks are shaped by color scientists to ensure the image does not quantize, clip or clamp, and the looks are tested against every valid possible input color. As long as the color space characteristics of your image align with the color space you select within the tool, you’ll never see any breakage.
Are there separate controls for contrast and color?
As tempting as it is to think of contrast and color in isolation, the truth is that they’re inextricable. No matter how you approach it, altering either component fundamentally alters the look itself. By “locking” the relationship between the components they will move in conjunction to each other when the look is altered and that way we’ll stay true to the intent of the look designer.
Should I work before or after the Cinelook node?
It’s up to you, but in most professional workflows it’s preferred to work in camera space and transform to display space at the end of the node stack. That’s why we recommend to make the main color corrections in nodes prior to the Ravengrade node. This way, the image will expand and compress based on the shape of the curve and the result will be more organic. The grading controls in the Plugin are also affecting the image before the look application.
How do I properly analyze the looks on a grayscale?
Make sure you have tetrahedral interpolation enabled in the DaVinci Resolve color management settings, before analysing the curves on the grayscale.
How smooth a curve should be is a complex discussion because we need to balance the various mathematical formulas that is used to smooth out the movement from one curve point to the next with the designers creative intent. Also, the curves of the Ravengrade looks who are true film profiles reflect the actual measured and jagged behaviour of the print.
Are the looks adjusted for neutral gray?
The 10-bit mid gray exposure values for all the tone curves are aligned, in order to maintain the best fidelity with the original scene. While the mid exposure values are aligned, the color is not and that’s intentional to preserve the nature of how film impact the values on the grayscale.
KHARMA PFE LUTS QUESTIONS
What color spaces are the Kharma LUTs optimized for?
The first iteration of the Kharma collection is available for Arri Log C and REDWideGamutRGB Log3G10. More color spaces will come, write to use if you want to quick access to a specific color space. The output color space is Rec709.
Are the Kharma LUTs working in ACES and RCM?
We have not created versions for color managed workflows such as ACES and RCM. The reason is that true film print emulations consists of both contrast and color – and the relationship between them. The truth is that those two components are inextricable and important parts of the emulation. If you take one of the component away, and replace it with a color managed curve you no longer have a true film print emulation.
How do I know the Kharma LUTs are optimized inside of DaVinci Resolve?
When using the LUTs, it’s important to set the “3D lookup table interpolation” to “Tetrahedral” in the color management settings if used in a color grading software, for best possible interpolation.
How do I avoid artifacts with the Kharma LUTs?
True film print emulations are complex. The curves will never be perfect, because they should reflect contamination and the actual measured and jagged behaviour of the print. The more accurate, the more jagged behaviour. How smooth a curve should be and how hard you should be able to push it to avoid artifacts is a complex discussion because we need to balance the real measurements with varius mathematical formulas used to smooth out the movements to make it useable in production.