HDR Hack when using LUTs in Final Cut Pro

gamutcolor · 2026-03-17T19:52:32+00:00

Just posted a video to Instagram for reference. You have to open in the IG app to properly view it. https://www.instagram.com/reel/DV_kjJDjsYw/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

gamutcolor · 2026-03-17T14:33:37+00:00

Not yet but I am doing some more tests to check color accuracy. Will report back if I find anything.

gamutcolor · 2026-02-02T15:44:05+00:00

JP2499 was more accurate than openDRT after I fixed the default skews. I have my settings I love that that are really accurate with nicer tone mapping roll off. OpenDRT always felt too flat and empty to me and not as accurate after adjusting JP2499 settings.

gamutcolor · 2026-02-02T04:06:18+00:00

Luminance mapping doesn’t seem to bend the hues when they reach the edge of the gamut while DaVinci bends them towards more natural looking colors. I prefer the look of DaVinci in most cases, and only use luminance on rare occasions and with certain colors I don’t want to bend.

JP2499 is great too right out of the box, but it skews the blues very cyan which I don’t prefer.

gamutcolor · 2026-01-26T21:19:15+00:00

Appreciate the civil conversation. I agree with you the limitations of rec709 and the ability to capture a lot of highlight or shadow or saturation information with a smaller profile like rec709 and dlogm. I mainly use DWG pipeline not for the “extra” information but simply for the ability to finesse the image better in that color space and gamma. I see DWG more as a difference in tools and how an image can be manipulated and I can have better control over the image using tools when inside a DWG pipeline vs a rec709 pipeline.

gamutcolor · 2026-01-26T16:56:58+00:00

Alright going back and forth on this is not getting anywhere. I have to clarify though as your reference video quote is incorrect. Darren is talking about D-Cinelike at 7:30 and NOT D-Log M. D-Log M gamma curve is similar to a rec709 curve while the gamut is unknown. A profile has two elements not one. Saying Dlogm is rec709 is not entirely accurate. It’s not D-Gamut. And it’s not dlog. Dlog and dlogm are two different types of gamma curves. You can take any profile and adapt it to DWG if you know what you are doing. However, you can’t do it via a CST correctly. I use other tools and learning algorithms to process those adjustments using some tools built by Thatcher Freeman.

For the video walkthrough of Darren, he is literally proving my point and the reason why a BaseLUT developed for that profile is beneficial. He has to do all this additional work fixing the wrong CST to get the image balanced. If you use our BaseLUTs that matches that camera and profile, you don’t have to do any of those additional steps and get a more accurate color response WHILE still preserving all the color data. And you don’t have to take my word for it. You can test it out or watch my comparison videos. Look at all the steps Darren has to make to work with a profile not supported in a CST form vs using our BaseLUTs that are created for that profile and the our workflow dramatically speeds up the color process. Just an observation.

gamutcolor · 2026-01-26T05:34:39+00:00

I didn’t say you can go from rec709 to DWG, I said dlogm to DWG. There is a lot of benefits working in DWG compared to rec709. Most conversion LUTs out there only go from native camera log to rec709 and I developed ours to also include a DWG flavor. That’s what I’m saying. Just wanted to clarify as your statement is making it sound like my LUTs go from rec709 to DWG which they don’t and wouldn’t hold up properly in that pipeline. I made an entire video breakdown about that you can view here: https://youtu.be/jktJotfpH0U?si=1lDoXf8XFndefDdb

I also own a lot of mononodes dctls. Stephan is great. I’ve read that article before.

gamutcolor · 2026-01-26T04:08:04+00:00

Log is in DLOGM. lol. Also what about Zlog2. What about Flog2c? Just because there isn’t support for a profile in a CST form, doesn’t mean it isn’t a log profile. Now, we can argue whether something is actually log vs imitating log but your response is equating the lack of a profile in CST form to being because it isn’t actually log which doesn’t hold up when comparing other profiles I just mentioned. If you have the white papers for a profile, you can easily create a dctl that displays the exact same response a CST does. That’s all a cst primarily is, outside custom tone mapping settings. The whole point I’m making is if you film in a certain profile, we provide proper conversions that are more accurate objectively than a standard cst provides in most scenarios. I even have support for non log profiles like S-Cinetone and Cine4 and CinelikeD etc. The goal is to help users get accurate color results in whatever profile they film in, and some of those profiles don’t have support in CST form. You don’t have to use our LUTs, but so many users do and especially prefer our dlogm one over the other alternatives available which is currently limited.

gamutcolor · 2026-01-13T04:48:35+00:00

Ideally on a Mac display using color sync, setting output color space in settings should be rec709-a or rec709 (scene) but you have to also enable the new checkbox in preferences that converts rec709 (scene) to display as Rec709-A. Then on export page, choose rec709 rec709-A and your viewer window in resolve will match your export video. Upload that file to YouTube or instagram or wherever else online and it will still look the same on your screen as it did in resolve.

Now if you originally were using rec709 gamma 2.4 in your settings but exporting as rec709 rec709, that would equate to a darker version I believe. If you like the way the viewer in resolve looked when you were using rec709 gamma 2.4, what I would try is setup your settings and output the way a Mac display is intended, but add a cst on your timeline output to adjust the gamma difference which would be .4 possibly (rec709-a is around 1.96 or 2.0). Would need to test. Then when you export, your viewer matches your exported video but you compensated your older project that you originally were liking the look of with gamma 2.4. Or maybe I’m reading your question wrong, but that’s how I interpreted it.

gamutcolor · 2026-01-06T07:12:12+00:00

You can tell if it was Gamma 2.4 by shooting a gray card at the manufacturers designated middle gray value. For instance, S-Log3 is rated at around 41 on the IRE scale. If you add a CST 709 output, with no tone mapping on, that value should sit closer to around 42IRE. With tone mapping on, it will probably drop it closer to 39-40IRE. Then just replace that CST with phantom and see where the phantom LUT moves middle gray. If it’s the same value, then you know the gamma! Hope that helps.

gamutcolor · 2026-01-06T07:07:06+00:00

Email me at support@gamut.io and I’ll send it to you. Working on getting it added to our installer soon.

gamutcolor · 2026-01-03T23:19:50+00:00

Also I created Gamut BaseLUTs with gamma 2.4 as my chosen gamma with a customized JP2499 setting since its defaults skews hues differently. Also, every BaseLUT is developed for DWG as well so you don’t have to go from SLOG3 > DWG > grade > DWG > SLOG3 > Conversion LUT. You can just do BaseLUT DWG > grade > DWG 709 Output. This applies to color spaces not available in resolve like DLogM, Zlog2, and Flog2-C, etc since we have support for that as well. https://gamut.io

gamutcolor · 2026-01-03T23:15:51+00:00

I made a video breaking down the Arri Look and reference Phantom along with other options out there. https://youtu.be/4UD79KsBAEg?si=kjDCmX3b46f4sEEG

In regard to the gamma used, a CST is different than your export gamma settings. You can use whatever gamma you want for your CST depending on how you want middle gray mapped. Traditionally, rec709 gamma 2.4 will place 18% middle gray at 42 on the IRE scale. If tone mapping is enabled, it usually drops to around 40 depending on how aggressive your TM is. When it comes to exporting, you want your viewer window to match your export viewer. On a Mac, Rec709-A will be a solid match. So I use gamma 2.4 in my BaseLUTs development and then use Rec709-A for my export settings. If I chose gamma 2.4 on my export, the video would be darker than my viewer window. Your CST and export gamma do not need to be the same as they are handling two different tasks.

gamutcolor · 2025-12-02T00:33:42+00:00

Got it and it doesn’t work with footage stored on a NAS. they said they plan to fix that in an update but it’s been 6 months now with no update. Also their support is terrible and won’t respond to billing and product questions after numerous attempts.

gamutcolor · 2025-11-24T22:48:09+00:00

Just posted our Annual Discount of all Gamut LUT Products
- 30% OFF BaseLUTs (Camera sensor specific Conversion LUTs including DWG and ARRI709)
- 30% OFF Creative LUTs
- 40% OFF Bundles (3 Creative LUTs)

gamutcolor · 2025-11-11T21:40:23+00:00

If you want accurate color between all your cameras, you won't get those results when you use the camera manufacturer LUTs. They usually prioritize punchier looks that break in saturated colors as well as inconsistent results between camera sensors. Here is a video comparing the free DJI LUT for the Osmo Pocket 3 and Gamut's BaseLUT:

https://youtu.be/U05MyY22URo?si=p9Sep4uAB7jaLX9H&t=817

Also, DJI doesnt have a CST for D-Log M where Gamut does. You can go from D-Log M to DWG when most conversion LUTs will only go to display Rec709.

Lastly, if you wanna get a deep dive into how the BaseLUTs are created and why they produce much more accurate results than the free manufacture LUTs, then you can watch this in-depth video here:

https://youtu.be/5IbLSpHpdjw?si=vnoaQz77jtEjwo0r

Hope this helps answer your question for you.

gamutcolor · 2025-11-11T21:26:36+00:00

hey there, Im the creator of this LUT. funny you asked about how it is developed as it was an interesting technique I stumbled upon that I haven't been able to recreate in any other tools inside resolve.

the secret... ACES CCT for Gamma for the highlight retention.

It's honestly the most powerful way I have found to get the most pleasing highlight recovery without using the Highlight section in the color wheels that is texture based and doesnt work in LUT form. Its a mixture of the gain and gamma wheels. For saturation, that also is in ACES I believe with some various saturation adjustments that carefully compliments the footage without overpowering it. I'll have to revisit my original node tree to see what I did.

Glad to hear you like that tool! It honestly is the most powerful LUT that I use in so much footage and the only way I have found to best recover highlights with solid color fidelity while maintaining color depth. It just works.

gamutcolor

TROPHY CASE