1. How to Install and Activate Look Designer 2 

Here there are links about how to install and activate Look Designer 2:

Mac:  How to Install and Activate LD 2.1 Mac

PC:     How to Install and Activate LD 2.1 PC

Uninstall Beta Version - Mac and PC:   Uninstall Beta Version

1.1 Download the Mac version from your account on https://www.colourlab.ai

 

 

1.2 Unzip and Double-Click on the PKG file to start the installation

 

 

1.3 Create a Node on Resolve and Load LD2.4

Now on DaVinci Resolve go to Color Page, in the Timeline click on the Clip you want to operate, and in the node tree create a second node, shortcut⌥S, where you will load LD2.4 OFX Plugin.
To do that, go to the Open FX tab and in the Library search field digit Look Designer 2.4, then Drag the Plug-in and Drop it on the second node.
We recommend you use LD2.4 on the second node, leaving the first node for CDL.

 

 

 

1.4 Activate LD2.4

Scroll down the OFX options and click on  "License". Copy and paste your key in and hit Activate.

 

 

 

 

 

2. Set Camera Profile and Output Profile

After inserting the OFX Plug-in of Look Designer 2.4 on a node (it's always preferable to leave the first node free, ex: CDL or Primaries), you need to do the first thing to set your Camera Profile and Output Profile.

Camera Profile is determined by the type of camera that was used to record.

Output Profile by default is set to REC709, but you can change it according to your needs.

 

 

 

2.1 List of Camera Input Profiles that supported on LD 2.4

This is the List of Input Camera that we support.
You must select the right  Camera Input Profile to get the best performance from Look Designer 2.4

ACEScct

ARRI Log C

BMD Gen 1 3200K

BMD Gen 1 5600k

BMD Gen 3 3200K

BMD Gen 3 5600K

BMD Gen 4

BMD Gen 5

Canon Log   709

Canon Log2 709

Canon Log3 709

Canon Log3 Cinema Gamut

Canon Cinema Log

Canon Cinema Log2

Canon Cinema Log3

DaVinci WG

DJI DLog DGamut

Film Scan

Film IC FLAT V2

Film IC HLG  V3

Film IC  Log  V2

Film IC  Log  V3

FUJI FLog FGamut

GoPro Protune

iPhone12 Dolby HDR

iPhone12 SDR

KINE LOG3

Nikon Z6

Panasonic Vlog

REC 709 IDT

REC2020 ST2084 1000

RED IPP2 WGRGB Log3G10

RED IPP2 DV

RED Legacy Dragon 2 RED Log Film

SONY Slog2 SGamut

SONY Slog3 SGamut Cine

sRGB IDT

VFX LINEAR SRGB

ZLOG 2

2.2 List of Available Output Profile

 

ACESCCT

ARRI AWG LogC

DaVinci WG

Film Scan

HDR Netflix PD365 PQ1000

HDR10 REC2020 PQ1000

HLG REC2020

LINEAR sRGB

MACPRO P3D65

P3 D65 SDR

P3DCI CI

P3DCI

REC709 by Arri

REC709 by CI

REC709 by RCM2

REC709 ODT

REC2100 HLG

REC2100 PQ1000

RED IPP2 WGRGB Log3G10

sRGB ODT

 

3.Gamut Limit Controls

Gamut Limit controls are used when certain colors, most often very saturated and bright that are close to or outside the gamut of the camera's sensor, and when a grade or ODT is applied a clipping occurs when the color is "out of Gamut". Most often this occurs when filming neon lights and sometimes very bright, red taillights on some cameras. Gamut Limit controls allow you to correct this issue.
You can enable the Gamut Limit control by checking the "Enable" box and simply dragging one of the three RGB sliders or numbers.

 

 

 

 

 

 

4.Choose the type of Contrast

After you set the Input Profile and the Output Profile, you need to choose the type of Contrast you want to use.
The Contrast Option menu can be found between the Input Profile and Output Profile.  
The Contrast Option allows you to choose one of the many Contrast Curves available on LD 2.4, and with the Contrast Intensity, you can control the amount of the Contrast you want to apply to your image, be gentle because it's very sensitive control.

 

 

 

 

5. Select your Negative and Print Format

If you desire, you can also choose the Negative Stock and Print Stock format.

 

5.1 Negative Stock

You can choose what type of emulation of Negative you want to use; you can select between Negative Stock, Major, or Minor The choice will activate the corresponding drop-down menu where you can choose what type of Negative Matrix emulation reel you want to use. 
The Negative Intensity slider allows you can control the amount of Negative Stock you want to apply to your image.

 

Overview of Negative Stock:

 

 

Overview of Major:

 

 

Overview of Minor:

 

 

5.2 Print Stock

You can choose what type of emulation of Print Stock you want to use in the Print drop-down menu.
The Print slider allows you can control the amount of Print Stock you want to apply to your image.

Overview of Print Stock:

 

 

 

5. Fine your Look with Subtractive Color

Look Designer 2.4 allows you to work with the power of Subtractive ColorSubtractive Color works differently than the Printer Lights.

When you decreasing the density you make an Image brighter, contrariwise when you Increasing the density you make an image darker but still increase saturation.

You need to compensate for the exposure loss by increasing the RGB Master value in the Push/Pull.

The CMY Master slider affects all the three-channels at the same time. Each of the CyanMagenta and Yellow slider affects the corresponding channel by subtracting the other two. 
You can also check the box Bypass CMY to bypass the Subtractive Color.

 

For example: by increasing the Yellow, I subtract the Blue channel at the same time

 

 

 

6. Push/Pull

In the Push/Pull section, you can adjust your image's exposure without applying a non-linear distortion.

The Push/Pull on Look Designer 2.4 is the corresponding and gives you the same results as the  Master Wheel Offset in the Primaries Bars on DaVinci Resolve.

The slider allows you to regain the exposure lost with the usage of the Subtractive Colors.

You can also check the box Bypass PL to bypass the printer

 

 

 

7. Printer Lights

In the Printer Lights section, you can adjust your image's exposure without applying a non-linear distortion.

The Printer Lights on Look Designer 2.4 are the corresponding and give you the same results as the Offset in the Primaries Bars on DaVinci Resolve.

The RGB slider controls the exposure of all three channels at the same time, and each of the Red, Green and Blue sliders controls the exposure only of the corresponding channel.

You can also check the box Bypass PL to bypass the printer

 

 

 

8. Lift - Gamma - Gain & Temperature - Saturation Controls

In Look Designer 2.1 you can also adjust your image by using Lift Gamma Gain controls.
Each section allows you to work with the Master Slider or the single Red, Green, and Blue Channel Slider. 
Every section has its own bypass box - Bypass Lift, Bypass Gamma, and Bypass Gain.

 

Below the LGG tabs, you can find the slider's control of Temperature and Saturation.
Temperature allows you to balance your Look for a certain type of White Light.
Saturation allows you to adjust the overall Saturation of the Look
Both controls have their corresponding Bypass Temperature and Bypass Saturation

 

 

 

 

9.Test Images

 

Saturation Ramp

This Test image helps you to check the saturation, avoid any gamut distortion and make your LUT clean. The Saturation Ramp going from on the top completely desaturated to fully saturated at the bottom. When you see some banding in the colors, you can easily adjust it by decreasing the Print Intensity slider.

 

 

 

 

 

 

 

Lightness Ramp

With the Lightness Ramp, you can easily check the behavior of your Highlight. Similar to the Saturation Ramp, when you see some banding you can adjust it by decreasing the Print Intensity slider or, in the alternative, the Global Blend control.

 

 

 

 

 

Tonemap

The Tonemap Test image helps you to check the tonal image in the right color space and in the right ODT.
Playing with the Push/Pull control, you can easily correct your Neutral Density point and quickly set it to the 400 value.

 

 

 

 

 

 

Ed Lachman Zones with Ed Lachman Zones Guide

 

Ed Lachman Zones are different from any other false color because they work in Stops and not in the standard gamma and IRE values that are working on a linear scale.
Instead, Ed Lachman Zones works on the Log scale, because the light is not linear but is in Log base of two.
Basically, the Ed Lachman Zones shows you the different exposure zones of your image.
The grey square indicates the Neutral Density Point (Grey 18%), which corresponds to the 400 value on the 10-bit code value in LogC.

 

 

Below is the table that explains what the colors and the relative Stops correspond to

 

 

 

10.Export your LUT

After you finished building your Look, you can save and Export your LUT.
It's very simple and easy to do, you only need to choose if you want to Export your 3D LUT in 33 Point Cube by clicking on the button Export LUT 33, or if you want to Export your 3D LUT
in 65 Point Cube by clicking on the button Export LUT 65. 
Normally 33 Point Cube is for Camera and 65 Point Cube is for Post- Production.
The .cube  file, you can also rename it if you want, will be saved on this path folder Library => Application Support => Blackmagic Design => DaVinci Resolve => LUT => Colourlab
so you can use it according to your needs.

 

 

May the Color Be with You

 

We hope this tutorial has been helpful to you.

If you have other questions please contact

help@colourlab.ai