It was really cool seeing how you used the compound clip to evaluate each curve that your adjustments made. Saving these different scenarios to the gallery could prove useful for when a clip is giving you trouble. Just check it against what you did before and what you are doing now.

I know that you don't set your black point, but I do a similar routine using curves to accomplish this task. The first move that I do though is assess the point in the image that I want to be pure black and set a point on the curve- I then do what you were explaining of compressing or expanding the shadows - by grabbing a point above the black point and creating the curve. I can also lock off areas of the image that I don't want affected like skin tones etc. and of course easily roll off the highlights if needed. I think when talking about doing a number of things on one node, the order of operations as laid out in the manual applies, especially if the order is part of the look. One of the various reasons why we use a number of nodes to do things that have limited applications to each. The luminosity composite blend is interesting, I wonder how that differes from the LUM mix on the primary tools?

I love that they included these blend modes. I use Luminosity alot doing dodging and burning in photoshop and nice to see the same framework or "math" is useable in Resolve. It's subtle but makes the world of a difference.

Great video once again ! I used to do contrast with lift gamma gain, then at some point started to use your template node tree so I was sticking to contrast/pivot, and now my "ratio" node often blends both contrast/pivot and some LGG when needed, if I want to refine the contrast :) I found it to work really nicely.

I got a bit anxious when I didn't see the usual node tree. I adjusted quickly though.A sign that your channel is helping me grow my skills.Thanks for that.

Really interesting!! After absorbing the discipline of the 5 node graph, this is a great way to play with the curve without chasing my tail and getting lost down a road where I’m just responding to the previous adjustment. With the grey scale ramp, I see where this process can help in understanding an overall look. Intellectually I understand the importance of a consistent overall look, but I haven’t seen the light yet. It seems like a smart rule to follow but why? So far it’s not clear to me.

This was very crisp and very intuitive! Loved it! Hey, u forgot to change the key screen back to primaries..

Thank you🎉

great tut as always. How would you ad cinematic saturation here (hsv)? If an image has enough sat and you still want the filmic look, woud you turn down the normal sat in a previous node and then in the next node ad hsv sat?

Hey Cullen. Nice tutorial, as always! I watched a lot of your videos but I couldn't find a solution to a problem I am currently facing in a grade. Maybe you have an idea how to "fix" that: I work with Sony venice Raw material in DWG under a rec709 transform. Some of the shots are in need of a lot of exposure down adjustment. When I use the offset wheel, curves and so on and pull down the exposure the highlights are quite "sticky" to the highlight region and the whole image moves down in a log type of way. But I basically want a linear way of moving down my whole exposure. Like when I use offset AFTER the cst.. I tried changing the gamma of the node but without success. I am sure I don't need the s-curve option in the settings since that is for contrast. Sure I could work lift, gamma and gain until I am happy but I basically want a quick way to compress the image so it sits between blacks and midtones. Basically like a "Sicario" type of exposure where the highlights are parked in the middle of the exposure range. Sorry for the wall of text but I didn't know how to describe it shorter. Best wishes from germany

is it the same result if we use hdr wheels?

I asked this below one of your older videos, not sure if it got anyone's attention. Thought I'd give it a go here. I usually can't watch grade school live to ask there as there as I'm in Australia... Hi Cullen, I've noticed something about CSTs when you switch the tone mapping from davinci to luminance mapping, it introduces much more red colour especially in the skin tones, I noticed that in one of your older videos when you worked with I think RED footage, so I tried it myself on my Sony S log 2 sgamut3 cine footage and it's even more obvious and it can really look crazy so after switching to luminance mapping I'd literally have turn the red hue back more to yellow to fix it, if I leave it to davinci, it looks great right away, would be curious about your two cents on this topic in grade school for example and the difference in processing between Davinci and Luminance tone mapping and why stuff shifts more towards red as I'd like to follow your advice but it makes me fix stuff afterwards. Thank you. Appreciate your content very much.

Thank you, Cullen, exciting video. Could you tell please what is the node "cerberus" on the timeline node structure? On 11:06 of the video

I tend to use only the luminance values of gamma, gain, lift, instead of the wheels. I think the colors don't change so much this way

If available, is it better to use the RAW controls (temp, tint, exposure, gain, shadow and lift etc.) instead of node based primary corrections? I'm thinking on the basis that RAW controls happen at the start of the Resolve pipeline.

Wow, that's genius. I've always used DCTLs to add saturation back in when doing lower contrast looks, but this might be a better approach.

first to comment. love love it.