How can I purchase the Luttery Buts?

Thanks man! Really appreciate!

You’ll be absolutely fine! Thank so much for your comment! Really helps me to keep creating!

Never touched that option!

Either h264 100mbs or prores hq 4k, nothing else :)

Thank you for your reply, really helpful

Did hundreds of tests. Rec709A doesn’t do a thing for me. Gamma shift still happens when you upload online. My export file with these settings is perfect when opened in VLC. Identical to DaVinci. Quicktime is messed up. I simply don’t watch my files in Quicktime anymore and I also tell my clients to open master files in VLC. As simple as that.

@@matteobertoli I totally agree!!! That's why there is so much confusion... Thanks!!!

@@matteobertoli If you don't understand that VLC is not color managed and is independent on your system as it is on your clients, you really shouldn't be giving advice to other people. Especially if you want credibility for selling your LUTs. The 1.96 gamma that Applecolor sync applies to files happens in the math of the display transfer from linear to non-linear in camera. Apple in the math defines that at 1.96 where all other OS or players etc. defines that as 2.2. This is why we see more of a discrepancy in video that should be gamma 2.4 because in the math, that happens early in the equation. And it doesn't take very much effort to open a file in quicktime ( which is color managed ) then compare it on the same MAC in VLC ( not color managed ) and see the gamma shift that happens when the display profile from Colorsync is being applied on Quicktime but not on VLC. I have discussed with BMD , and Adobe engineers, but Apple won't respond to my questions - but instead sent me into their white papers on Gamma . Apple has assigned gamma 1.96 as the variable for the initial gamma when it is captured when it converts linear to a logarithm camera display function. And the rest of the world applies that variable as gamma 2.2 . Y = 2.2 video_out = video_in^Y = 0.5^2.2 - which approx. equals - 0.2387 Now if Y equals 1.96 as Apple says it does. Then of course that equation would have a different result So when the equation for the monitor display function gets inverted to video_out = video_in^(1/y)= 0.2387^( 1/2.2) which approx. equals to 0.5945 Which means that the gamma is lifted. The display will show a different result, which is the crux of the problem. Adobe made a lut to compensate for this and Resolve has the rec709-a - they are both targeting the apple decision and compensating for it. There are smarter people than any of us, who are attempting to fix this problem that you think doesn't exist. And people in this forum and in Premiere groups etc. all find the problem and post about it several times a week.

@@JimRobinson-colorsHello Jim. What are you suggesting to use when doing client work? I cut and grade on a iMac and always used Rec709-A so far. Thanks for the advice.

@@jonasscheidegger8740 Rec709-a only actually achieves the gamma problem if it is baked in. But baking it in will have the opposite problem for windows users. So I would use a calibrated display with a clean signal from a breakout -box, that is calibrated to the gamma of your environment - low light - gamma 2.4 - more room light gamma 2.2 - and unless you know for a fact that your video will be played on a mac in a color managed player ( i.e. Quicktime not VLC ) then just ignore it. Sometime solving one problem creates a new one.Pretty much every pro colorists that I know - do this. Eventually it will be all sorted out by the big companies and there will be a standard that they all use. Until then - pick a side or ignore it.

Yes

Iso is the one I wanted and I nailed WB as well. Everything else is better doing it with the 3 wheels

Thanks for the info. I’m usually a 1-2 node guy myself. Now I don’t feel quite so inadequate 😂