With that information, go to LUT Calc and see if you can create a new LUT that goes from the baked-in look to sLog3. So, what you MUST find out is the exact LUT that was baked into the footage. In theory, since the footage is recorded at 10-bit 4:2:2, the information is pretty much still there, but the baked-in LUT just changes the distribution of the luminance data. What I’m suggesting is that you create, via LUT Calc, a new LUT that does the reverse of the one baked into the footage. So yes, you are stuck, for now, with the baked-in look.
Lot's to fix up in here but it will show you the basic concept.With the FS7, when you bake in the LUT, it’s not just something that happens in metadata–it changes the footage that gets recorded. I have been wondering about whether it's possible to export the CDL with the LUT name in the description section within the CDL which would help with metadata compared to having a new LUT name for everything but that is the workflow I was testing it with. If there are any suggestions on cdl naming schemes or any errors that come up in console I could probably help figure that out. I couldn't get the LUT to apply otherwise, but if anyone knows a better way to do that let me know. I also don't know if resolve still does this but when I first got it working, I had to have the file dummy.drx next to my script to append a node through scripting. It works off specifically named CDL files in a folder in the format YYYYMMDD_REEL_CLIP_LOOKNAME.cdl with accompanying.
Namely, I haven't implemented setting the default lut folder so you will want to change that in the script under the variable defLUT, as well as defPath. ()įorewarning this is not production ready and will likely have to be tweaked. I just threw the initial script I've been testing up on Github here: ambustion/CDL2Resolve: A python script for importing folders of CDL files to a timeline in Davinci resolve.
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