grade-log

name	grade-log
description	Set up and guide the 6-node log footage color grading workflow. Builds the WB / EXP / SAT / CURVES / CST / LUT node structure, applies the DECSFILM or any other LUT, and walks through each step.

/grade-log — 6-Node Log Footage Color Grading

A structured, step-by-step color grading workflow for Log footage (Sony S-Log3, ARRI LogC, BRAW, RED Log3G10, DJI D-Log, Panasonic V-Log, and more).

Why 6 Nodes?

Nodes process left-to-right. By placing corrections (WB, EXP, SAT, CURVES) before the Color Space Transform, you work in the uncompressed Log space with maximum dynamic range. The CST then converts to Rec.709, and the LUT adds a subtle film look on top.

[WB] → [EXP] → [SAT] → [CURVES] → [CST] → [LUT]
 Log space corrections          Rec.709   Film look

Usage

/grade-log
/grade-log camera=sony-slog3
/grade-log camera=arri-logc lut=fuji3513-d60
/grade-log camera=bmpcc6k lut=decsfilm lut_gain=0.15
/grade-log camera=sony-slog3 all        ← apply to every clip on V1

Step-by-Step Instructions

Step 1 — Project Settings (do once per project)

• Go to Project Settings → Color Management
• Set both Timeline color space and Output color space to Rec.709-A
• On Mac this prevents color shift on export
• Save as a preset

Step 2 — Setup (automated)

Run cutmaster_setup_log_grade with your camera format. This will:

• Create 6 serial nodes labeled: WB · EXP · SAT · CURVES · CST · LUT
• Apply a log-to-Rec.709 CST LUT to node 5 (camera-specific)
• Apply your look LUT to node 6 with key output gain ~0.20
• Switch to the Color page

Step 3 — CST Node (Node 5)

If a built-in LUT was applied, verify it matches your camera's log profile. If no LUT was available, manually drag Color Space Transform from Effects onto node 5 and set:

• Input Color Space → your camera's gamut (e.g. S-Gamut3.Cine)
• Input Gamma → your camera's log (e.g. S-Log3)

Your flat log footage will now look like standard Rec.709.

Step 4 — White Balance (Node 1)

• Open the Vectorscope (2x Zoom, Show Skin Tone Indicator)
• Use the Offset wheel to center the blob
• Creative tip: leave slightly cool for overcast, warm for sunny

Step 5 — Exposure (Node 2)

• Open the Waveform (Y mode): 0 = pure black, 100 = pure white
• Use Lift (shadows), Gamma (midtones), Gain (highlights)
• Softer than the Log wheels — avoids crushing shadows / clipping highlights
• Use Offset to uniformly lift underexposed footage (night shots)

Step 6 — Saturation (Node 3)

• Bump global Sat from 50 → 60–70
• For specific colors (sky, foliage): Curves → Hue vs Sat → click color → drag up

Step 7 — Curves / Contrast (Node 4)

• Draw a subtle S-curve: top-right anchor up (highlights), bottom-left anchor down (shadows)
• Optional: Hue vs Hue to shift foliage from yellow-green to richer teal-green

Step 8 — The LUT (Node 6)

• LUT has been applied with key output gain ~0.20 (the "icing on the cake")
• The secret: go to the Key tab on node 6 → Key Output Gain → 0.15–0.25
• Too strong? Lower it. The LUT should be barely visible but add warmth/texture

Available LUTs

Key	LUT
decsfilm	DECSFILM.cube (custom, installed)
kodak2383	Rec.709 Kodak 2383 D65 (classic film)
fuji3513-d55	Rec.709 Fujifilm 3513DI D55
fuji3513-d60	Rec.709 Fujifilm 3513DI D60
fuji3513-d65	Rec.709 Fujifilm 3513DI D65

Camera Formats

The camera parameter is not Sony-only — it works with any camera that shoots log. Natural names and common model names all work as aliases.

Cameras with automatic CST (built-in Resolve LUTs applied automatically)

Key / Alias	Camera
slog3, sony fx3, sony a7s, zv-e1	Sony FX3/FX6/FX9/A7S III/A1/ZV-E1 (S-Log3)
arri-logc, alexa	ARRI Alexa (LogC)
bmpcc4k, pocket 4k	Blackmagic Pocket 4K
bmpcc6k, pocket 6k	Blackmagic Pocket 6K
braw-4k, braw-46k, braw-gen5	Blackmagic 4K / 4.6K / Gen 5
red, red komodo, red monstro	RED cameras (Log3G10)
dji, dji phantom4, dji x7	DJI legacy D-Log (Phantom 4, X7)
vlog, gh5, gh6, s5, lumix	Panasonic V-Log
olympus, om system, omlog	Olympus / OM System (OM-Log400)
samsung, samsung-log	Samsung Log

Cameras requiring manual CST (node 5 created + instructions provided)

These cameras use log formats not in Resolve's built-in LUT library. The tool creates node 5 labeled "CST" and returns exact instructions on what to do.

Alias	Camera	What to do
osmo pocket 3, dji mini 4, mavic 3, air 3	DJI D-Log M	Apply CST OFX: Input → DJI D-Gamut / D-Log M. Or download DJI D-Log M LUT
insta360, x4, x3, insta360 ace	Insta360 X4/X3/Ace/GO	Download Insta360 LUT pack, pass path via cst_lut_path
gopro, gopro hero, protune	GoPro (Protune Flat)	Apply CST OFX: Input → GoPro Protune Flat
iphone, iphone 16 pro, apple log	iPhone 15/16 Pro (ProRes Log)	Apply CST OFX: Input → Apple Log

Custom CST LUT override

If you have a manufacturer LUT (e.g. downloaded DJI D-Log M LUT), pass it directly:

cutmaster_setup_log_grade(
  camera="osmo pocket 3",
  cst_lut_path="/path/to/DJI_DLog_M_to_Rec709.cube"
)

Workflow Execution

When the user runs /grade-log, perform these steps in order:

1. Ask (or infer from context):

   • What camera/log format? (default: sony-slog3)
   • Apply to current clip or all clips? (default: current clip)
   • Which look LUT? (default: decsfilm)
   • LUT gain? (default: 0.20)

2. Call cutmaster_setup_log_grade with the resolved parameters

3. Report back:

   • Which nodes were created
   • Which CST LUT was applied (or what to do manually)
   • Which look LUT was applied with what gain
   • The next-steps checklist

4. Offer to use cutmaster_color_assist for AI-powered CDL suggestions on the active clip.

Tips

• Less is more: If it looks obviously color-graded, you've gone too far
• LUT gain 0.10–0.25: The exact number matters less than "barely visible"
• Copy grades: After grading one clip, use cutmaster_copy_grade_to_all or Cmd+C → Cmd+V in Resolve
• Grab stills: Use cutmaster_grab_still to snapshot grades for reference
• AI assist: Use cutmaster_color_assist after setting up nodes for Gemini CDL suggestions