Vision Print Film Emulation LUTs

These LUTs are designed specifically for a DaVinci Wide Gamut / DaVinci Intermediate (DWG) workflow. They are not Rec.709 LUTs and should not be applied directly to log footage without proper color space transforms.

Built for maximum flexibility and highlight rolloff, this system keeps your grading clean, consistent, and technically correct.

Project Setup (Required)

In Project Settings → Color Management:

• Color Science: DaVinci YRGB Color Managed
• Timeline Color Space: DaVinci Wide Gamut / DaVinci Intermediate
• Output Color Space: Rec.709 Gamma 2.4/2.2 (or your preferred delivery space)

Your timeline must be set to DWG for these LUTs to behave correctly.

Proper Node Order

Use this structure on your clips:

1. Input CST
2. Primary Balance
3. Creative Adjustments (optional)
4. DWG LUT
5. Output CST (only if not using color management)

Input CST Settings (First Node)

If shooting log (Sony S-Log3, BMD Film, C-Log, etc.):

• Input Color Space: Your camera’s native color space
• Input Gamma: Your camera’s log profile
• Output Color Space: DaVinci Wide Gamut
• Output Gamma: DaVinci Intermediate

This converts your footage into DWG before the LUT is applied.

If your footage is already Rec.709, an input CST is not required.

Applying the LUT

Apply the LUT after balancing exposure and white balance, but before any output transform.

These LUTs expect DWG input.

Applying them before a CST or after an output transform will produce incorrect results.

Output CST

If your project is not color managed, add a final CST:

• Input Color Space: DaVinci Wide Gamut
• Input Gamma: DaVinci Intermediate
• Output Color Space: Rec.709
• Output Gamma: Gamma 2.4

Enjoy all the filmic sauce these bring to your vision.