This new look pack reimagines film emulation completely!
With this DCTL you'll be able to apply just the hue, saturation or luminance of the mentioned profiled film LUTs below. And that's not all! You can even adjust the strength of each component and mix between different stocks. That means you can apply the hue of a Fuji® negative and a Kodak® negative at the same time, adjust the strength of the overall hue and how it should be mixed together like for example 70% of the Fuji® one and 30% of the Kodak® one. Next you can do the same thing with the saturation and the luminance channel, but you're not bound to the two stocks mentioned above. Just add in the contrast curve of a Kodak® 2383 profile for example mixed with one of the synthetic looks (these are not based on actual scanned & profiled film data, but created purely on taste digitally). With this technique you basically can take film "emulation" to the next level and create your own "stocks" and profiles. Learn more about this concept and see it in action on some real world footage here: https://youtu.be/XA791KilAd4

Furthermore you'll also have all the 3D LUTs (10 in total) + PowerGrades available so you can do the same thing as with the DCTL if you do not own the Studio version of DaVinci Resolve or just want to gain more insights into how I actually put the DCTL together. And because you also get all the LUTs, you have the possibility to just work with the "whole" 3D LUT (hue, sat & lum) and mix and combine 2 or more of them (PowerGrades for this are included too)! Just the Highlight Roll-Off, Toe Compress and Split-Toning functions are just available via the DCTL, as they can't be rebuilt with the available math within Resolve. 
 
The looks are adapted so they are all working scene referred and are natively available for ACEScct, DI/DWG or an ARRI LogC3/AWG3 color managed workflow. So you can choose whatever workflow you want to. Of course you could also port them via CSTs to your preferred custom color managed workflow if these 3 do not fit your needs (e.g. you prefer working in Sony camera native S-Log3/S-gamut3.cine). The result just may look a tiny bit different then. 

As with all my products in the shop: free updates forever, no subsciption, one-time payment! 

Info on the 10 looks included in this pack:
Fuji® Eterna Vivid 500T (8547) - AS
Based on a Fuji Eterna Vivid 500T (8547) film stock (exp. 2013) scanned on an ARRISCANNER6K scanner & tweaked to taste for a scene referred workflow
 
Fuji® Eterna Vivid 500T (8547) - SC
Based on a Fuji Eterna Vivid 500T (8547) film stock (exp. 2013) scanned on a Scanity4K scanner & tweaked to taste for a scene referred workflow
 
Kodak® Vision 2383 (Warm)
Based on measured film data from Light Illusions ColourSpace® + I adapted the look a bit & tweaked to taste for a scene referred workflow.
 
Kodak® Vision 2383 (Cold)
Based on measured film data from Light Illusions ColourSpace® ColourSpace + I adapted the look a bit & tweaked to taste for a scene referred workflow.
 
YEDlike Knives (Synthetic Look Profile)
Based on a demo you can find on Twitter by Steve Yedlin from his work on Knive's Out & adapted to taste to work within a color managed workflow.
 
Vision3 Teal&Orange Tweak (Synthetic Look Profile)
This profile does not included measured film data, but is based on my analysis of various Kodak® Vision3 stocks & a adaption I made towards a more teal&orange rendering.
 
Filmic Neutral (Synthetic Look Profile)
This profile does not included measured film data, but is based on my analysis of various FPE LUTs available within Resolve & online. I incorporated my experience as a Colorist who works mostly on commercials with my clients. I built this profile based on the tweaks I always made on commercial projects when using a FPE or even counterfight in the grade. That means, I created a profile with what I considered that my clients love about "film emulation looks" and what they do not like. The result is a pretty neutral starting point that's more on a filmic side, but is doing nothing heavy or crunchy. And this one is doing a lovely job since I implemented it in my workflow some weeks ago and my clients love it too! 
 
Filmic Heavy (Synthetic Look Profile)
Pretty much the same story as with the neutral profile above. I just wanted to get a completely other starting point with this profile so I'm able to show my clients two different looks very quickly. This is more on the heavy side of things, but still far away of the look you'll get if you apply FPEs on footage that weren't shot with one on set. 
 
Kodak® Vision3 500T (5219) - AS
Based on a Kodak® Vision3 500T (5219) film stock  scanned on an ARRISCANNER6K scanner & tweaked to taste for a scene referred workflow
 
Kodak® Vision3 50D (5203) - AS
Based on a Kodak® Vision3 50D (5203) film stock scanned on an ARRISCANNER6K scanner & tweaked to taste for a scene referred workflow

More profiles (like Kodak® 250D, Kodak Premiere® 2393, Fuji 351...) will be available in an (free) update coming later this year! Also all film profiles are at least profiled with 3 exposure brackets (-1EV, 0EV, +1EV). Some of them have as much as 8EVs profiled though. 

Also there are PowerGrades included for:
Hue/Sat/Lum split for mixing 6 LUTs (2 per channel) together
Luminance/saturation channel split for advanced LUT mixing
Mixing 3 LUT together
Calling up the DCTLs
 
 
Almost all of the looks do not really move your 18% mid-grey with their tonemappig (or if they do – it's very minor!). That means in terms of brightness it more or less stays where it is. With some of the looks it may get a bit warmer or cooler though. Everything has been crafted with the Color Science knowledge I gained over the years. All of the looks were made with custom math in a dedicated software which is not reproduceable and accessible within Resolve (especially all the ones that rely on film profiling), hence all the looks are supplied as 3D LUTs. Some LUTs are also built with the help of Light Illusion products (lightillusion.com).

New v2.0 UPDATE!
Now there's also another DCTL included: A LUT Mixer
I revised all of the LUTs to get smoother & more robust profiles
Small naming convention changes that happened to be buggy on some systems
New default starting points at some values within the DCTL
 
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Please be aware that you'll need the "Studio" version of Blackmagic Design's DaVinci Resolve to use DCTLs!
 
This digital product may not be redistributed, copied, or sold in any way. Refunds are not accepted.