Color Grading Software Interface, comparing the before and after of a raw photo shot in the Wadi Rum Desert. Shot by Monokee User Guide | Create LUTs and DCTLs for Resolve Workflows

How to integrate into color managed workflows is a web-based color grading and raw image development application that offers the ability to generate 3D LUTs (Look Up Tables), which can be used to transfer your exact color grades from to third party applications for color manged video and film workflows. Additionally, can generate color managed DCTLs, which is a scripting extension designed for Davinci Resolve.

How color management works

Let us first establish an understanding of how color management works inside of so we can better integrate it into third party applications and workflows. uses the ACES framework for color management. ACES helps with bringing images from different cameras into a unified working color space and output to a vast number of display devices like different monitors and screens. This allows us to develop looks that are consistent across all of these cameras and monitors. The color management pipeline looks like this:

ACES color managed pipeline in

We start with an image and transform it with an ACES IDT to a common baseline that the engine understands. Inside of we develop our color look and finally render out to the screen through an ACES ODT. The first huge benefit of this pipeline is that if we want to adapt our looks to another camera or monitor type in the future, all we need to do is change the IDT or ODT respectively. The second benefit is that color management ensures that we can integrate looks created in into other color managed software applications.

Export a color managed LUT or DCTL from

Open the export window and set the Export Working Space to either ACEScct (recommended) or ACEScc. The preview image will update to reflect your working space change: - online color grading software user interface. Export 3D LUTs with color management for ACEScct workflow

This will create a LUT or DCTL that expects your chosen ACES working space as input and also outputs to that same working space. Note that this process removes the IDT and ODT from the exported LUT. Since we are delegating color management to our target application, we will re-integrate them there.

Color managed 3D LUT or Resolve DCTL

Use LUTs in an ACES timeline

For this example we will integrate an ACEScct LUT we have created with into a DaVinci Resolve timeline. The most basic setup for integrating our color managed LUT or DCTL is a 3-node graph as seen in the image below. The first node applies an ACES transform that maps our camera input to the ACEScct working space:

ACES Input Device Transform for Arri LOG-C footage applied in Davinci Resolve

Good to know: The app has ACES 1.3 Reference Gamut Compression enabled by default. If you want to get a 1:1 match between the preview in the app and your third party integration, you must enable reference gamut compression as part of the input device transform as shown in the screenshot below.

The second node holds the LUT or DCTL we have exported from This node is now receiving an ACEScct signal from the previous node we have created. In order to turn ACEScct into something that looks good on our monitor we will append a third node after the LUT that converts ACEScct to our final output:

ACES Output Device Transform applied in Davinci Resolve

We have now recreated the processing pipeline from inside Davinci Resolve. When you use the exact ACES settings shown in the screenshots, including gamut compression on the IDT, you will get the exact same image in Resolve and For reference, here's a comparison of the same frame exported from both apps in our example workflow:

Comparison of two images exported from, a free online color grading software, and Davinci Resolve, using the same settings in both apps.

Create LUTs for Davinci Wide Gamut / Intermediate

DaVinci Wide Gamut and Intermediate gamma can contain negative values which is why it is not recommended to encode 3D LUTs in this color space directly. A much better way is to use the log-encoded ACEScct or ACEScc color spaces for large gamut lookup tables. This avoids any potential issues with out-of-gamut colors and ensures extremely stable color transforms in your final images.

1. Export LUT in ACES

To export a color managed LUT or DCTL from, select ACEScct from the Color Management drop-down in the the Export window: - online color grading software user interface. Export 3D LUTs with color management for ACEScct workflow

2. Convert ACES to DaVinci Wide GAmut / Intermediate

To use your ACES LUTs in a DaVinci Wide Gamut (DWG) color managed timeline, all you need is a pair of color space transforms (CSTs) to go from DWG into ACEScct, and another one to go from ACEScct back to DWG. Since the ACES color space is sufficiently large, this conversion is lossless and perfectly invertible.

Here's how to convert DaVinci Wide Gamut to ACEScct with a Color Space Transform in Resolve:

Convert DaVinci Wide Gamut with Color Space Transform in Resolve

After this first Color Space Transform you can add a corrector node with an ACEScct LUT or DCTL applied.
Now all that's needed is another Color Space Transform that converts ACEScct back into your DaVinci Wide Gamut working space:

Convert ACEScct to Davinci Wide Gamut Intermediate with CST in Resolve

Good to know: By default, the Tone Mapping Method parameter is set to "Davinci". To ensure a correct transform from DaVinci Wide Gamut to ACES, and from ACES back to DaVinci Wide Gamut, both Color Space Transforms should set the Tone Mapping Method to "None" to ensure a correct transform. App

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