Yes! In fact, you can use any LUT you like. For example, if you have a LUT for S-Log 3 S-Gamut3.Cine and you want to use it on your GoPro footage, just transform your GoPro Footage to S-Log 3 S-Gamut3.Cine and you’re good to go!

Yes! Our CST even comes with presets for all the different cameras. Using these presets, you can apply it to many clips without fiddling around with the settings.

It depends on your workflow, but the most common workflow amongst colourists is using a CST to go to an intermediate colour space before anything else. Then, they perform their operations in this intermediate colour space and finally go to their display space. The signal chain looks like this:

Clip → Input CST (IDT) → Adjustments → Output CST (DRT)

The CST does not do visual camera matching. Camera sensors have different spectral sensitivities and will therefore differ slightly, especially when capturing spectrally narrow lights.

You can imagine the CST like translating all clips to the same language.

Tools will behave consistently and display transforms will do what they are supposed to do regardless of what camera you shot on.

Yes! If you don’t want to use LUTs, you’re now free to do so.
However, you might still want to use some kind of creative look LUTs.

If you’re using a manufacturer LUT, you’re buying the vendors’ colour science. This can be good if you like how your image looks, this can be bad if you don’t like how the image looks.

That said, our CST gives you an alternative, natural rendering with higher precision than LUTs are capable of.

When transforming footage for display, there is no such thing as a true neutral starting point. Not even DaVinci Resolve’s Colour Space Transform.

However, our CST provides a more natural starting point than most manufacturer LUTs do.