A DCTL for DaVinci Resolve
Print film LUTs were built to receive one thing: a developed negative. Point digital footage at one and it never gets what it was made for. This is the step in between — it conditions your graded footage into real negative density, so the print lands the way it’s supposed to.
The same ramp, both paths
The image
The scopes
A straight color-space transform kinks the channels and clips the toe. The conversion holds them the way a negative does.
What you get
One DCTL. Exposure in true stops and a gamut rolloff up front, with sat density, color density, shadow color and milky behind them when you want to go further. The defaults are the EMBR baseline — the same values the plugin ships with — so it lands right untouched.
It goes on a node before your print LUT. Works with Resolve’s own Kodak 2383 and 3513 Film Look LUTs, and with the Cineon half of the free 3282 pack. Requires DaVinci Resolve Studio for DCTL support.
$39
One time · yours for good
And if you go on to the full EMBR kit, the code in your receipt takes the $39 straight off Lite or Pro. You never buy EMBR twice.
Get Digital to NegativePerpetual license, up to two of your machines. Or see EMBR, the whole system.