What (e.g., Sony S-Log3, BMPCC Gen 5, iPhone ProRes Log) did you use to shoot your footage?
FilmVision-II is a comprehensive color grading suite designed specifically for DaVinci Resolve. Unlike basic filters, it aims to emulate the nuanced chemistry of film stocks (like Kodak and Fujifilm) by manipulating contrast, saturation, and "halation"—that subtle red glow you see around bright edges in classic movies.
LUTs are "destructive" or "baked-in." If a LUT crushes your shadows or clips your highlights, you cannot alter the internal nodes of that LUT to fix the issue. You can only adjust the opacity of the entire effect or correct the image before the LUT node. DaVinci PowerGrades
This is a high-speed color negative film balanced for artificial (tungsten) light. It's renowned for its incredible latitude, fine grain, and rich, warm skin tones. When emulating this stock, FilmVision II lends digital footage a distinct, warm, and nostalgic feel, with rich, lifelike colors that excel in low-light and interior scenes.
Includes LUTs for various camera profiles, making it versatile for footage shot on different sensors.
Which of those would you like next?
The story begins with the constant struggle of modern filmmakers: digital sensors are often "too perfect," resulting in images that feel clinical or sterile. FilmVision II was developed as a solution to bridge this gap. Unlike a standard LUT (Look-Up Table) which simply applies a fixed mathematical transform, this is a non-destructive node tree. It allows colorists to see exactly how the image is being manipulated—from halation and grain to subtractive color science. Inside the Archive
While the keyword includes "LUT," the real power of the FilmVision-II package lies in its .
To use the interactive node tree:
At its core, by SERR (often shared as the .rar file you see) is a digital tool designed to emulate the look and feel of classic Kodak Vision3 motion picture film stocks—specifically 500T (tungsten) and 250D (daylight) —within the DaVinci Resolve environment. It aims to transform your modern digital footage into something that resembles a scanned film negative, complete with the organic color response, halation, grain structure, and subtle imperfections of analog cinema.
Subtractive Color Modeling: One of the most sought-after aspects of film is how colors interact. FilmVision II uses subtractive color math to ensure that as colors get more saturated, they naturally darken, preventing the "neon" or "plastic" look often found in digital saturation.
In the first node of the tree (or within the CST node), you need to tell the system what camera you used:
To get the absolute best results from this PowerGrade system, keep these industry-standard workflows in mind:
The FilmVision II DaVinci Powergrade is more than just a filter; it is a comprehensive color processing pipeline. For filmmakers looking to move away from the "digital" look and toward the timeless, emotive quality of celluloid, it provides a professional-grade shortcut. By combining modern digital flexibility with classic analog aesthetics, it remains a top choice for music videos, commercials, and independent feature films.
, and selecting the appropriate FilmVision LUT from your list. Performance Tip
Film protects highlights incredibly well but gets noisy in the shadows. When shooting for this specific look, expose slightly to the right (ETTR) to feed clean data into the FilmVision emulation engine.
FilmVision-II-Davinci-Powergrade LUT.rar is a specific LUT designed to emulate a cinematic look reminiscent of high-end film productions. The "FilmVision" name suggests a focus on delivering a film-like aesthetic, which is highly prized in the video production industry for its rich colors, deep blacks, and a generally more cinematic feel.