DAVINCI RESOLVE DCTL

QG PrintGrade

As DCTL

QG PrintGrade converts six native camera encodings to ARRI LogC3 / AWG3, then runs the result through an embedded film-print LUT — all in a single DCTL file, no external LUT boxes, no setup beyond a drag onto your node.

Get QG PrintGrade — $43 Runs inside DaVinci Resolve on GPU
CAMERA LOG
KD 250D PRINT
CAMERA LOG
KD 250D PRINT
PLATFORMmacOS / Windows
HOSTDaVinci Resolve
GPUMetal / CUDA / OpenCL
FORMATSingle .dctl file

Two stages, zero extra files

Everything — the camera matrices and all three film-print LUTs — is compiled directly into the DCTL. Nothing to load, point at, or lose track of.

Six cameras, one dropdown

Sony S-Log3/S-Gamut3.Cine, RED Log3G10/RWG, ARRI LogC3/AWG3, Blackmagic Film Gen5, Canon Log3/Cinema Gamut, and Panasonic V-Log/V-Gamut all decode to scene-linear and convert into ARRI Wide Gamut 3 through matrices built from each camera's published native-to-XYZ data.

6 CAMERAS

Embedded film-print LUTs

Three 33×33×33 print emulations — KD 160T, KD 250D, KD 500T — are baked into the file at uint16 precision and sampled with GPU-side trilinear interpolation, or bypassed entirely for a clean LogC3 pass-through.

33³ × 3 STOCKS

ARRI LogC3 as the pivot

Every camera lands in the same working space before the print stage runs, so switching cameras mid-timeline doesn't mean rebuilding your grade underneath the look.

LOGC3 / AWG3

No LUT box, no install step

It's a single .dctl file — drop it in Resolve's LUT folder once and it shows up as a node-level effect, with both stages exposed as plain dropdown menus.

DRAG & DROP

What actually happens to the pixel

Stage one reads your camera selection, decodes the native log curve to scene-linear, and applies that camera's matrix into ARRI Wide Gamut 3 — the same reference space ARRI cameras shoot natively, so it needs no conversion at all.

Stage two is optional. Leave it on None for a clean LogC3 pass-through, or pick a stock and the image runs through that print emulation before it leaves the node.

STAGE 1 — CAMERA
Native log/gamut → LogC3 / AWG3
Sony · RED · ARRI · BMD · Canon · Panasonic
↓
STAGE 2 — FILM PRINT
Embedded 33³ LUT or pass-through
Trilinear GPU sampling, uint16 quantised
160T
250D
500T

Up and running in five minutes

No plugin installer, no license dongle — it's one file that drops straight into Resolve's LUT folder.

1

Download the .dctl file

You'll get QG_PrintGrade_v1_2.dctl after checkout — no zip, no installer, just the one file.

2

Copy it into Resolve's LUT folder

macOS: Library/Application Support/Blackmagic Design/DaVinci Resolve/LUT
Windows: ProgramData\Blackmagic Design\DaVinci Resolve\Support\LUT. Drop it in a subfolder if you like — Resolve reads the whole tree.

3

Refresh the LUT list

Restart Resolve, or go to Project Settings → Color Management → Update Lists if it's already open. QG PrintGrade will show up wherever your other DCTLs live.

4

Apply it to a node

On the color page, right-click a node and choose it from the 3D LUT / DCTL menu, or drag it in from the OpenFX effects panel. Both UI dropdowns — Camera and Film Print — appear directly on the node.

5

Set your camera, pick a stock

Match Camera Input to your footage's native log format, then choose a film print — 160T, 250D, or 500T — or leave it on None for a clean LogC3 pass-through.

What's coming next

These aren't out yet. Drop your email on any of them and you'll be the first to know the moment they ship.

What colorists are saying

Real feedback goes here — swap these placeholder cards for your own reviews before launch.

★★★★★
"QG PrintGrade completely changed the way I approach my grades. The look is cinematic, rich, and clean, but what I love most is how easy it is to control. It gives me that film look without killing the original skin tones or details."
Amani Opulukwa
Amani Opulukwa
Colorist & Filmmaker
★★★★★
"As a filmmaker and colorist, I'm always looking for a look that feels cinematic without making the image feel over-processed. QG Printgrade gives me that beautiful film character while still keeping me in control of the grade. It's become one of those tools I keep coming back to."
Creator Pro
Creator Pro
Film Director, Colorist & Founder, Color Level Up Network
★★★★★
"QG Printgrade is one of those tools that immediately gives an image a refined filmic character. The response is beautiful, the colors feel natural, and I can still push the grade exactly where I want it. It's a powerful addition to any professional colorist's workflow."
chrisninah grades
chrisninah grades
Professional Colorist
★★★★★
"QG Printgrade has become a valuable part of my grading workflow at JustEdit. It gives me a strong film foundation while still allowing the flexibility I need for professional work. The color separation, texture, and overall character are exceptional."
iDirectorS
iDirectorS
Colorist & Owner, JustEdit
★★★★★
"QG Printgrade m’a vraiment impressionné par la qualité du rendu. Il apporte rapidement une belle texture et une esthétique cinématographique à mes images, tout en me laissant suffisamment de contrôle pour créer mon propre style. C’est un outil que je recommande vivement aux coloristes et aux cinéastes."
Alvine Brown
Alvine Brown
Colorist, VFX & Founder, Colorist Community
★★★★★
"QG Printgrade gives my projects the cinematic character I’m always looking for. Whether I’m directing, shooting, or editing a music video, it helps me achieve a polished, professional look without making the process complicated. It’s definitely become part of my creative workflow."
Gunner Visa
Gunner Visa
Music Video Director, Filmmaker & Editor
ONE-TIME LICENSE

QG PrintGrade v1.2

$43 USD
Single-seat license · free updates on the 1.x line
  • Camera stage — 6 native encodings to LogC3/AWG3
  • Film print stage — 3 embedded stocks, fully bypassable
  • macOS and Windows, single .dctl file
  • Email support
Buy now
Secure checkout via Chariow

Questions before you buy

Do I need the paid version of DaVinci Resolve?

No. DCTLs run in both the free and Studio versions of DaVinci Resolve — QG PrintGrade doesn't require Studio.

Does it work with any camera or codec?

The camera stage is built for six specific native encodings — Sony S-Log3, RED Log3G10, ARRI LogC3, Blackmagic Film Gen5, Canon Log3, and Panasonic V-Log. Footage already delivered in Rec.709 or another display-referred format isn't what this stage is designed for.

Does the DCTL make the timeline heavier?

It runs on GPU like any other DCTL or ResolveFX node — performance depends on your GPU and resolution, same as other node-based color tools.

Can I use it in commercial projects?

Yes, output graded with QG PrintGrade can be used in commercial work under the single-seat license.

What's your refund policy?

[Add your refund policy here.]

How do I get support?

Reach out on WhatsApp or Instagram — links are in the footer below.