How do I set the TIME COLOR SPACE and OUTPUT COLOR SPACE on a Mac? Because when I export, the color is less contrasted. It doesn't look like I see it in the Davinci window.
Use Rec709-A gamma tagging in the advanced export settings if you want QuickTime to use a more accurate gamma. It will still look different after uploading to web with gamma 2.2 conversion. I generally do not compensate for this but some people like to in order to prioritize darker viewing environments. In that case, you would add a CST to the timeline level before export and transform your entire project from gamma 2.4 to gamma 2.2. It will then look darker in the viewer & export, but it will match when uploaded online
Got one haven’t test it yet but curious if grain and halation works for free version of DaVinci ? And also can I use this for HLG footage from my a7iii?
Hey Tom, great work once again 🔥 I am a proud owner of all 3 versions of your cineprints. I have just 1 feedback to share, if only 1 of your powergrade had a super clean (commercial look) right out of the box as well, along with the film looks, it'd be very helpful. As not all filmmakers are bold & brave enough to go with such rich film look. Other than that, big fan of your work 🙌
Hi Tom, huge thanks for this plugin, I just purchased it I can't wait to test it! I wanted to know which emulation is used on the footage at 0:58 ? I've been looking for this look for months... so beautiful
I want the davinci powergrade and also the Vlog lut for the s5ii real time lut feature. Do I also get Panasonic vlog LUTs in the davinci 68.99$ version? Or do I also need to buy the 44.99$ pack to get the lut?
Hey Tom, picked it up yesterday and loving it so far. Can I ask, your suggestion to have project settings with 'rec 709 gamma 2.4' as the output colour space means I'm having the dreaded gamma shift. I have avoided this in the past by using the 'rec 709-A' output colour space and gamma tag in export. Any issue with changing the output colour space in the project settings to rec709-A with regards this powergrade? Thanks
Yes, if you are on macOS, you should tag Rec709-A if you use QuickTime as your media player and need it to match I prefer grading in a dim room at the Gamma 2.4 standard of my reference monitor, then dealing with any gamma tagging and gamma shift compensation at the end before export, however if you prefer working from the start with Rec709-A that should work perfectly fine
I've been using these since I got them and I really dig it! I'm just starting and so many footage and short reels have now been elevated having more soul into it. I'm also using this on my ipad. One thing that I still don't know how to is to add the border package as matte. I can't seem to find this selection even right clicking on it the image. Do you guys have any ideas on how to?
Hey Tom! Do you think its okay to use Fujifilm Flog-2 powergrade with F-Log? I just started using F-Log 2 (newly purchased XH2s) recently but most of the footage that I currently have that I want to use for projects are F-Log. Will this greatly impact the image/results? Thank you and follower for a long time now!
I made the F-Log 2 version because it has extended dynamic range, but you can still use it on F-Log footage, you’ll just need to turn off the F-Log 2 node while leaving the CST at F-Log
Great stuff, looking forward to using it, after enjoying cineprint16 a lot! One question - are those shots at the beginning all digital+cineprint35, or are there some real film shots in there?
What do you say to the emulation workflow provided by filmconvert? If you used it I am curious to know your thoughts or tips on making the best of it 🙂
Why do you prefer white balancing with the offset wheel instead of the chromatic adaptation device? I find the offset wheel much more difficult and inaccurate
You can move it at whatever hue angle you need instead of having to go back and forth between different sliders, so it's a lot more intuitive and faster, which is valuable when you're going through a lot of shots. Working early in the node tree & under the emulation, the results appear very natural. Everybody has their own grading preferences though, so I always recommend implementing what works best for your own tastes & workflow
CinePrint35 is a complete game changer. I can see the work you've put into this and it's unreal. I really appreciated 16, but my brain is in the floor over this. Thank you for this so much.
I have a question, why does the intro sequence have blue looking so out of gamut in it? Was it due to the LED lights or due to the emulation? Maybe need a node to compress the colours before the emulation? And in 4:03 the shot with lady laying on the grass, the blue tones from the cool skylight on her skin doesn't seem to transition well with her skintones, looks a little blotchy to me. Is it just me or other people seeing that as well? But kudos to you Tom, that's a decent look you're cooking here.
So that saturation response is how film actually sees high saturation blue: www.tombolles.net/blue-fuji-emulation-gamma-shift The main issue is the way in which RU-vid's gamma shift affects the shadows When you go down the rabbit hole of gamma 2.4 vs gamma 2.2, viewing content in dim vs bright environments, and how our human vision & perception of contrast changes, it gets quite complicated. Ultimately it comes down to choosing what viewing environment you want to optimize for because you can't optimize for everything. I personally choose to deliver Rec.709 Gamma 2.4 to RU-vid and let the gamma shift adapt my content for better viewing in bright environments & against white webpages. Some colorists preach the same, while some prefer adding gamma compensation to prioritize dark viewing environments. You simply can't optimize for all viewing environments. It's also other variables stacked on top of each other. I chose to shoot with high saturation blue lighting at an already cool white balance, and if you watch the adjustments I made while grading, I ended up making creative choices for skintones & general shadow response that pushed the blues even further as a side effect. So it is certainly at the extreme edge & stress testing the look. If that's something you would want to scale back to taste prior to the emulation, you could certainly do so. As far as 4:03, maybe some of what you're seeing is compression artifacts since RU-vid doesn't like grain. There are higher quality stills of that shot on the CinePrint35 page. If you scroll down you can see a comparison to Rec.709.
I was going to make this exact comment. I think you made an excellent job here but the two examples that was pointed out is a little bit concerning.. its like the blues have a bit too little luminescence to them? Is this specific part of the emulation easily adjustable if i get the power grade? If it is, in what specific node could i make this change? Thank you!
Im not arguing its something wrong with the powergrade, im just wondering if there were any sollutions to the gamma shift.. is it just a matter of exporting it to 2.2 in the output or have it transition somewhere in the node tree?
@@tjena the blues are meant to be dark in the intro sequence, just that they are highly saturated with a lack of tonal detail, so it looks like it is out of gamut kinda feeling. He said it was a creative choice . I suppose you can find DCTLs sold online that allows for clean shifts of hue colour with compression controls and achieve a smoother tonal gradation? I think you will have to compress/shift the hue prior to the Powegrade of the CinePrint35. As for the other image I asked about, I’ve seen the image on his website, yes RU-vid does make it worse, but I suppose the noise from the braw from pocket 6k pro with the added grain amplifies the issue in the blotchy look to the cool shadows, but some of the colour variances are already present in the original footage without the powergrade. His powergrade might also be quite precise with the shift in colours, so I suppose this kind of skin tone issues has to be fixed in the grading process where you clean up the skin tones with a bit of hue compression. Just sharing my view, maybe Tom will have a better explanation.
@@TomBollesWhat portion of this blue appearance in the sample you linked is a result of the post processing (IE the 2383 viewing LUT)? I'm curious how the original scan looked.
I love the video, but also, as a filmmaker who love fujifilm stocks, in my future career, In almost all of my films projects, one way or form, I want to included emulations of almost every fujifilm film stock, from 64D to 500D, maybe even asking fujifilm themselves to return to cinema, by reviving their stocks, by certif. emulations luts by them & maybe even doing a film print of a movie, both 35mm & 70mm fujifilm prints, a dream goal of mine, sounds challenging but never impossible, and it seems that you might be the one to potential do so, so yeah...
