@@NorikoTakedaSL Works now. Everyone has to live... when they offer for FREE, don't you think? And in this age you can just use the arrows or chapters, to... SKIP :) All the best to you both!
Bro, thank you so much for this!!! As a film student just months away from graduating, I am learning so much about color theory and intent from your channel. I greatly appreciate it. Blessings brother!
I admittedly suck at color grading, but I bought the Look Designer plug-in after watching this and it at the very least gets me a more interesting look I couldn't achieve on my own and in a fraction of the time. It's actually really fun to experiment with.
Just focus on: - shadows highlights (teal and orange and vary this) - curve controls - VFX with color grading nodes (add glow, halation, etc) There is no single right thing to do these then. Dont seek perfection by algorhythms, rather learn and adjust.
@@billdowling8428 Keep it simple and visually appealing. Dont try to make it "math" by fully repeating some formula/script other youtubers are talking and showing about.
@@luisfrank8806 this wasn’t a sponsored video or anything so sorry for not including any links 😂 but you can just Google the names of the plug-in and “download” and it should bring you to the right page.
Excellent overview!! Thanks for sharing! Which GRAIN do you prefer? The native effect in Davinci Resolve, or the ones from these plug-ins? (I.e Filmconvert). Cheers
could you create a standard formula that tackles color grading for beginners that acts as a scaffold upon which one gets to tweak and change to their liking, watching a lot of your tutorial I got to see many recipes with different techniques which doesn't really help create a benchmark that I could resort to at the beginning of my color grading.
Dehancer is too taxing on my machine. : ( My nodes tree = pri/bal/contrast -> Filmconvert (Sat 130, Gain 80%, leave Cineon to print film to 0) -> Davinci Kodak 2383 D60 print lut -> Glow -> vignette try it and let me know if you like the result. :)
Great workflow suggestion to use the Cineon Log mode in FilmConvert! You can combine this with any print film LUT designed for a Cineon input to vastly expand the number of looks you can create
The hypothetical videos of how to obtain such a thing would be more honest: "I collaborated with Denhacer's aggressive campaign." Learning only learns to manipulate that expensive program, DaVinci does it for free.
@@jvke.p haha it's partly sarcasm and partly that this very same channel has videos explaining that pros don't need plugins to get "the film look", which makes this video feel like a big advertisement.
@@documentaryinprogress 🙄 I will let you know when my eyes roll back into my eye socket but it looks like they'll be gone for a long time. Also, you're welcome.
@@jvke.p cheers Jake. I use one of these as well, though of course I'm no colorist. It certainly makes it easy enough that a noob like me can achieve a passable result.
Watched the 1 hour webinar and the link for the downloads at the end that were supposed to be given on Dropbox....said it did not exist... 😓 Please help....
Excellent tools but expansive imo. Another simple way is to buy a set of cinematic LUTs (IWLTBAP or Lutify) and play with them at a low intensity with minor adjustments.
When you say that camera doesn't matter then please use the footages from lower end models like Sony 6xxxx series etc. User watching free tutorials on RU-vid don't own expensive cameras like Red, ARRI... Even in this tutorial you have used 4 footages from different cameras, a clip or two should be of an lower end model to prove the point you made that "cAmErA DoEsN't MaTtEr"
@@jvke.p let me rephrase my comment, sounds like it wasn't to the exact point. Would you be so kind to include an 8bit footage in next tutorial? Would love to see you grade Sony a6500/a6400 footages. Thanks
Good tutorial but I prefer building film look from the default Davinci effects. These plugins are too pricey for me. Your previous two tutorials on film look are better.
Building it yourself is an option, but for professionals a $200 to $400 tool that cuts out hours of your time on each project might well be worth the small investment up front.
lol. As soon as you guys start talking about color grading red footage or footage on high end cinema cameras, I immediately tune out because that doesn’t apply to me. I’ve got a Sony camera that shoots 8 bit footage. It’s 🍎 and 🍊.
Apples and oranges are both fruit. Why can’t you compare the two? Anyways, this is not a good way of thinking. I also have black magic pocket footage in this video to demonstrate the camera doesn’t matter. IT DOES APPLY TO YOU. That’s the whole point of this video. This works on red the same way it works on your 8 bit Sony. Learn to use your camera and you wont notice a difference anyways. You got this
