How to make 10-bit & 8-bit footage look like film (FilmForever)

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What are FilmForever power grades? FilmForever Power Grades is a set of film Emulation Power Grades that are created after deeply studying the Kodak 2383 LUT included in Davinci Resolve. After working on the feedback from major colorists, we've released a Volume 2 update to the FilmForever Power Grades.
Cameras used:
► 8-bit, GH3. 10-bit, Arri, BMPCC, RED.
FilmForever Film Emulation Power Grade Volume 2:
► coloristfactory.com/2383-film-print-emulation-lut/
Artgrid, exclusive signup link for 2 Months extra
► bit.ly/3zOwJ13
Display Referred vs Scene Referred Workflow:
► www.filmriot.com/blog/scene-referred-vs-display-referred/#:~:text=So%2C%20in%20simplest%20terms%3A,space%20to%20display%20color%20space.
From Print Film to LUT: Kodak 2383 History:
► coloristfactory.com/2022/02/17/kodak-2383-print-film-lut-a-beginners-guide-to-the-world-of-kodak-2383-print-film-luts/
Compatible Softwares
► DaVinci Resolve
Instagram Color Palette Inspiration► colorist.factory
What is Colorist Factory
► A lot of false advertising going around in the name of "cinematic look" pushed us to form Colorist Factory with the goal of simplifying color grading for storytellers.

Опубликовано:

8 апр 2022

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Комментарии : 23

@gpicturez 2 года назад

Just purchased the combo .. but I have a doubt when we begin to colour grade For a Nikon z6 8 bit footage shoot in flat picture profile in davinci resolve ,which profiles to choose as input colour space and input gamma on Color space transform node ?

@jaejones8736 2 года назад

Is there an input colour space for Fuji F-LOG? Would be great to know if I could match XT4 footage to BMPCC using this, as I use it as a B cam.

@OUCGN 2 года назад

Same here using bmpcc 6k & Fuji xt4. Would be nice to know if i can match the cameras.

@jtnfilm 2 года назад

Are the film luts meant for rec 709?

@larryFWD 2 года назад

At 5:26, you changed the input color space and input gamma for the BMPCC footage to Davinci Wide G and Intermediate respectively, but left the Output color space and gamma as ARRI - why is that please?

@nestorpool 2 года назад

I have the same question, so confusing, I thought it should be set to Cineon Film Log.

@ColoristFoundry 2 года назад

Traditional Print Film Preview LUTs (Kodak 2383) expect film scans which are by default in “Cineon Log”. And we usually convert the color space of our camera to Cineon Log using CST to work with 2383 LUT. The Power Grades, on the other hand, are supposed to work with Digital Camera footage. Thanks to Resolve and modern-day tools, we can completely eliminate the Cineon Log and directly begin with a digital camera color space or Davinci Wide Gamut or Aces for that matter. As long as the pipeline is working in a standard color space, what matters is that we are getting consistent results with 90% of the footage we feed in the pipeline. So we went ahead and took Arri’s color space as a standard, to begin with. The question is, why Arri? We could have gone with Davinci Wide gamut or Aces, but we find Arri’s color space as a really good starting point for building a film look. There are a lot of reasons, a couple of them being Arri’s impeccable color science and how closely it is able to maintain film-like qualities, skin tones, etc. within a digital color space. Multiple articles have been released supporting this, Frame Voyager recently released a video talking about Arri’s color science: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-MUkiQz06pqk.html But yeah, that’s why Arri. We are already working on ACES and Davinci Wide Gamut Version of the Power Grades, they'll be out soon as well.

@nestorpool 2 года назад

@@ColoristFoundry Thanks so much for your detailed information, it make senses thanks

@larryFWD 2 года назад

@@ColoristFoundry Thanks champ. I'm going to try out that combo!

@leiss5871 Год назад

@@ColoristFoundry Big thanks for this info!! 🙏 I don't know if this is stupid question, but I'm new with Resolve so I was wondering your project's color settings.. 1. Color science: DaVinci YRGB ?? 2. Timeline color space: ?? 3. Output color space ??

@LucaGiustozzi 2 года назад

the upgrade is free for who like bought me version 1, a month and a half ago?

@ColoristFoundry 2 года назад

Yes. It’s a free upgrade. It’s more of an update, we sent the email this morning. Share your email if you haven’t received the update yet.

@PastaRoshie 2 года назад

Wow again great job with the update really loving the negative node. I have one request can you show how these power grade look on clog footage or on the new raw format on the C70 if that’s possible and is the negative node on the update? Just because when I tried to enable it it kept asking me that I need the plug-in.

@ColoristFoundry 2 года назад

Hi there, “negative Color” node is a part of creative Rebuild of 2383. What you are probably trying to enable is the “Film Negative” LUT node. That node is supposed to mimic tones of specific film stock. Those LUTs are a part of Ultimate Colorist Toolkit 3.0. We can share those LUTs if you want, just drop an email!

@ColoristFoundry 2 года назад

Also, sure we can also share some C70 test footage with 2383 applied over email, just drop a mail at support@filmblade.com

@PastaRoshie 2 года назад

@@ColoristFoundry just sent it Thanks 😃