"Secret" DaVinci Resolve Workflow - CinePrint16 

Great to hear! Thanks for watching.

Glad you enjoyed it!

Thanks Matti! I appreciate you checking it out

Is Matti Finally learning Davinci???

Thanks for checking it out!

I've heard this from several people - I'll definitely need to check that out next. Thanks for the recommendation!

Absolutely! You'll perform a color-space transform into Arri Wide Gamut/Arri Log C, and then it should work perfectly from there. The only potential issue would be if you're working with 8-bit log footage. This powergrade does push things around quite a bit, which could result in some artifacts with 8-bit footage.

Hey! That's interesting, I've never had that particular issue, so I can only speculate. The halation node only creates halation only in the brightest parts of the image - it essentially does this by isolating those parts, blurring and tinting them, and then layering that on top of the "base image". So in theory, if your image was underexposed or didn't have any highlights above a certain value, the halation node wouldn't do anything. I'd double-check your image pipeline leading up to the halation node and make sure there is a healthy exposure going into it. You could try bumping up the offset wheel in the "cam exp" node and see if that changes anything. The "OLD ver" node inside the compound node is a previous iteration of the halation effect - it is not meant to be used simultaneously with the rest of the nodes. I'd recommend checking the manual for more on that. Good luck with it!

It definitely can slow things down since there are a lot of nodes to work through. You could grade in full res and then use proxy modes for playback. But yes temporarily turning off OFX usually helps.

CinePrint doesn’t really accommodate a color managed workflow, so you’re stuck with CST’s. It also expects LogC, so unfortunately REC709 isn’t going to play very nicely here. In your case I’d look at using Dehancer or another option that allows for REC709 source footage.

@@cknopik Hey man, thanks for replying! I've been playing around with it and I can get a really decent result with bypassing colour management and changing input / space to r709 so I'm going with it... that's what I love about grading in Resolve - if it works, it works, right? 😂 Edit: I am working with 10bit footage though

I’m not super familiar with the Panasonic color profiles, but in general I think a high bit-depth LOG format is best for this powergrade. It requires a substantial amount of color data. For stills, I export sRGB out of Lightroom, so that’s what I use in my color space transform. Thanks for watching!

@@cknopik ahhhhh, thanks for the tidbit of info. I actually found the LOG activation for half off and already purchased it! Going to experiment with it soon my brother, I've messaged Tom directly and he made it sound pretty necessary to have LOG footage. Thanks again my man.

I think 95% of the nodes would work in the free version. But yes, you would miss out on some of the OFX and denoise.

@@cknopik Do you know how to get rid of the davinci studio watermark?

@@musichao if you’re in the free version of resolve you’ll likely need to turn off the denoise node and any nodes using OFX. I don’t have the free version so I’m not sure which those would be specifically.

Not sure if this is the right way to go about it, but I was having similar issues and changed my Mac's monitor color space to rec709 from sRGB. I now get much more accurate results on my exports.

I'm a newbie and I 've been wanting to know too. I bought the cineprint16 thing but got watermark when I tried to use it :( not sure if I did anything wrong.

@@musichao just disable the grain node to remove the watermark

It’s pretty intensive. If your machine is struggling, I would recommend turning off the denoise, halation, blur, and grain nodes while playing back. Then turn them back on for export. Hopefully that’s enough to speed things up.

On the free version of resolve you’ll need to disable any of the nodes that use open effects that are studio only. Grain, blur, etc. Most of the look should still translate and you can find alternative ways to achieve those textural elements.

That’s a good question. I’ll have to try it out. I think you could get the core of the look in a LUT, but of course the textural aspects wouldn’t be able to transfer over. I’ll follow up when I’ve tested it.

@@cknopik right- i think something close would be enough

That’s odd! I would contact the CinePrint people.

Rec.709 Gamma 2.4 - One downside is this powergrade does not work as well with a color-managed workflow.

That’s correct, the powergrade is essentially a preset series of nodes.

@@cknopik thanks! had to sub! you explain it very well. especially for beginners! thanks!

Not that I’m aware of

Ah nice catch - thanks!