Why Resolve gives this film LUT for free?

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Film was treated in photochemical laboratories before digital developments. The look of an image was defined by this photochemical process. Production begins with a shoot and ends with a developing process for film-negative stock. The majority of these films are reissued on a specific type of film stock after development.
The Kodak Stock 2383. A favorite of filmmakers because of its brilliant colors, rich blacks, neutral highlights, and the cinematic style we've all come to expect. Digital filmmaking has overtaken film as the major capture format, but film stocks are making a resurgence due to their nostalgic appeal and unique artistic look.
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Опубликовано:

24 фев 2022

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Комментарии : 83

@joenicklo 2 года назад

I like how calmly you present the tutorial. No obnoxious “secret sauce” slimy sales tactics here baby!!! Subscribed.

@ColoristFoundry 2 года назад

“Secret sauce” lol. We know where that comes from😂

@kingmuhu Год назад

Haha referring to quasi, the upseller.

@77dris Год назад

@@kingmuhu Yeah, something about his videos rubbed me the wrong way. I guess I wasn't the only one.

@OddityHarrison 2 года назад

Holy smokes... How has this info not been available before now... thank you so much!!

@emmanuelnkwocha1275 2 года назад

Hahah u just having been paying attention 🤣🤣🤣

@arnoldmias Год назад

This is what i have been looking for

@PastaRoshie 2 года назад

This is the best color grading channel they get st8 to the point. Always supporting this

@ColoristFoundry 2 года назад

Thanks :)

@ColoristFoundry 2 года назад

@@cicolas_nage Agreed.

@Jonathanology 2 года назад

This tutorial is so damn helpful ,thank you so much !

@aimmt Год назад

I love the mysterious music!

@bulltivation7846 2 года назад

This video showed me my own way of color correcting my v-log videos from the Lumix GH5! Thanks!

@justinburgan 2 года назад

I cant tell what's better, the tone of the colors or the tone of the voiceover

@Janken_Pro Год назад

I love the 2383 look. It's the best way to watch movies imo

@itsoverat6000 2 года назад

This video is on point! Thank you so much

@Probotector-dn8cw Год назад

Thanks! This helped me a lot!

@hempstead.studio 2 года назад

hey, I appreciate you and this. thank you

@Diegesis 2 года назад

How would you work FilmConvert Nitrate into this workflow? Is it redundant since it's job is also to give filmic color?

@Coco-xi9hq Год назад

dude what a great video. thanks haha

@levidaragiu 2 года назад

Amazing tutorial and easy to understand explanation. P.S. Could you please tell me the name of the font you used at 2:22?

@JazzWalk 2 года назад

You guys are GOATS!

@77dris Год назад

Is there a way to use these, and/or rec.709 LUTs when working in a color managed, Davinci Wide Gamut workflow?

@klayf_ 2 года назад

do you guys planning on making videos color grading on final cut pro? please let me know

@excusasfilms1303 Год назад

I have a question, i record with a sony aii , what color palet imput should chose for that camera? Thank You so mucho!

@FEcluk Год назад

There's no option for the Cineon Film Log in output on my resolve 18.0.3

@DonovanJamesOfficial 2 года назад

This is what I'm using in my newer videos Season 3 of For Everyone Acting Real

@Webrisernl Год назад

Can I download these luts to load in my external camera monitor?

@michelefranciotta 2 года назад

Didn't work for me as well, using a Sony FX6 in log3cine

@davidchacon1793 Год назад

Why are you applying the LUT after the CST while in one of your recent videos you are advising us to use it before the CST tool? Thanks :)

@karliemorris7318 2 года назад

Thank you so much

@downsouthoutnabout Год назад

Great video. But its almost like it started in the middle. I wish you would have explained the first 4 nodes in detail before moving on. Now i must find another video that explains that part i guess.

@av_rage Год назад

what is the procedure for files shot on rec.709?

@sergioknuf Год назад

What camera was used?

@dimesmile 2 года назад

Thank a lot!!

@lnsulee1204 Год назад

does Film Emulation only works on DaVinci Resolve studio?

@AlieskyPerez 2 года назад

It look simple but Euán I need change the Spence colo from rec709 to cineon davinci don’t let me …appear disabled

@uncleanAlibertine1 2 года назад

great mate

@DIYGA769 2 месяца назад

What’s the name of the background music?

@jimmyzjam 2 года назад

Great lesson. Quick question about your nodes. Do you adjust white balance, primaries and grain BEFORE you apply the Rec709 node/Lut. If so, Isn't the image too flat to tell correct white balance, primaries etc? Or do you use a different order? Thanks!

@nintendo3dsfan01 Год назад

I'm no expert, but I think the Rec709 LUT is always present. He just keeps that one last so he can color correct/grade over the original RAW image that retains the larger color space.

@Janken_Pro Год назад

The viewer will show the final rec709 image but you'll be working upstream in the larger Log/Aces color spaces. This way you get the flexibility of Log while simultaneously seeing the final result.

@dougriter2510 2 года назад

Thanks

@focuszero Год назад

Thank you for the info. Sub

@SHDEdits 2 года назад

Cineon film log encoding is not standardised across motion picture scanners, simply because no spectral responsivity standard was ever declared by Kodak. So really cineon log is a guesstimate of what cineon log should be, the manufacturers try their best, but you will always get different results not just from scanner to scanner, but from lab to lab using the same scanners. The new film standard for a film out is ADX10 or ADX16 from the academy printing density standard defined by the academy.

@Janken_Pro Год назад

Does it matter though if it gives the desired look?

@SHDEdits Год назад

@@Janken_Pro Film emulation LUTs when shooting film is really only to supply the colorist with a faithful representation of what they’ll get when they film out to print. It’s a technical LUT. If one wants to use a LUT for creative purposes, by all means do whatever you want, there are no rules there.

@TheSteveKinney 2 года назад

How could you incorporate this into a monitor lut so you can expose for the exact look you want?

@GabrielPassarelliG 2 года назад

You can create a LUT from a Node Tree in Resolve with Color Space Transform and the 2383 LUT. Then you can load this custom LUT inside the production monitor and set the camera color space and EOTF to match those you set in the inputs of the Color Space Transform for that LUT. Voilá.

@maurogutierrez Год назад

Hello, excellent, we don't speak English but we understood something, we will use a translator, we are beginners, according to what we understand and we saw, is there a package of 99 dollars with several powergrades? We have a sony A7iv camera, a Dji drone with D-Cinelike and soon Mavic 3 with Dlog, can these powergrades be applied to these 3 profiles of these 3 devices? And would there be a video with Spanish subtitles on how to install them and see a guide? Thank you!!!

@billt3031 2 года назад

One question. I shoot in Sony Slog2 and s.gamut3.cine. When I use the cst to transform the log to rec709. It gets overexposed like hell. Is there any tip for Sony slog2?

@justincase8731 2 года назад

Very simple fix. Add a node at the beginning of the tree, just after your noise reduction node if you’re doing that. Then use the Film stock grading controls of contrast and Pivot. First set pivot to zero. Then drop contrast slowly until all the highlights Fall within the legal range. Trust your eyes on this one. If it looks good then it is good. There’s no right or wrong. NB: This is happening for different reasons. 1. Resolve has identified the data levels in your footage as “Video Illegal" meaning, the data levels far exceed the Rec.709 scaling. So it can’t be fixed with Lift Gamma & Gain or Video Controls 2. Your footage might have been exposed to the right. Check the histogram in Resolve and see where your middlegrey is residing So the Contrast and Pivot controls should definitely fix your problems Cheers 🥃

@justincase8731 2 года назад

@@cicolas_nage Doing that will still push the exposure to the extreme bounds. Cineon and LogC are not that different so doing that conversion will get him the same results. He’ll struggle to hold all the dynamic range. Contrast and Pivot are the only viable solution. Try it and see

@firewithfire2745 2 года назад

Tell me if I'm wrong but I think w/ Blackmagic Gen 5, you can just throw the lut on. Don't even need the color space transform step.

@SonnyBCreative Год назад

using color space transform gives you some other benefits... thats what he mentioned

@SpectrumpicturesLK Год назад

Great

@willch19 2 года назад

I'm unable to get the color space transform setting to popup for the nodes. I have no idea what I'm doing wrong.

@Liam-Scott 2 года назад

Same problem as you. Node effect settings are completely greyed out

@Liam-Scott 2 года назад

Figured out the issue. It's not covered in the video but you need to add a color space transform effect. It won't show up by default.

@krischanrudolph6005 2 года назад

So what is the answer to the titel question?

@LaureninGermany 2 года назад

@@cicolas_nage as is your TouYube name.

@bose80085 2 года назад

I used ur 2383 powergrade on my flog footage and it looks better than the lut. but why in ur powergrade, the CST uses Arri log as input? like when change it to Rec 709 and Flog as input it looks bad(I mean dark and contrasty)

@ColoristFoundry 2 года назад

Fuji Generally works in Rec 2020 Color Space, did you try using the Rec 2020 instead of Rec 709?

@bose80085 2 года назад

@@ColoristFoundry not a big difference between rec 709 nd rec 2020 for f log, probably due to my 8 bit footage

@justincase8731 2 года назад

You don’t need to use Rec.2020 as your Display/Monitor most likely won’t display that much wider Color Space. Since the Powergrade is expecting Log-C Just prepare your footage to accept log C. To do this, add a node and add a cst. For input Gamma select F-Log. For out output Gamma select Log C. Then go to the Gallery tab and right click on the Powergrade. Then select Append node graph. That should do it

@bose80085 2 года назад

@@justincase8731 I am on a 10 bit hardware calibrate display

@bernardgray979 2 года назад

What happens if we’re working with a camera that isn’t an option in our cst. Is there a way to still have a starting point?

@justincase8731 2 года назад

Yes. And to do that, we linearise the footage. By doing this, we scrap off any curve that comes stock with the camera, preparing our footage to accept any curve we prefer to use. For instance, if you shoot on the Z CAM, Kinefinity etc etc, just use contrast and Pivot to bring your footage into the Rec709 territory. Then add the CST. -For your input Gamma select Rec709. -For your output Gamma select Linear. -Add 2 serial nodes. -Go to the last node and add the cst again. -For your input Gamma select linear -For your output Gamma select Cineon Film Log -Add a node after this and add your PFE LUT here. If you won’t to balance the footage, do it in between the 2 cst nodes. This allows you to balance in linear space. Which is equivalent to doing it in the RAW Tab as digital Cameras are linear devices. Pro tip, use the Gain control for exposure/balance changes here for perfect results. For better saturation, go to the first Cst node and select Rec709 as your input Colorspace. For your output Color Space leave it as is. That should help Cheers