- Видео 9
- Просмотров 23 049
Douglas Dutton
Франция
Добавлен 28 фев 2012
Professional colourist based in Paris - France
Available locally and worldwide remotely
Available locally and worldwide remotely
FILMLIGHT Munich Colour Camp 2024
I’ve been lucky to be part of the Filmlight Munich Colour Camp 2024 !
I tried to film a little bit and capture some moments with the group :)
The Instagram links mentioned in the video :
Viktor Gette :
viktor_gette
Valerio Liberatore :
valerioliberatore
Luis Reggiardo :
luis.in.colour
Patricia Brewatt :
patcolorist
Ming Gao :
miamiegao
www.imdb.com/name/nm8507437/?ref_=ttfc_fc_cr
Silvia Lombardo :
silvia.colorist
Follow me on IG :
thedouglasdutton
Learn more about Filmlight :
www.filmlight.ltd.uk/
I tried to film a little bit and capture some moments with the group :)
The Instagram links mentioned in the video :
Viktor Gette :
viktor_gette
Valerio Liberatore :
valerioliberatore
Luis Reggiardo :
luis.in.colour
Patricia Brewatt :
patcolorist
Ming Gao :
miamiegao
www.imdb.com/name/nm8507437/?ref_=ttfc_fc_cr
Silvia Lombardo :
silvia.colorist
Follow me on IG :
thedouglasdutton
Learn more about Filmlight :
www.filmlight.ltd.uk/
Просмотров: 349
Видео
How to get the ACES Look in Davinci Resolve
Просмотров 4,1 тыс.14 дней назад
Follow me on IG : thedouglasdutton
10 TIPS to become a good COLOURIST
Просмотров 1,5 тыс.21 день назад
My Instagram page : thedouglasdutton Cullen Kelly's RUclips page : www.youtube.com/@UCHZD22Eei2KX8wpJUzk0Bxg Nick Watson's Instagram page : phatdance
FILM GRAIN : Advanced Tips in Davinci Resolve
Просмотров 2,7 тыс.Месяц назад
Check out my work and follow me on Instagram : thedouglasdutton
CURVES, my favorite TOOL in Davinci Resolve
Просмотров 976Месяц назад
Instagram : thedouglasdutton Colour Page Basics Pt.1 : ruclips.net/video/lbvs8N_HlOA/видео.html
CONTRAST : S-Curve or Linear in Davinci Resolve
Просмотров 5 тыс.Месяц назад
Instagram : thedouglasdutton Colour Page Basics Pt.1 ruclips.net/video/lbvs8N_HlOA/видео.html
COLOUR DENSITY: 3 ways to control it in DaVinci Resolve
Просмотров 2,6 тыс.Месяц назад
Follow me on Instagram : thedouglasdutton
ASTEROID CITY Look Recreation in Davinci Resolve
Просмотров 4 тыс.2 месяца назад
Follow me on Instagram : thedouglasdutton
The #1 TOOL I use when Grading in Davinci Resolve
Просмотров 1,7 тыс.2 месяца назад
Follow me on Instagram : thedouglasdutton
👏 amazing
Thanks man!
Great to see someone shed some light on other grading tools than just Resolve 👍
Thank you Brian!
If iam working in rec 709 color space how to trim pass in dci p3 for cinema..plz can u make tutorial on trim pass how to do trim pass rec 709 to dci p3 or dci p3 to rec 709
Ideally you'd need to sit in a grading room with a projector
If iam working in rec 709 color space how to trim pass in dci p3 for cinema..plz can u make tutorial on trim pass how to do trim pass rec 709 to dci p3 or dci p3 to rec 709
Nice! Thank you for sharing!
dope ! Merci Douglas !
Merci Thibaut!
A huge heads up to you Douglas!
Thank you Jonathan!
Thank you Douglas, it's was amazing.
Glad you enjoyed it! :)
Aaaah finally a worthy match for my boy Darren Mostyn (also a very good explanation indeed)
Thanks buddy!
Great video!
Thanks!
Hey Doug! I think it's not very practical to teach beginners that ACES is a 'look' despite being partially true. There is a much bigger picture to both ACES as a workflow, and DRTs as a means to get an image to display. Both of these are now severely ignored in understanding why you need such tools and get labelled as something you just pick because it looks nice. While there are tehnical differences, the look is never supposed to soley come from a DRT. Rather the ideal DRT is one that can make any look possible while grading underneath.
Hey bro! Hoping you're doing well :) I think your point is totally valid and I recognise that I took shortcuts in my explanation. My intent wasn't to talk about the Aces colour management framework here but only the characteristic look that its DRT has. Having said that, I know that some people will pick a specific DRT to grade underneath depending on how close of a starting point from the look they're trying to achieve it provides. It all comes down to personal preference imo.
Douglas are you planning create video about color grading some drone footage?
I'll add it to the list :)
@@thedouglasdutton pinky promise?😄
Loved the video ! Well done Douglas ! :)
Many thanks!
Love to hear your input and advice! Thansk a lot Douglas... sometimes I sweat thinking of "the Dark"😅
Thank you so much Lucia !!
Hi Douglas! Thanks again! Nice tip on how to get a grain texture file if you don't have one! Never thought of that ;)🙏
Hi Douglas! Amazing tutorial! Love the simplicity of your approach and you achieved awesome results!! Keep it up!👏👏👏
Would love to see a complete breakdown of coloring in ACES.
hey question ! best monitor for color grading on mac?
Can you show us how to GRADE in aces in the next video? Tysm
Sorry but this is complete nonsense!!! You didn't follow any of the ACES VWG discussions, did you? You absolutely have no clue what you are talking about in this video!
I'm sorry but this is a way to implement the Aces 1.3 drt in a dwg pipeline and I believe it's technically sound. What feels like nonsense to you? I'm curious?
Thanks a lot! More on ACES, if you please!
More to come!
Aces isn't a "look"
I would argue Aces is a colour management framework but Aces drt's definitely have a look.
Thanks for the Tutorial. I had a bit of a play around with some VLog footage I had, and it definitely has a more filmic feel to it 😎👍
Ah fantastic to hear that!
Awesome... How will CG Plate fit into the workflow?
Depends a lot about what kind of CS your vfx assets are in. They'll have to be input in the grade upstream either from camera space or another format like Aces
@thedouglasdutton will you be doing any video on it soon? Thanks
Hi Douglas, Thank you for a great video. How did you toggle from one to the other setup? Also, would it be possible to do an Intro video explaining the differences/ advantages between DR Color Managed and ACES? Thanks again. Best.
Sure man! That could be a cool topic to talk about :) I toggled between the 2 using the play still feature from the gallery
Also, maybe show us your color management tab in your project settings please.... Thanks
Great bro <3 can you make video for magic mask ? problems and solition ?
Thank you! Sure ill add it to the list :)
@@thedouglasdutton I definitely recommend and expect you to do this because when I use the magic mask, I still get small flicker errors. Other than PW, I haven't found a good explanation. I've heard of people solving this issue with a deflicker effect, but I haven't found a video related to it. Regards and best wishes.
Wonderful mind-blowing results and with only 4 nodes 😮😮😮
Thank you bro!
Amazing Info <3
Thanks buddy!
Thank you for this informative video ! I wanted to know why you activate the "use custom Max.input? Why don't you leave it unchecked ? In your demonstration, is the look built between the DW709 name and the ACES output conversion node ?
Thank you! I activate it manually because I'm used to do it like this. Although leaving it by default should give you the same results. In my demo, the look should be built in DWG prior to the first CST if you're used to work in that mode
@@thedouglasdutton Concerning the emulation film in your tutorial, where should I put it in this process ?
Hey, quick question why did you picked the DWG instead of the camera space? Is it already transformed to DWG under the hood?
I think he converted the footage to DWG at frist in the color management page then he did that DWG to Aces in the color page .
@@MEZCOLORIST Exactly! Thats because I am working in that CS most of the time :)
@thedouglasdutton in that case, what was your output colorspace in the color management page?
@apagstudios1962 Was working in Yrgb which is no color management. But if you want to do this workflow, set your output color space to "none" and you'll be able to do the same thing
@@thedouglasdutton then I assume you already used camera space to DWG node on the clip or pre-clip level.
In the color warper, there are several color spaces to use: HSV, HSL, HSP, and HSP LOG. You said your favorite is HSP LOG, but it would be interesting to understand when and why to use one model over another. If there are different modes, it means there will be different uses. Thank you.
Yeah you're right, could be interesting to do a video about it!
En effet c'est un vrai bonheur !... suis d'accord avec vous... quelle chance !.... En plus c'est vraiment la classe.. Encore merci 🙏
Yes, remember when people used to just lay grain over their footage? What a nightmare. Makes zero sense. Grain is dependent on the nuances of the emulsion with color and how much light has exposed a given region of the celluloid. You need RGB separated with different parameters.
Happy to hear Cullen Kelly is your teacher! He's the best educator imo
I was expecting you to be selling the film grain thing but I was so impressed by your generosity when you taught us how to make it ourselves. Subbed😊
My pleasure 😉
C'est toujours un plaisir ! Encore merci pour cette vidéo hyper intéressante...
Hello! When you add the matte, are you still leaving the Resolve Grain OFX node on? That is the only part that confused me...Great video!
Excellent advice, Douglas. And you're totally right - there's so much of the technical content available but these types of videos are the ones that are super valuable. It's really the soft skills that make your clients want to work with you again (as long as you deliver good work as well, of course!). Great stuff!
Hey Marieta! Thank you so much for your feedback I really appreciate it 🙏😉
Great Advice 👍😎
Thanks Brian!!🙏
❤❤❤🎉
🙏
This is all great advice Doug, awesome video!!
Dan, thank you so much for the support! 🙏😉
What are you doing to export renders in Prores 422 HQ?
It should be noted that where you place your film grain in a digital emulation that any spatial effects or blurs, smooth power windows or even lightening and darkening of secondaries, should be done before the grain node. All of the if done after the grain node will impair the grain. I personally wouldn't have the grain before any look lut either, but that's an subjective call. If you want to test this, just turn the "grain only" check box on and try some power windows and blurs etc. on nodes after it and take a good look at the grain. It will look terrible. The last CST is an exception, but everything else in my opinion should be done before the grain node in Resolve. We are doing visual emulations and it matters not how or when it appeared on film, because if your were doing a true emulation of the process, we would have grain on the first node and then do some printer lights and be done with it. Obviously we don't because we have the capability to change the camera footage and shape and finnish it to all kinds of different views to help tell the story.
Hi Jim! Thanks a lot for your in depth comment :) I do agree with you regarding spacial adjustments, secondaries etc I would usually place my grain layer after my power windows, blurs, spacial adjustments and clip secondaries. However my creative LUT or set of parameters would generally come after. Also I think that's totally subjective and that's how I personally like to go about it
Encore merci... On retrouve vraiment le vrai " professionnalisme "
Hi Douglas, Thank you for the video. Any idea how this clip was shot to get such as beautiful effect? Thanks again.
Hey Rajnesh! My guess would be slow shutter + controlled lighting with a dark backdrop. But perhaps our DOP friends could give us their input :)
@@thedouglasdutton Thank you, Douglas.
I learnt a lot! Subscribed 🙏🏼
Glad to hear it! Welcome aboard 😉
Nice, it adds character to the image if tastefully done 😎
Thank you! Cheers! 😉
i dont like film grain. in fact i dont like any of those fake film artefacts. like halation , glow , geated wave and all those other stuff emulating the technical shortcomigs of film. its like a gimick no one really needs to me. i want a sharp clear image with great colors. after all its 2024 not 1954
I hear you and although those elements have become overused and overhyped recently, I think they have their place when used appropriately or sparingly. Digital capture with modern lenses is often too perfect and too sharp to some DOP’s, and just as the use of vintage lenses, grain, halation etc can help a little bit offset that
@@thedouglasdutton i understand that but to me making the image worse in purpose is not the solution. It makes no sense to me to use an arri only to degrade the image in post. I re cently watched the supernatural series they used film im the first seasons and it looked terrible to me. Then red cameras came into play, the image looked good but they added to much grain. A few seasons later the image was even better and much less grain was used. I see a trend using less qnd less of those things in modern filmmaking
You are fighting a tool dude. In some cases they help with the emotion/mindstate (think fight club with that projector jamming) of a character or even narratively. Personally I use small grain in some projects to increase the perceived detail and even sharpness. So yeah, it can be a gimmick or it can be helpful, is for us to decide
U boring
Awesome! Thanks again 😊
My pleasure!
can you pleaseeee make a video about ' how you set up, and group ' for movies or short films?
Hey Anton! Sure that is a great topic idea :) I’ll add it to the list
@@thedouglasdutton thank you.