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the super16 look
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- Опубликовано: 1 авг 2024
- CinePrint16 available here:
www.tombolles.net/cineprint16
The CinePrint16 PowerGrade implements visual features of celluloid film such as halation, rich and nuanced saturation, subtractive color, highlight rolloff, gate weave, grain, and dust. Every feature in the node tree is fully customizable. CinePrint16 is a film emulation tool for colorists looking to create custom, unique 8mm, 16mm, and 35mm celluloid film looks in Davinci Resolve. Output options include Cineon gamma correction and print film outs.
BMPCC + CinePrint16 demo
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Panasonic GH5 + CinePrint16 demo
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Arri Alexa + CinePrint16 demo
• Film Emulation with Ar...
RED Monstro & Helium + CinePrint16 demo
• Film Emulation with RE...
RED Komodo + CinePrint16 demo
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Reference chart footage from CML. Sony S-Log and Arri LogC clips.
cinematography.net/
oh woah... man! Absolutely loved this, you did a phenomenal job here. Thank you!
Just used this as the dailies look for my last Alexa show and the director and I were very impressed! Great job!
Awesome, glad to hear you guys like it!
Los colores son increibles, muchas gracias! llevaba semanas esperandolo. Una hermosura de trabajo!
Brooooo. Best Film emulation I've seen on here! Honestly wow
Amazing! Will be purchasing the powergrade! Keep up the great work!
Thank you so much bro!
This is amazing! I'm still fairly new to DaVinci, but really struggling to find good resources to understand colour science and theory. I see you've got some really interesting subtractive colour processes and nodes I was wondering if you could point me towards some resources or literature that could better my understanding. Thank you!
Good job! thanks
so fire 🔥🔥🔥
Awesome!
THANK YOU ! Really
YES
FINALLY!!!
Here we go
Just bought mine
Hey Tom! Recently purchased your grade! As a Resolve and color grading newbie going through and tweaking the nodes is fascinating and have gotten some great footage and stronger understanding of Resolve so far. I purchased in order to grade a short film shot on a BMPCC (looks great) but in my own casual video projects I shoot on an older Fuji Xt-20 . It doesnt shoot Log footage, but I can shoot in a flattened, low shadow/highlight/ color contrast mode (F log is not supported on this model) . I applied the grade and with a few small tweaks it actually comes out pretty decent on properly exposed clips. What I did was select random Input Color Spaces and Gamma until I got a decent result uncorrected which I could tweak. Only issue is some shadows are going completely crushed and I cant find a way to correct them anywhere in the grade. I did an experiment with changing my projects color science to ACES (on recommendation of some random youtube video) and with adjusted offset in the Exposure node I've retrieved quite a bit of info, a bit of denoise, softening and grain smooths it out... but now my colors are all wonky in the ACES color space. Again i am BRAND NEW, but if you have any advice for experimentation with non log recorded footage I'd greatly appreciate it. Thanks!
Edit: On further experimentation, important footage with standard contrast and inputting Rec 709 seems to work as a subtle grade, with less "aberrations" as my experiment with custom input spaces. My greens aren't nearly as exaggerated, my highlights still are nice and warm with the green tinge. Need to experiment further but this looks decent as well
Edit: Possibly final edit: If working with non Log but higher dynamic range footage. Color input Space to Rec 709, but Input Gamma set to a Log format. I set mine to BMPCC 4k film Gen 4 yields pretty nice results. No more crushed shadows, not sure what I was on earlier when I couldn't sort this out haha
Yes, you got it right. If the footage is in a normal profile that’s intended for display (not log), then Rec. 709 is the input you should use. I actually use the powergrade quite often on jobs where the footage is already in Rec. 709 and it works great.
I am a newbie too. I own an old entry level Canon Rebel T6. It doesn't shoot videos in log. I believe this powergrade is not meant for the aforementioned camera. A bit confused as to what to do in order to transform my videos into the right color grades during post processing. Haven't purchased the powergrade yet but once I figure out what to do I will definitely make the purchase.
The powergrade is actually quite useable with Rec. 709 footage. I’ve used it to do film emulation on iPhone footage:
ruclips.net/video/GFTjiSvXswg/видео.html
I’ve also done tests downloading Rec. 709 videos from RUclips and grading them with the powergrade. Here is Lorde’s Solar Power music video re-graded with film emulation:
Cineon version vimeo.com/569751841/a4dbe3e1ed
Kodak 2383 version vimeo.com/569757718/578ebb5ec1
Original look ruclips.net/video/wvsP_lzh2-8/видео.html
So even if you aren’t working with log footage, you can still get great results
@@TomBolles hello i have iphone 7 footage what's a good CST setting for that please? I'm really lost here.
Rec.709
finally!! 👏🏿
yes!!
What kind of monitor do you use for color grading? I’m very impressed with the colors coming out of your short films
Hello, love the cineprint 16, how do you edit tour skip tones on the powergrade ?
Thank you
Loving these results! Curious to know what negative stock this was profiled from? Did you shoot the color charts yourself or did you use the one available in CML?
Thanks, and again, amazing work!
How well does this work on Sony A7iii footage? Really curious to purchase
Hey! Got a video filmed all with the a7III + cineprint on my channel 😉
Hi Tom, I'm new to using Davinci, as well as CinePrint16 but loving it so far. I'm having trouble correcting for the skin tones, as it's showing too much of a red undertone. Do you have any suggestions to correct this?
Hi Tom, I love your work, it is really awesome. I want to ask you, How can i set up davinci resolve to work with a cinema DNG file from a Canon M with magic lantern? What should be the color space set up? and also, what should be the specs in the raw tab and in the color space transformation node?
I really apreciate it, if you could help me with that.
Thanks you so much!
Hey Tom! Been using this for about 2 months and am extremely happy with the results. Just wanted to confirm with you if i am correct in assuming my input color space & gamma. (Apologies for the lengthly comment)
Workflow:
-Bmpcc4k (Gen 5)
-Edited in premiere pro for cuts/transitions (sometimes a different b-cam such as sony as7iii)
-Exported dry pass as ProRes 4444 XQ & imported into Resolve
-Input color/Gamma BMPCC4k Film Gen 4 (as there is no option for Gen 5 yet)
It IS yielding extrenely good results with minor node tweaks, however wondering if this sounds correct on my part of if i should simply be choosing something more effective as i am working with such hi quality ProRes footage that was shot in B-RAW initially.
Anyways, thanks so much for satisfying a celluloid film fan. Love what you do & look forward to hearing from ya.
The one thing I’d recommend for a more technically correct workflow is to make your Blackmagic color space generations match. If you can only use Gen 4 in Resolve, then set your camera to shoot Gen 4.
Other note:
Grading ProRes is less processor intensive compared to raw, so if that works well for your workflow then what you’re doing is good. ProRes 4444 is 12 bit, so it will preserve the bit depth & dynamic range of the original .braw file. However, if you want to grade the original .braw media in Resolve, you can export an XML from Premiere to recreate the timeline in Resolve with the original media. Then you’re able to skip the transcoding/exporting to ProRes process.
@@TomBolles Thank you very much for the speedy response. I can sleep better now haha. If i a may ask one more quick question. it SEEMS as if youtube just loves to make finer grains disappear, even when exported out in 4k. I can clearly see the grain and fine details in your videos on this platform. Is there a way to trick youtube for better results since grain is a huge piece of this puzzle?
Or is this simple a certain render setting/codec that works better for these uploads? Would love to hear your thoughts. It's been driving me mad, haha.
4K has a much better bitrate, so if you’re doing grain definitely do 4K. There’s no special trick, you just have to make your grain strong enough so that it gets through the compression. If it is too fine or subtle, it will disappear during compression. If you do too much though it will look bad or unrealistic, so you have to figure out a sweet spot with your footage.
Question about 3:57 Neon Supresssion Matrix: so how this XML file with Matrix is called? I'd like to read what it is and how to create my own and how to use it in Davinchi?
Can this power grade be applied under wide gamut color space?
Hello, I was wondering why all the time I exit Davinci Resolve with the footage graded it all goes black, someone has the same problem?
maybe it’s because I have the 17 version?
Im Really liking the greens here.
but im wondering, what kind of look that is?
is this bluish cyan green really characteristic of 16mm film or is it just a creative choice?
does anyone know?
Hi Tom! To add grain back and the denoise effect, where do you recommend adding it to in the pipeline? Should it be replaced where the film grain and denoise nodes are originally? Also, what should the CST input be set to for Sony A7iii S-Log footage ? Thank you so much for your precisions. So happy with my purchase!
Did you ever figure this out? I feel like i have it set at slog3 and sgamut3 cine but i'm seeing a bunch of weird pinkish/red colors in my greys and whites... i can't get rid of it
m.ruclips.net/video/CvMM3SSepn8/видео.html
That’s a bitrate and compression issue with certain Sony cameras. There are some workarounds
Is this the same effect you used in your other video that you shot with iPhone 7? Btw I like your works! So cool
Yes but this is a more recent and much improved version.
Is it possible to use the neutral mode instead of the Slog?
Hi Tom, thanks for sharing.
Tech question: for me the ideal is to use your Powergrade nodes but I would like to use Halation and Film Grain from Dehancer plug in.
So Could I substitute your halation and grain nodes for another using these Dehancer (in the same position you have them) ??
Yes, that would work!
Hi tom, first of all great job men. Yesterday I bought the cineprint16 but I use Resolve free, could you tell me what to do to remove the watermark please🙏🙏🙏🙏🙏🙏
If you have the free version of Resolve, the free version watermark is from nodes limited to the full version (Denoising and Film Grain). If you disable those nodes the watermark should go away. You can easily add film grain for free using overlays
hey Tom! I recently purchased your grade, and as someone who is incredibly new to video and color editing and grading im actually kind of overwhelmed. I recorded some videos on a canon t21, pretty clean lighting and used your grade but it is a mess. I'm using an iMac 2017 with 64 gb ram but even just applying your powergrade to one clip makes it so dang slow and choppy on playback. I have no idea where to start to not give up before i begin learning. Idk how to improve if I'm already feeling overwhelmed. let me know if you have any tips, thanks!
I'm shooting on f log for Fuji. Which colour space should I choose
Your input color space should be Rec. 2020.
dl.fujifilm-x.com/support/lut/F-Log_DataSheet_E_Ver.1.0.pdf
community.acescentral.com/t/fujifilm-f-log-in-resolve-without-an-idt/2795
Hey Tom. After dropping my footage into DaVinci and making sure all of my color spaces are matched and the output is REC709, I apply the power grade to my clips and no matter what they come out as a barley visible incredibly saturated explosion of halation and contrast. Is there any kind of setting or color space I need to already be working in before i apply the power grade? I’ve looked at it a few times now and I’m just not sure what I doing wrong. I realize that you’re supposed to tweak the settings once you apply the grade to fine tune the image to what you’re looking for, but what the grade does to my footage is beyond fixable. I’m honestly quite confused and any help would be appreciated!
In the CST you should only change the input, the output of the CST should not be changed. The output should be Arri LogC and Arri Wide Gamut. Everything downstream is designed for that color space.
Hello!
Is it possible to get a invoice with my VAT when I buy the CinePrint16 ?
Hey Tom first off hats off to you sir for the phenomenal work on CinePrint16. I got a situation over here that I was wondering if you could possibly help me out with.. recently updated Davinci Resolve and for some reason the halation doesn't bleed out over onto the matte/black bars anymore. The halation is still present within the shot but no longer spills out onto the black like it used to - which I particularly love the look of. This has been really bugging me.. any idea? I appreciate your time.
You can create your own letterbox or film border as a PNG file with transparent middle, then add to media pool as a matte. Add the matte to the node tree prior to the halation node.
@@TomBolles Awesome. I will try that out, I appreciate your help. Cheers!
Is that GH5 footage vLog? And can I use a different picture profile for these luts?
Hey Tom, my footage is Sony Hlg. What should be my input color space and gamma. Also, what should be the settings in the Color Management project settings?
Davinci YRGB project, no color management. In the CST you should use Rec.2100 for color space and Rec.2100 HLG for input gamma.
helpguide.sony.net/di/pp/v1/en/print.pdf
Page 13-14
hey, loved your work, it's amazing! i was wondering if I could use this simulation with my Fujifilm X-T3 10 Bit 4:2:0.
Yes, you would shoot F-Log, and in the CST in Davinci you’d use F-Log for the gamma input and Rec. 2020 for the gamut input
@@TomBolles thanks a lot ^^
Hi, is the powergrade updated for resolve 18? I see complaints of using it with time remaping and halation issues
Can you show what these would look on sony cine2 color space or share example photos of what the grade looks on those color profiles.
more or less would this work on 8bit color cine2 profile from sony?
I don’t know if it was shot in Cine2, but there is user submitted work at the bottom of the CinePrint16 page and one of them is Sony A7III, which is 8bit.
are you able to do color space conversion for clog?
Yes, Davinci Resolve has CST inputs for Canon Log, Canon Log 2, and Canon Log 3.
Hi tom, I bought the pack yesterday and I started to do some stuff in davinci, I saw a video where you use it with an iphone 7 and filmic pro, how do you manage the LOG and prepare to get the best results using the powergrade?
Im using an iphone xs btw, thanks fam
Since the footage is 8bit, not 10bit, it’s better to use a profile with more contrast. In that video I used the Flat curve instead of the Log curve. Then in the powergrade just use Rec 709 as your input gamut and gamma.
@@TomBolles great, thank you! Probably I will post some random footage edited with the powergrade
Hi, Seems really great - Possible to use with Fujifilm ? Thanks
Yes. You would use F-Log for your input gamma, and Rec.2020 for your input color space.
F-Log documentation:
dl.fujifilm-x.com/support/lut/F-Log_DataSheet_E_Ver.1.0.pdf?_ga=2.25299389.166340419.1640270391-2126984134.1640270391
@@TomBolles Thanks
for a bmpcc4k how do i set the color space conversion
If you are gen 4 you need to use BMPCC 4K Gen4. If you are Gen5 then you will need to upload Resolve to the newest version and chose BM Design Gen 5
damn how can u think of that complicated node tree. i been never making that level.
What a complete power grade, good job !
Tho I think that’s it can be little bit over complicated and long to use. If you are with clients in the room, and doesn’t have the time, it can be a nightmare to search trough compounds what is wrong.
I’ve tried to simplify my emulation as much as I can to help usability on projects.
Cheers
I am really new to Davinci, coming from seven years of Premiere Pro. Does this also work with the free Davinci Resolve version or do I need Resolve Studio? Because some effects like Halation are locked in the free version, so I guess the halation node will not work in the free version?
The halation technique used in the powergrade will work in the free version. It uses primary grading controls. The only two nodes that will not work in the free version are the Denoise and Grain OFX. You can just disable those two nodes. There are free alternatives for grain like using overlays.
@@TomBolles thanks for the answer :)
ok now i need to make 50 dollars in my currency!!! so amazing
Does this work with non-log profiles like Rec.709?
Yes, you can use Rec. 709 as an input. I’ve done this with old iPhone footage even.
What are your color management project settings? Im using a BMPCC 6k as well
just purchased cineprint16 and love it but im having trouble exporting without the exposure lowering heavily. Any advice?
What’s your operating system?
What are your project color space settings?
What media player are you using to view?
What gamma tag are you using on export?
Does this only work with these log options like arri and gh5 v-log, or can you use other log forms like c-log footage
Pretty sure it also works with c-log, just gotta convert it in space transform
It works with any log profile that is available in Davinci Resolve’s color space transform. C-Log is supported.
I must be missing something because my BMpcc4k comes out looking like a hot mess
Man can you make a video explaining everything in the pdf thanks
When you buy the powergrade you will get a manual PDF file.
so i just purchased this... I dont have the full version of davinci, so I have that weird overlay. How can I get rid of it? Which effects will I be forfieting?
Disable Denoise and Grain. There are free alternatives to grain like using overlays.
@@TomBolles Awesome!! thanks so much :) love the look!
you need a plugin or program for this color ?
No third party plug-ins are involved, it is a powergrade that uses all the grading tools within Resolve. You can think of it as a pre-made node tree.
Do you guys think this could power grade would work with an iphone clip!?
Hi Aaron,
Yes the powergrade works with iPhone footage by selecting Rec. 709 as your input gamma and gamut. I have a demo video with iPhone footage using an earlier version of CinePrint16 (It is now much improved!)
ruclips.net/video/GFTjiSvXswg/видео.html
@@TomBolles yeah I was looking at that footage and I was blown away! I just bought the powergrade, I’m just trying to figure out how to convert my filmic pro Logv2 footage into rec 709 🥵
The CST is converting to LogC so if you’re already shooting in log there’s no point in going to Rec. 709 just to go back to log. Maybe experiment with other log gammas and see if there’s one that works well for your filmic pro log.
Can you use this with the free davinci version?
Yes, but you have to disable the nodes limited to the full version (denoise, film grain) to avoid watermarks. You can easily add your own film grain for free using overlays
Does it work with HLG3? Since Resolve does not have sony hlg in CSR, is there a workflow you recommend?
Lmk if you find out because I’m curious as well
Yes
You would choose Rec. 2100 for color space and gamma. HLG is part of the Rec. 2100 standard.
helpguide.sony.net/di/pp/v1/en/print.pdf
Page 13-14
Is it possible to use the film emulation on the free version of davinci?
Yes, you can use it in the free version, you just need to disable the Denoise node and Grain node, as those two nodes are limited to the studio version. There are free alternatives for grain like using overlays or mattes.
Does this film emulation pack with the free version of Davinci Resolve?
Yes, You can use the power grade in the free version of Resolve, you just need to disable the Denoise node and Grain node, as those two nodes are limited to the studio version. There are free alternatives for grain like using overlays or mattes.
@@TomBolles Thank you, so much!!
Does this work with free version of Davinci Resolve?
Yes, you can use the power grade in the free version of Resolve, you just need to disable the Denoise node and Grain node, as those two nodes are limited to the studio version. There are free alternatives for grain like using overlays or mattes.
studio version required??
No, you do not need the studio version. The grade works on the free version with the exception of two nodes: the denoise node and the grain node. There are free alternatives for grain like using overlays
Can you use this with the free version
Yes. You have to disable the Denoise and Grain nodes because those are limited to the full version. There are free alternatives for grain like using overlays.
Does this work with the free version of resolve?
Yes, but you will have to disable the Denoise and Film Grain nodes or they will add watermarks to the footage. All the other nodes work normally. You can easily add back film grain for free using overlays, there are plenty available online
@@TomBolles Thank you! the colors look amazing
@@TomBolles Also heads up the NS Matrix node doesnt work in the free version! I guess LUTs inside of a Node are restricted to Studio
does this work on the free version of resolve?
Yes, but you need to disable the film grain and denoise nodes. Those two are limited to the full studio version so they add watermarks over your footage if they are enabled while in the free version. When you disable them the watermarks go away. To add grain back, there are plenty of free alternatives like overlays.
@@TomBolles okay thank you
@@TomBolles Hi Tom! To add grain back and the denoise effect, where do you recommend adding it to in the pipeline? Should it be replaced where the film grain and denoise nodes are originally? Also, what should the CST input be set to for Sony A7iii S-Log footage ? Thank you so much for your precisions. So happy with my purchase!
They should be replaced at the same place in the timeline. For S-Log footage you should choose the same version you used in camera 1, 2, or 3.
Hey I’m trying to put in my input color space as Blackmagic film gen 5 (what I filmed with) but it seems to be missing. It’s there for the input gamma but the option isn’t there for input color space.
You need the newest version of Resolve and then you need to choose BM Design Gen 5
1:00 i dont have that Settings windows and idk where the fuck do i activate it