Hi, I did the grade for this that's on our (BMD) website. Thanks for the kind words! What I did was not actually too complicated. Prior to my output CST (similar to yours) I have Film Look Creator (a new plugin in R19 which I wrote - so I'm obviously biased) - both of these are on timeline nodes. Part of the smoothness you identified is probably because in the grain module I tend to use my 35 preset (adjusting amount of grain to taste) which backs off the resolution a touch. On clip nodes I have another instance of FLC that starts with the clean slate preset which I use to adjust exposure/wb/tint. I might make some minor tweaks to contrast etc in other nodes. I have a couple of windows that are basic shapes to help vignette, and generally only do a tracked window on faces. All the power windows are in linear gamma adjusting gain to keep them photometric. -Hook
Hey, that's really interesting. My thoughts was some kind of Lut. I do like the film look creator., it's a great addition to Resolve. Your grade is amazing, great work. I also do linear in my balance and exposure nodes, which is very handy and dctl for saturation. Cheers for the comment, I really appreciate it. Do you have a website for your work?
You’re actually my hero! The film look creator has been an actual game changer when it’s come to my color grading, it’s an amazing tool that I’ve been using constantly! I’m so thankful I have an opportunity to thank you… I suppose digitally, it’s been the secret save I’ve been looking for for literal years. Thank you!
I kinda like your grade more. The original grade made their skin look like plastic in a way but I also like images that live somewhere in the simplistic so just personal preference. Great work
With the current weather, does anyone really need a wood stove in Oz these days? On a more serious note: Taking ungraded Blackmagic footage and try to mimic the grading is a great exercise. The grading of the face was particularly useful to me. Hoping to see more videos like this in the future!
Am I the only one in BM 6K footage on BM's site, and this new Pyxis footage, who can see horizontal lines in the compression? It's not from lights, it's like a pattern in the way the compression looks. It'll often appear in the out of focus places. If you download the shot of the woman with the wine glass, and you look at the out of focus background to the left of her, you can really see it. It's not a settings/resolution issue on my end. I can even see it post grading and exporting downscale 4K/1080p exports. It's present in 3:1 footage I have, and this newer Pyxis Q1 footage. Is that just BRAW struggling with the image? Seems 3:1 or Q0 is a safer bet for a lot of things.
Oh that's very interesting. I haven't had any issues myself with it. The download is only Raw I'm pretty sure. Have you got your project set up for 8 or 10 bit footage? Also sometimes if you render and your settings are lower for the render it may appear worse off. Not sure what else. Let me know if any of that helps, if not let me know and I'll look into it
@@GreenGoatProductions Not a settings issue. Shows up in the untouched footage. Even BRAW Player shows it in that same wine glass shot if you open the og source. Almost like horizontal banding? I can find it in BM6K footage at that diner that you can download as well. Hm.
@@GreenGoatProductions All good. I just looked again this morning with footage from the Pyxis and 6K from BM's site, different shoots, and 4 different lighting situations... and the issue is in all of them. It's a sort of horizontal streaking/grouping to the noise pattern or compression pattern. I see it in buildings, I see it in skies night/day, I see it in out of focus backgrounds (like the new Pyxis footage). In motion it's even easier to see and how I first caught it a long time ago, but I was surprised to see the Pyxis footage and immediately pick up on it again. It's not something that's due to light and the sensor either, because it shows up in BM's example footage of well exposed blue skys.
Good question, I personally feel using nodes gives me more control when it comes to my colour management. I know where exactly everything is happening in the node pipe line.
@@GreenGoatProductions Gotcha, and fair. I personally like the latitude and color information that wide gamut provides. I still use nodes obviously, but just not as many as your method. I also don't like using luts as I personally feel that they can be restrictive when it comes to latitude, but plenty of people make it work well. Cheers
@leebrandt8597 yeah good point about luts. It all depends on what luts you use. On longer projects luts can save you a whole bunch of time. Good point though
@@GreenGoatProductions Thanks for the quick response. (incidentally it’s raining like hell here on the UK…..so very envious of all that sun you’re getting)
Hi, I did the grade for this that's on our (BMD) website. Thanks for the kind words! What I did was not actually too complicated. Prior to my output CST (similar to yours) I have Film Look Creator (a new plugin in R19 which I wrote - so I'm obviously biased) - both of these are on timeline nodes. Part of the smoothness you identified is probably because in the grain module I tend to use my 35 preset (adjusting amount of grain to taste) which backs off the resolution a touch. On clip nodes I have another instance of FLC that starts with the clean slate preset which I use to adjust exposure/wb/tint. I might make some minor tweaks to contrast etc in other nodes. I have a couple of windows that are basic shapes to help vignette, and generally only do a tracked window on faces. All the power windows are in linear gamma adjusting gain to keep them photometric. -Hook
Hey, that's really interesting. My thoughts was some kind of Lut. I do like the film look creator., it's a great addition to Resolve. Your grade is amazing, great work. I also do linear in my balance and exposure nodes, which is very handy and dctl for saturation. Cheers for the comment, I really appreciate it. Do you have a website for your work?
You’re actually my hero! The film look creator has been an actual game changer when it’s come to my color grading, it’s an amazing tool that I’ve been using constantly!
I’m so thankful I have an opportunity to thank you… I suppose digitally, it’s been the secret save I’ve been looking for for literal years.
Thank you!
@@jeremymolinari6597 Thanks, glad you find it useful!
You wrote the Film Look Creator? That bloody thing is incredible! Amazing job!
@@ZaryPhotography Thanks!
I kinda like your grade more. The original grade made their skin look like plastic in a way but I also like images that live somewhere in the simplistic so just personal preference. Great work
Cheers mate, appreciate that.
Nice grade! What is the DCTL that you use for trimming the highlights?
Cheers mate, I use Cullen Kelly's. I'm pretty sure it's free on his website.
@@GreenGoatProductions Would you mind sharing it? I had no luck after searching for it 😢
@paolosergio1564 ok, no worries. Mate. I'll have a look once I'm home. You can always find others on GitHub for free. That site is great
@@GreenGoatProductions OMG! Yes please. Thank you so much!!!! 👏🏻🥳 Appreciate the advice too 🙇🏻♂️
@paolosergio1564 no worries mate
With the current weather, does anyone really need a wood stove in Oz these days?
On a more serious note: Taking ungraded Blackmagic footage and try to mimic the grading is a great exercise. The grading of the face was particularly useful to me.
Hoping to see more videos like this in the future!
Two things.
First up, solid comment on the wood fire. Valid point.
2nd
Cheers for the positive feedback. 🤟
I can't find the raw footage
It's on the Blackmagic website. Go to the pyxis camera and click on it. Scroll down and you should see it.
Am I the only one in BM 6K footage on BM's site, and this new Pyxis footage, who can see horizontal lines in the compression? It's not from lights, it's like a pattern in the way the compression looks. It'll often appear in the out of focus places. If you download the shot of the woman with the wine glass, and you look at the out of focus background to the left of her, you can really see it. It's not a settings/resolution issue on my end. I can even see it post grading and exporting downscale 4K/1080p exports. It's present in 3:1 footage I have, and this newer Pyxis Q1 footage. Is that just BRAW struggling with the image? Seems 3:1 or Q0 is a safer bet for a lot of things.
Oh that's very interesting. I haven't had any issues myself with it. The download is only Raw I'm pretty sure. Have you got your project set up for 8 or 10 bit footage? Also sometimes if you render and your settings are lower for the render it may appear worse off. Not sure what else. Let me know if any of that helps, if not let me know and I'll look into it
@@GreenGoatProductions Not a settings issue. Shows up in the untouched footage. Even BRAW Player shows it in that same wine glass shot if you open the og source. Almost like horizontal banding? I can find it in BM6K footage at that diner that you can download as well. Hm.
@KyleProhaska oh ok, I'll have a look once I've finished work. I know it has some noise, because I did denoise my footage but not lines.
@@GreenGoatProductions All good. I just looked again this morning with footage from the Pyxis and 6K from BM's site, different shoots, and 4 different lighting situations... and the issue is in all of them. It's a sort of horizontal streaking/grouping to the noise pattern or compression pattern. I see it in buildings, I see it in skies night/day, I see it in out of focus backgrounds (like the new Pyxis footage). In motion it's even easier to see and how I first caught it a long time ago, but I was surprised to see the Pyxis footage and immediately pick up on it again. It's not something that's due to light and the sensor either, because it shows up in BM's example footage of well exposed blue skys.
@@GreenGoatProductions Sent you an email.
Why not do wide gamut intermediate on color managment instead of through CST?
Good question, I personally feel using nodes gives me more control when it comes to my colour management. I know where exactly everything is happening in the node pipe line.
@@GreenGoatProductions Gotcha, and fair. I personally like the latitude and color information that wide gamut provides. I still use nodes obviously, but just not as many as your method. I also don't like using luts as I personally feel that they can be restrictive when it comes to latitude, but plenty of people make it work well. Cheers
@leebrandt8597 yeah good point about luts. It all depends on what luts you use. On longer projects luts can save you a whole bunch of time. Good point though
Hi Mr Goat
Are you using a 2:39 Output Blanking?
I"vew just downloaded the footage and it looks pretty much 4:3. Or did you de-squeeze?
Thanks
Hey mate, yeah it's 2:39 and I've zoom in a bit to reframe. Cheers for watching and the comment 🤟
@@GreenGoatProductions
Thanks for the quick response.
(incidentally it’s raining like hell here on the UK…..so very envious of all that sun you’re getting)
@Longdancer ha, after I made the vid it poured with rain as I rode my bike. So the weather didn't last long.
Garcia Elizabeth Brown Charles Davis Karen
💅