Color grading Kodak motion picture Film in Davinci Resolve
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- Опубликовано: 13 мар 2024
- F1 film emulation is here! - juiceboxstudio...
Quick look at color grading Kodak motion picture film in Davinci Resolve. We look at multiple Kodak Vision3 35mm film stocks, including 500T, 200T, 250D, and Ektachrome. 3 perf and 4 perf. It is pretty easy to get film to a great place in Davinci Resolve and I love it. It is easier than grading digital footage in my opinion, but even some of the techniques shown in this video can be applied to color grading digital footage in resolve. The film look, on film… easy. Footage shown was shot on the Arricam LT, with Arri Master Prime lenses. It was processed by Kodak and scanned by Metro Post in NYC. Scans are 6k cineon log prores 4444XQ. Juicy. The shot in the “woods” was on an LED volume. Let me know if you have any questions. More to come!
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i am a landscape gardener, but still watching because it’s sooo niceee
love it. the film is definitely closer to landscaping than digital lol.
@@BlaineWestropp1 haha i was referencing the other comment who said they watch without shooting film themselves.. i need to work on my jokes. love the content!
ahhh I missed that 😞
and thank you!
Never shot film, but still watching because it's sooo niceee
its so nice! ya gotta make it happen some time.
Shoot some stills on a kodak stock (plenty of companies like cinestill or flic film repackage it for film cameras)
Yep. Just got some rolls of 500T and 200T bulk loaded for stills shooting. Can connect you if you want some!
I agree
criminally underrated the simplicity is super helpful
😇🫡
It's so satisfying to watch this process. Thank you!!
I wish more people in the industry were open to this kind of workflow
Thank you Ash! I like to keep it simple and with film.. sometimes it’s just so simple. I love it and I love implementing its process to digital workflows.
It's so inspiring to see! We get the idea in our head that it's too complicated so we won't even attempt it.
This is proof of why we should shoot more projects on film.
I love that these film experiments are teaching you more about how to treat digital files too. Great observations
Yup. It’s been a very eye opening past couple months. Mostly just pushing me to think harder about the why and to do things with reason. Also… it is just fun to shoot on film, wait a day or 2 and then look at it!
Love that you're taking us along on the ride!! Happy to be here @@BlaineWestropp1
Thank you and glad you’re here 🫡
Damn Blaine!!! This is some serious amazing and so much easier looking formula to grade with the OG of cinema!FILM. Your workflow is masterful. Thanks for this. Although I won’t be shooting on film ( I wish I could). Loved the video!!!! New sub.
thank you thank you 😎 you can shoot on film if you want..
We missed you!!
its good to be back
Here we gooo! That’s what i‘ve been waiting for🎉
🫡 more to come
@@BlaineWestropp1the man💪🏻👍🏻
😎😎
Came for the color grade. Stayed for the ice-cream recs. Great video as always.
Hahaha that ice cream is so good. Maybe I’ll have a scoop right now. 😂
And thank you!
This is awesome mate, thanks for sharing and welcome back!
Thank you thank you. More to come!
2:38 The contrast knob works great on film because by default the pivot is *.435* which is pretty much the middle grey of Cineon Film Log. So you’re adding a nice S-Curve without moving your exposure 👍🏾
Also, Chocolate Chip Cookie Dough is the #1 Ben & Jerry’s
Yuuup!
I used to think CCCD was best.. until I found this one. Number 1.
Do you know what the pivot would ne for a stardard digital camera I am sure it is harder as each or different with different tech but would this in principal work if you knew the pivot for Canon or Sony etc?
Each brand will be different but should be listed somewhere. Typically if you cam has false color, that will indicate where middle grey is. If it doesn’t have false color, you could set your zebra to the ire value that the manufacturer lists. Some cameras are easy to find this some are harder.
man, this channel is so underrated
thank you 😊
Wow, using film makes everything seem much simpler! Of course, there's the consideration of achieving perfect exposure, perfectly done by you, and the not insignificant costs involved in purchasing the film, developing, and scanning. But it's so cool, and in my opinion, the most interesting result is precisely the one with the curves.
I like the curves too. Of course there are complicated and expensive elements of this process, but when you do get it into resolve there is something nice and simple there that I like.
Everything you do is beautiful man! Well done!
Thank you so much 😀
Amazing as always!
Thank you 😊
This is so great! I've never seen this process and it's so cool!! Keep up the great content Blaine!
Hey thanks so much! There is another process to color grading film which I hope to show here on this channel as well :)
PSA: Nobody ever shoots on film hoping it will look like digital.
This video is awesome.
Truth. Still need to do telecine session!
@@BlaineWestropp1 I hope you do a video about it too.
The lab said yes… just need to get it on the calendar! And will definitely document the process and make a video about it.
@@BlaineWestropp1 That's fantastic, I can't wait to see it.
Me too!
2:11 WTF!! I wish I will be able to produce such stuning images one day 😮💨😮💨😮💨😮💨
☺️☺️ you definitely can!
Masterclass like always Blaine ;)
☺️ thank you
I realize all the old people look at us young people being liked "damn this is beautiful" and they just say "no shit" but it is really crazy how shooting on film you just get a hundred years of R&D built into your images. The other crazy thing I didn't know is that before DI basically the only tool they had to grade was offset. Listened to some podcasts and read some articles on how it all worked and it makes sense but hot damn I get why some people say it was easier back then.
yep its wild. so simple!
There is no "correct" transform from cineon log to a display gamma. That's typically only done for digital camera profiles because the manufacturer explicitly defined the color science for a final display deliverable. The only intended color science Kodak developed for their camera negative film, is to print, and the scanner is already measuring the OCN in printing density. Once that cineon log file is brought in for color grading, there is no input transform needed, it's purely a creative process from that point on. It only becomes a color science matter if you want to film out the final graded master back to film. So just grade the log footage as is with whatever display gamma you plan to deliver to, no need to set cineon log as an input transform.
Yes of course, this is why my favorite way is to just move things around, add contrast and you’re good. But, a cineon to 709 CST in resolve is literally designed to take cineon film and move it to 709. I rarely ever use CSTs to go to 709 but of the multiple methods I showed here, the CST did yield nice results on this specific footage.
@@BlaineWestropp1 Even then, cineon log is just a linear encoding of density, it does not inform at all of the gamma along the straight line portion of the film material scanned for which such a CST in davinci can rely on. As of course that's stock and processing dependent. Your favourite approach is definitely a good mentality to have.
Absolutely loving this content
Thank you :))
I just searched this yesterday
I made this specifically for you
Haven’t shot film but here for the tones
I like the tones
simple techniques but great results!
I like simple and great lol
Thanks, great tips! Since you were mentioning the contrast tool. What I like doing is searching for the highest IRE value of the the skin (non specular) and select a contrast pivot point slightly lower. Increasing the contrast then gives you a quick dodge and burn effect. 🙂
Cool! Love it thank you
@@BlaineWestropp1 Cool! Pleasure! That works as well very well in bright outside scenes if you take the sky or the clouds as target.
@oleberek what do you mean dodge and burn? A global dodge and burn effect?
@@BlaineWestropp1 lets assume you want to apply that look onto skin. Brightest parts are at 65 IRE, darkest at 30 IRE. Default setting around 45 IRE as pivot will give a good result when increasing contrast. But what if you have decided to shoot moody and brightest skin area is like 40 IRE and darkest 10 IRE, if you then increase contrast on default pivot all will be pushed down. So at that point I would adjust to a much lower pivot point like 25-30 IRE. That gives some 3D pop like dodge and burn. True, could be considered as a global effect, but I found it to be very efficient. Same for bringing down exposure values from the bright sky parts, I am not shy to even put a pivot to 90 IRE in case of need to achieve this. Much faster than pushing wheels up and down and I find the results pleasing.
I understand! Thanks for clarifying! It is quite nice to push the film around in resolve.
dude, these frames are beaaaaautiful
Thank you! I love them!
Always looking forward to your videos! Excellent work🌟
Hey thank you so much! More to come 😎
Beautiful 👌
Thanks Keith!
I hope people watch this and take this same mindset when using dehancer. Don’t just pay attention to how it looks initially when using a film stick, try to balance the image first before deciding if it doesn’t work.
Yep! Same thing with luts or anything else!
Lookin nice
Thank u papi
Is there any chance that we can download this to practice¿
at the moment I cannot make it available for download. but maybe some time soon.
Me immediately trying to find out how I can shoot some film
ya gotta make it happen!
Bagel Power 🙌
😇🥯
But where are the qualifiers
Shhh we mustn’t tell them
How does color grading film even work? In my mind how can you take film and scan it digitally and retain all the information, to me its the equivalent of trying to colorgrade a photo you screenshotted.
You can grade in the way that I showed.. or in a telecine session/with printer lights. When you get footage from the lab, it is scanned in cineon at very high quality, so flat and desaturated. You can push the colors around a lot. I suppose it is similar to a camera capturing an image, but it’s a scanner capturing an image.
So is it possible (does it make sense to do it?) even with a digital camera? Big work!
hey, yes you can implement these techniques with digital footage for sure. The difference is the "just adding contrast." I would not recommend that for digital log footage. The other difference is that when you simply normalize film footage, it has a beautiful look. When you simply normalize digital footage, it still needs work after that. I have an extensive set of LUTs/powergrades that I will share very soon that make this all very easy. 😇
@@BlaineWestropp1 ♥️
Which monitor do u have...
It’s a Sony PVMA250
I recently shot some ektachrome and the physical film looked beautiful and daylight balanced just holding it up to light. I don't understand why your ektachrome scan came out so blue, it's quite extreme and that points towards either an enormous scanning blunder or a development issue imo
How did you have yours developed? E6 or ecn2
@@BlaineWestropp1 mine was ektachrome stills film and it was developed with E6
That’s why yours looks normal and this does not. Developing ektachrome motion picture film in ECN-2 (like I did here) yields wild colors like shown in the footage in this video! Ektachrome will look normal and beautiful processed in E6.
@@BlaineWestropp1 Interesting! Might I ask why you chose to go with ecn2 for that footage?
To get those weird colors!
What monitor is that?
sony pvm-a250 !
While thios is for 35mm film I am sure I'll get a take away for some of my work.
I’m glad :) I do think a lot of this is applicable for digital as well.
Can get this look at premiere pro?
Davinci resolve is really better for color than premiere. Resolve is also free!
You can make color adjustments in premiere but you get a lot finer control in resolve. I use premiere and resolve. Premiere for edit, resolve for color!
What monitor are you using?
Hey, it’s a Sony PVMA250
The ekta is cross processed right? Been looking for regular ekta footage but everybody’s going after the euphoria look😂
Nice vid nonetheless!
hey thanks! yes the ektachrome was cross processed! I want to do another roll and have it processed in E6 (the regular way)
What monitor you got?
sony pvm a250!
@@BlaineWestropp1 Professional:)
😎
@@BlaineWestropp1 I got an Asus Proart, but I'm not very happy with it.
Can you not go from rec709 to a bigger colour space then back to rec709?
Do you mean rec709 source material?
@@BlaineWestropp1 I mean with film can you work in a larger colour space than rec709 like Davinci wide gamut
@@BlaineWestropp1 by the way I absolutely love your videos brother! I look forward to seeing your content 😁
Hey thanks so much! Source material from an iPhone for example.. I personally would just grade light handed within rec709. Sure you can convert 709 to log.. but are you really gaining anything outside of fitting it into a project with lot footage.. I’m not sure.
Hi @benjimenlockwood you can! What you can try is this: drag a aces transform in and go to adx10 then leave the output as is, its gonna look weird at first. But when you apply a cst with the following settings: aces (ap1) > linear > dwg and leave everything else off in your cst, you will get a different reproduction of your image. Put your output cst at the end and now your now able to work in between the input and output. Hope this anwserd your question.
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Hahah I’m having a couple spoons of that ice cream right now and I still stand by it being #1
IMAX next
Oh it’ll happen!
what a shame in 2024 these giant companies haven't taken a hint people want film.... if the market shifted as a whole i think modern tech could enable them to still make good profits with prices being less than half of what they are today
do you mean more film and film cameras should be being made?
more film rolls, and developing . early 2000s it was common place to find a lab down the street if you lived in a city @@BlaineWestropp1
ah yes I see what you mean and I agree. it is a very great way to capture images, I love the process, the look, everything. I really hope it stays around. I know kodak committed to producing film until 2029 at least, I hope they don't stop there! I also have to imagine more people pushing to shoot on it.
Can you please mention her @
I really love the uninvolved approach haha, GREAT!
Thank you:)