I don’t understand why your plugin is necessary, since the print LUT is basically the one that comes directly with Resolve. So all this plugin offers is basically a control slider that I don’t need, since most of these things can be done with the tools Resolve already offers. Don’t get me wrong, maybe this is useful for beginners but in my opinion not even that since then they won’t learn how to do it “correctly” in Resolve? Or am I wrong here?
So, a couple of things 1. Kodak, the film company itself dropped the mission to build the most complex emulation. What does that tell us? I think it tells us it’s more complex than it looks. 2. The film emulation LUT only emulates Print side of the look. That too with a fixed display output - Rec709. FilmVerse tackles that by offering a scene referred output. - export it for Netflix, YT, theatres, HDR etc 3. Resolves LUT is made to be applied on cineon scans of motion picture films. That is the negative film - scanned. And .. negative side is complicated - even if you apply Resolves LUT. It’s non-linear. What do I mean by this? This means (for example) the red hue that remains red in highlights and mid-tones, shifts a bit towards magenta in the lower light region. And imagine this behaviour in terms of different hues reacting differently when assessed at highlights, shadows, higher and lower saturation regions. And films organically do that. That’s why Spielberg said that films are a chemical miracle, while digital is science. 4. Everyone is busy selling a film look, and the result? Good stuff in film emulation space is getting a bad name. Remember Kodak dropped the idea of a digital emulation because it was complicated? It was a disaster for us. We failed about atleast a thousand times before we tried a different approach via custom code. Because while it’s doesn’t hold any value for a company that actually makes films - it does value a lot from a post production company’s perspective. If we can build something that even efficiently emulates the non linear nature of film - like a nicely enveloped if-then algorithm that distributes color in a film like fashion, I think I am all set for a 1500 shot feature length film to begin with. I think here’s what you should do, I think you should download FilmVerse 2.0. Apply it to a footage, make a still, reset and grade it to match the still. And then save that as a powergrade, apply that on a different shot, shot in a different setting or time and compare it with FilmVerse on the new shot. You’ll see how something that’s built on research, math, testing reacts to color as compared to something built natively 🙌 Also if someone just wants to reproduce a bunch of good looking shots …FilmVerse might not be the solution for you. But if you are someone who wants to reliably create a solid look - that’s meant to work with a much larger scale, I can assure you we’ve got one of the finest products here. A little insider info - that’s one reason why this isn’t that popular among RUclipsrs - as much it is with colorists and directors that work for film and TV. Our last video is about 18 minutes long, with the intro just touching base with problems one faces while trying to emulate film one to one. And the website also showcases what we are trying to do here. But if would like to learn more about it, go ahead and drop at DM at @coloristfoundry
Wow. This is amazing!!! You guys knocked it outta the park!!! Gonna wait for the full before i download and use it on my project. I own this and not Dehancer but this looks phenomenal.
I just bought the filmverse 2, can you make a video on how to use filmverse incorporation with third-party LUTS. i'd really appreciate that, Thank you.
Everyone knows the other major film emulation plug in companies… but know one is talking about Colorist Foundry (formerly known as colorist factory). Probably my favorite manufacturer of film emulation products.
What conditions are we talking about? Are we talking about indoor vs outdoor? Or are we talking about how the emulation handles near gamut boundary Color’s? It’s follows a pretty steve yedlin approach. Only a lot more rigorous. For example, one of the challenges was separating 1D aspect of it from rest of the color volume and there are 10 different ways to do that, one method involved cubic spline, another a 10 degree polynomial, third a simple linear interpolation. Ofcourse I can’t reveal everything in a single comment, but I think this gives you some insight into the level of complications I’ve run into while creating this. I’ve spoken a bit about it in my previous video as well. I’m thinking of converting my emulation journal in to a series of blogs. Incase you want to chat about it - I’m here @coloristfoundry on Instagram. Hit me up.
There are a couple of free Resolve plugins in here that supercharge the way one inverts negatives. Follow Thatcher on GitHub, he's brilliant: github.com/thatcherfreeman
In filmmaking, negative film and print film are two types of film used in the production and distribution process: Negative Film: This is the film used in cameras to capture the original footage. When the film is exposed to light, it creates a negative image, where colors and brightness are inverted. For example, bright areas appear dark, and dark areas appear bright. This negative film is like a master copy; it holds all the details of the scene but in reverse colors. Print Film: Once the negative film is developed, it can be used to create a print film. The print film is a positive image, meaning the colors and brightness are corrected to appear as they do in real life. This film is typically used for distribution in movie theaters, where it is projected onto screens for audiences to view. In summary, negative film is used to capture the initial footage, while print film is used to create the final version that is shown to viewers. So when talking about full emulation, we are talking about emulating the negative + print emulation a.k.a. the final look.
@@ColoristFoundry thanks! I get it but didn’t you say in this video that this is negative film emulation currently 2:04 But what does that mean? I don’t see any negative footage.. so I was asking what it means to use negative film emulation on positively coloured footage.
lol, market is nowhere near ripe. And if you talking about those overdone halation and baldy textured Instagram videos, hell yeah those should rest in peace
I've been struggling with my RUclips channel's engagement recently. The content has become quite academic, leading to a noticeable drop in viewership. While there's still an audience for quality color grading content, much of RUclips's popular content in this area focuses on sensationalized tips and tricks, which I'm not fond of. In my latest video, I tried a straightforward, no-nonsense approach-18 minutes of simple theory, without flashy thumbnails or music. Unfortunately, the response wasn't as good as I hoped. This made me realize that while there are talented creators out there, they often lack exposure. Meanwhile, others are repackaging existing tools as "secret sauces" and profiting from it. So, I've decided to adapt my marketing strategy. I'll use attention-grabbing thumbnails and titles to draw viewers in. Once they're engaged, I'll deliver valuable, educational content. On my website, I'll provide detailed, theoretical explanations for those interested in deeper learning. If viewers prefer quick fixes or trendy looks, they can always find that elsewhere. This is the realization I've come to: sometimes, to share valuable stuff (that has taken almost a miracle for you to come up with), you have to play the dirty marketing game.
@@ColoristFoundry I suggest to adapt your storytelling and provide an answer in the video. You don't want to end your video in a way that leaves the viewer dissatisfied. I am not sure whether you have done it already, but you could make videos on how others use grading to tell a story. By that I mean why have certain movies made certain grading, lens, Filter, etc. choices. What sort of mood did they want to elicit to tell exactly that story? What are the similarities and differences to other movies?
Looks cool but since you never added the DR "Lut" to the Rec 709, of course your plugin makes it look better... Tricky little boogers you all are...LOL When do you all expect it to be out of Beta?
@@ColoristFoundry you added a Lut from Davinci on your color grade but not on the rec 709. Basically that is what I am saying. You did just a log to 709 on one and on your you added a Davinci Lut then graded 👌🏻
I don’t understand why your plugin is necessary, since the print LUT is basically the one that comes directly with Resolve. So all this plugin offers is basically a control slider that I don’t need, since most of these things can be done with the tools Resolve already offers. Don’t get me wrong, maybe this is useful for beginners but in my opinion not even that since then they won’t learn how to do it “correctly” in Resolve?
Or am I wrong here?
So, a couple of things
1. Kodak, the film company itself dropped the mission to build the most complex emulation. What does that tell us? I think it tells us it’s more complex than it looks.
2. The film emulation LUT only emulates Print side of the look. That too with a fixed display output - Rec709. FilmVerse tackles that by offering a scene referred output. - export it for Netflix, YT, theatres, HDR etc
3. Resolves LUT is made to be applied on cineon scans of motion picture films. That is the negative film - scanned. And .. negative side is complicated - even if you apply Resolves LUT. It’s non-linear. What do I mean by this? This means (for example) the red hue that remains red in highlights and mid-tones, shifts a bit towards magenta in the lower light region. And imagine this behaviour in terms of different hues reacting differently when assessed at highlights, shadows, higher and lower saturation regions. And films organically do that. That’s why Spielberg said that films are a chemical miracle, while digital is science.
4. Everyone is busy selling a film look, and the result? Good stuff in film emulation space is getting a bad name. Remember Kodak dropped the idea of a digital emulation because it was complicated? It was a disaster for us. We failed about atleast a thousand times before we tried a different approach via custom code. Because while it’s doesn’t hold any value for a company that actually makes films - it does value a lot from a post production company’s perspective. If we can build something that even efficiently emulates the non linear nature of film - like a nicely enveloped if-then algorithm that distributes color in a film like fashion, I think I am all set for a 1500 shot feature length film to begin with.
I think here’s what you should do, I think you should download FilmVerse 2.0. Apply it to a footage, make a still, reset and grade it to match the still. And then save that as a powergrade, apply that on a different shot, shot in a different setting or time and compare it with FilmVerse on the new shot. You’ll see how something that’s built on research, math, testing reacts to color as compared to something built natively 🙌
Also if someone just wants to reproduce a bunch of good looking shots …FilmVerse might not be the solution for you. But if you are someone who wants to reliably create a solid look - that’s meant to work with a much larger scale, I can assure you we’ve got one of the finest products here. A little insider info - that’s one reason why this isn’t that popular among RUclipsrs - as much it is with colorists and directors that work for film and TV.
Our last video is about 18 minutes long, with the intro just touching base with problems one faces while trying to emulate film one to one. And the website also showcases what we are trying to do here. But if would like to learn more about it, go ahead and drop at DM at @coloristfoundry
I've tried out version 2 demo and I am seeing some great results. I can't believe that this is the beginning haha.
Looking forward to many more tutorials and videos
Super excited to work on more projects with this!
Wow. This is amazing!!! You guys knocked it outta the park!!! Gonna wait for the full before i download and use it on my project. I own this and not Dehancer but this looks phenomenal.
Thanks for the kind words man, really appreciate it :) 🙌
What a fantastic plug-in I was just wondering will this be available for final cut or premiere at any point?
Why does the Filmverse website say that it's a one-time payment but the terms state that its only a one-year license. Any clarifications on this?
It's a lifetime deal. We thought we updated the license page long back. Apologies. Thanks for pointing out.
I just bought the filmverse 2, can you make a video on how to use filmverse incorporation with third-party LUTS. i'd really appreciate that, Thank you.
Everyone knows the other major film emulation plug in companies… but know one is talking about Colorist Foundry (formerly known as colorist factory). Probably my favorite manufacturer of film emulation products.
Folks are busy selling their “Secret sauce” film emulation 😂
Saucy secrets
How did you profile your negative emulation? How did you verify the integrity of the emulation under various conditions?
What conditions are we talking about? Are we talking about indoor vs outdoor? Or are we talking about how the emulation handles near gamut boundary Color’s?
It’s follows a pretty steve yedlin approach. Only a lot more rigorous. For example, one of the challenges was separating 1D aspect of it from rest of the color volume and there are 10 different ways to do that, one method involved cubic spline, another a 10 degree polynomial, third a simple linear interpolation. Ofcourse I can’t reveal everything in a single comment, but I think this gives you some insight into the level of complications I’ve run into while creating this. I’ve spoken a bit about it in my previous video as well.
I’m thinking of converting my emulation journal in to a series of blogs. Incase you want to chat about it - I’m here @coloristfoundry on Instagram. Hit me up.
At the link there is no link or button or anything to download the beta of FilmVerse 2.0
VERY COOL IT LOOKS
Thx！
What is the difference between paid and free version?
watermark, it seems
Do you guys maybe know how to invert film negatives to rec 709 natively in Davinci Resolve?
There are a couple of free Resolve plugins in here that supercharge the way one inverts negatives. Follow Thatcher on GitHub, he's brilliant: github.com/thatcherfreeman
@@ColoristFoundry will do. thanks for the tip🙏
Does it work on windows pc as well?
Yesss it does. The only requirement is Resolve Studio version
Thank!!....
What’s the difference between emulating film negative vs Full emulation
In filmmaking, negative film and print film are two types of film used in the production and distribution process:
Negative Film: This is the film used in cameras to capture the original footage. When the film is exposed to light, it creates a negative image, where colors and brightness are inverted. For example, bright areas appear dark, and dark areas appear bright. This negative film is like a master copy; it holds all the details of the scene but in reverse colors.
Print Film: Once the negative film is developed, it can be used to create a print film. The print film is a positive image, meaning the colors and brightness are corrected to appear as they do in real life. This film is typically used for distribution in movie theaters, where it is projected onto screens for audiences to view.
In summary, negative film is used to capture the initial footage, while print film is used to create the final version that is shown to viewers. So when talking about full emulation, we are talking about emulating the negative + print emulation a.k.a. the final look.
@@ColoristFoundry thanks! I get it but didn’t you say in this video that this is negative film emulation currently 2:04
But what does that mean? I don’t see any negative footage.. so I was asking what it means to use negative film emulation on positively coloured footage.
i think we're about to hit the end of the film emulation trend.
lol, market is nowhere near ripe. And if you talking about those overdone halation and baldy textured Instagram videos, hell yeah those should rest in peace
film emulation will never stop simply because cinema will never stop chasing that look as it is what everyone and their mom associates with movies
insane
So what did you realize?
I've been struggling with my RUclips channel's engagement recently. The content has become quite academic, leading to a noticeable drop in viewership. While there's still an audience for quality color grading content, much of RUclips's popular content in this area focuses on sensationalized tips and tricks, which I'm not fond of.
In my latest video, I tried a straightforward, no-nonsense approach-18 minutes of simple theory, without flashy thumbnails or music. Unfortunately, the response wasn't as good as I hoped. This made me realize that while there are talented creators out there, they often lack exposure. Meanwhile, others are repackaging existing tools as "secret sauces" and profiting from it.
So, I've decided to adapt my marketing strategy. I'll use attention-grabbing thumbnails and titles to draw viewers in. Once they're engaged, I'll deliver valuable, educational content. On my website, I'll provide detailed, theoretical explanations for those interested in deeper learning. If viewers prefer quick fixes or trendy looks, they can always find that elsewhere.
This is the realization I've come to: sometimes, to share valuable stuff (that has taken almost a miracle for you to come up with), you have to play the dirty marketing game.
@@ColoristFoundry I suggest to adapt your storytelling and provide an answer in the video. You don't want to end your video in a way that leaves the viewer dissatisfied.
I am not sure whether you have done it already, but you could make videos on how others use grading to tell a story. By that I mean why have certain movies made certain grading, lens, Filter, etc. choices. What sort of mood did they want to elicit to tell exactly that story? What are the
similarities and differences to other movies?
Epic
Looks cool but since you never added the DR "Lut" to the Rec 709, of course your plugin makes it look better... Tricky little boogers you all are...LOL When do you all expect it to be out of Beta?
I am a bit confused what the comment is trying to say lol.
@@ColoristFoundry you added a Lut from Davinci on your color grade but not on the rec 709. Basically that is what I am saying. You did just a log to 709 on one and on your you added a Davinci Lut then graded 👌🏻
Hi sent a dm on instagram but commenting here too, is the 7 day free trial still available?
It’s still on. Will be replying to all the DMs in about 48 hours 🙌
@@ColoristFoundry thank you! Let me know if there’s anything else I need to do!
Any for Premium Pro?