this is great..it fact its more than that its opened up something i've wanted to achieve for 20 yrs and never cracked it. you just did and shared the node. respect 😎
i recently was introduced to full spectrum camera. or turning a camera into one. but was hesitant cuz i only have one camera with is an handycam. so yes tthis video is awesome. thanks
@@JanikBrosFilms well done! additionally, that little trick at the end is something i've been wanting to do for a while but couldn't figure out exactly, so thanks!
Thanx. As I was working on a clip, following along, I did not get the same good-looking result as you. Waaaay to red. Applying the grade to another clip made the grade look a little too much on the red side but overall good. So I guess, being a beginner at grading, this look does not work on any clip/color "scene". Thanx for sharing :.-)
Seems to be better than other methods I've seen. Although the color is very additive, not subtractive. But a density DCTL at the end can help with that. I also noticed that yellows (and presumably cyans and magentas?" are darker and reds (and presumably greens and blues) are lighter. If I understand film correctly, the opposite should occur. Not a bad way of saturating the image, though. Will probably mess around with it and change some stuff.
Yeah I have changed some stuff with it also to neutralize and change some things. I use density dctls and rgb crosstalk dctl to help. I would reference technicolor images on shotdeck.com that are set in natural outdoor settings to get the right colors. For example: the greens in the trees and grass
i downloaded and used your node tree absolutely fantastic excellent work i have one question the black and white negative part is there anyway to incorporate that in the work flow somehow
I am sure there is but I have only used it on this look so far. I have also used black and white for the bleach bypass look. I have a previous video on that.
Never posted a node tree on here yet but I will give it a go and do a little research on how to do that. Unless you can just tell me how?😅 I should know how to do this obviously
@@JanikBrosFilms I would love a download too, You just right click the saved powergrade and press export, Give it a name and file location and boom, Easy drag and drop into davinci by dragging it into the powergrade tab
The FOVEON sensor is basically a Technicolor sensor. A bayer sensor can never truly achieve the look due to it’s inherent technology. I am, however curious in seeing your approach.
@@JanikBrosFilms - Yes, I have the DP2 and I’ve been considering buying Sigma SD Quattro. If you just want test the image against bayer, a DP1 or DP2 will do the job.
This is really nice, and thanks for sharing! But if I'm not mistaken, this is a node tree originally made by Tim Yemmax and it would be nicer if you gave him credit
Yemmax node tree is similar but it’s better in some aspects. He has two part and the second one shows how to get a subtractive saturation. Also I found the way to add CMY colors, the impact in the image is astonishing, helping to balance reds.
This is wild! (new sub here!) Assduming everything was dialed in correctly in camera, but if it it isn't, and you you have to make color temp or exposure adjustments, do you recommend doing them after the compound grade and before the color transform, or before the compound? Looking forward to more of your videos.
I typically would recommend any changes in exposure or temp be made before the compound and cst but honestly experimenting by grabbing a still and referencing which way looks best is a good way to test it out. Using the offset wheel to balance or neutralize image is good too. If you ever feel like purchasing a great dctl I recommend rgb crosstalk from mononodes.com it works great in combination with this technicolor look to neutralize the image in my opinion.
The Problem starts for me when I add the color transform. I have gone back following all the steps four times I have tried it on several different clips with the same funky results every time. once I make all the color space corrections everything looks super red and over saturated. Please help me trouble shoot.
@@fortheloveofshakespearepro3707 I would make sure you are not working in a color managed workflow on your project settings. I also have a link in the description where you can download the powergrade if that helps subtract any possible human error in the process.
Excuse me, what effect does modifying the option in CST "Tone Mapping" and "Gammut Mapping" have? I have tried to investigate but no one explains it :(. Thank you
It basically helps you limit colors and luminance in the display so their isn’t harsh clipping and on the light and dark end and also helps saturation from becoming too much. It’s a great way to gradually limit luminance and saturation based on your display limitations so it does not look as crazy or harsh when you push it.
@@JanikBrosFilms Ohhhhhh, I did notice the highlights and washed blacks, a little better than what you can normally do with other tools and I liked it too much, I just wanted to confirm if what I deduced it did was correct. I will definitely use this, not in every project, but I will use it, I plan to use them to sometimes give a touch to when I want to give a 16 mm film. Thank you so much, every video I learn something new with you 🥹
@@yisuscarrillo3913 I recommend Cullen Kelly for coloring knowledge. I am still new by comparison. If you look up his videos on color management or node based color management you can learn a lot. I also recommend a site called mixinglight.com, it’s subscription based but I’m sure there is a free trial or you can just subscribe for a month. Thanks for your compliment it means a bunch.
Create the node tree and then generate a lut from it after tweaking the way you want it. I would save node tree as a powergrade and make multiple versions of the lut
9 месяцев назад+1
DUDE u goy my respect!! this works wonders with raw footage CHEERS!
Thanks! I figured that I learned something cool that was not talked about online that much so I decided to share. Hope it works out with this node tree. :-)
Sounds like you did something wrong. Lol. Watch the steps again. Also you might have connected some wrong colors together to the last parallel node maybe?
@@colemowery make sure you have color management as follows under project settings: 1. Color science: DaVinci yrgb 2. Timeline color space: DaVinci wide gamut 3. Output color space rec 709 gamma 2.4
@@texus2009 yeah I was having issues like that too and then I figured it out. Also if you generate lut from the node tree it will work with any color management.
Honestly I noticed whenever I do a transform from my colorspace to DaVinci wide gamut and then transform to 709 at the end it under exposes my original image. Am I doing something wrong?
@@JanikBrosFilms Wide Gamut is a color space for working in the Davinci timeline.Wheels, scopes and etc are working in DWG color space. But not single camera shoots in DWG.You are working without RCM. And therefore you need to make a CST at the beginning of the node tree from the space and gamma of the camera into DWG. At the end of the node tree you need to make CST from DWG into REC709. It will be correctly.
Hello, I tried your powergrade, I have footage from Panasonic use V-log/V gammut, the result seem not quite good, the image is not constrast like its still in log, can you help me with that 😊
@@ryanpaulretouch Well, it's good and who said I am complaining? The thing is he didn't explain the mechanics or the colour science behind it and he took almost 20 min to show that.
I've seen this setup reposted for years. Tested several times. It actually doesn't do anything. All operations cancel each other out in the end. Simply turn the Compisite node off and on again. No difference.
@@yisuscarrillo3913 I also discovered if you make it into a lut you can use it with any color management since it’s not in a node tree anymore. I’m glad it works! I spent another 2 hours looking at color charts in DaVinci to make sure because I don’t ever wanna post false info on here.
Show us before and after
I have one on my channel, it was a quick test shot at the beach
this is great..it fact its more than that its opened up something i've wanted to achieve for 20 yrs and never cracked it. you just did and shared the node. respect 😎
Everyone should know the cool stuff and not need to pay for it.
good and clear ! sir, you may go further into 3x3 color matrix manipulation with dctl and the 2 strip looks😁 like movie aviator same with rgb mixer
i recently was introduced to full spectrum camera. or turning a camera into one. but was hesitant cuz i only have one camera with is an handycam. so yes tthis video is awesome. thanks
Definitely trying this on my next creative project ! Thank you !
You got it! Let me know how it goes. I had to really deep dive to get this look right.
thank you so much!! i´ve been searching for something like this so much. Amazing
Technicolor came from the Dye imbibition process, otherwise it was just 3 black and white representation of color. Not the same.
amazing tutorial, helped me so much :) thanks !!
@@tispurmusic8317 hell yeah! Honestly I had to deep dive and search a lot and finally figure out how to do it.
@@JanikBrosFilms well done! additionally, that little trick at the end is something i've been wanting to do for a while but couldn't figure out exactly, so thanks!
Hey question, how might I add the file to davinci?
Instant sub, this was perfect
Thanx. As I was working on a clip, following along, I did not get the same good-looking result as you. Waaaay to red. Applying the grade to another clip made the grade look a little too much on the red side but overall good. So I guess, being a beginner at grading, this look does not work on any clip/color "scene".
Thanx for sharing :.-)
Seems to be better than other methods I've seen. Although the color is very additive, not subtractive. But a density DCTL at the end can help with that. I also noticed that yellows (and presumably cyans and magentas?" are darker and reds (and presumably greens and blues) are lighter. If I understand film correctly, the opposite should occur. Not a bad way of saturating the image, though. Will probably mess around with it and change some stuff.
Yeah I have changed some stuff with it also to neutralize and change some things. I use density dctls and rgb crosstalk dctl to help. I would reference technicolor images on shotdeck.com that are set in natural outdoor settings to get the right colors. For example: the greens in the trees and grass
i downloaded and used your node tree absolutely fantastic excellent work i have one question the black and white negative part is there anyway to incorporate that in the work flow somehow
I am sure there is but I have only used it on this look so far. I have also used black and white for the bleach bypass look. I have a previous video on that.
This guy has a stellar name.
Love your technique man. Can you give up this powergrade for download?
Never posted a node tree on here yet but I will give it a go and do a little research on how to do that. Unless you can just tell me how?😅 I should know how to do this obviously
@@JanikBrosFilms I would love a download too, You just right click the saved powergrade and press export, Give it a name and file location and boom, Easy drag and drop into davinci by dragging it into the powergrade tab
@@jensfoghpetersen3379 I’m guessing you can put it on RUclips somehow for download. That is the tricky part for me?
@@JanikBrosFilms Google drive, and then you can press share, and then choose, anyone with link. You should have 5gb free google drive with any gmail
@@JanikBrosFilms You can upload it to google drive and use the "share, and then choose "anyone with link" there should be 5gb free with any gmail
Could you explain how this works in a future video?
this dude is sympathy over 9000
DUDE! Amazing work
Hello, great tutorial !
I wanted to know : what camera did you use and what log and gamut did you choose ?
Thanks
Thanks! I used dji ronin 4d camera and i used DaVinci wide gamut.
The FOVEON sensor is basically a Technicolor sensor. A bayer sensor can never truly achieve the look due to it’s inherent technology. I am, however curious in seeing your approach.
I didn’t know that about FOVEON sensors. I hope sigma will release something with that sensor sooner then later.
@@JanikBrosFilms - You don’t know what you’re missing until you compare the images side by side.
@@chrisjenkins9978 do you have a camera with the foveon sensor? If so which camera?
@@JanikBrosFilms - Yes, I have the DP2 and I’ve been considering buying Sigma SD Quattro. If you just want test the image against bayer, a DP1 or DP2 will do the job.
@@chrisjenkins9978 thank you I will have to take closer a look at those cameras. I will do some research and deep dive a little.
This is really nice, and thanks for sharing! But if I'm not mistaken, this is a node tree originally made by Tim Yemmax and it would be nicer if you gave him credit
Yemmax node tree is similar but it’s better in some aspects. He has two part and the second one shows how to get a subtractive saturation. Also I found the way to add CMY colors, the impact in the image is astonishing, helping to balance reds.
This is wild! (new sub here!) Assduming everything was dialed in correctly in camera, but if it it isn't, and you you have to make color temp or exposure adjustments, do you recommend doing them after the compound grade and before the color transform, or before the compound? Looking forward to more of your videos.
I typically would recommend any changes in exposure or temp be made before the compound and cst but honestly experimenting by grabbing a still and referencing which way looks best is a good way to test it out. Using the offset wheel to balance or neutralize image is good too. If you ever feel like purchasing a great dctl I recommend rgb crosstalk from mononodes.com it works great in combination with this technicolor look to neutralize the image in my opinion.
Did you watch the mixing Light video on this technicolor node tree? Or did you come up with it yourself?
So I first watched a couple videos on RUclips and then I found the video on mixing light!
来得很晚，感谢分享，请问是否支持输出 p3 hlg?
The Problem starts for me when I add the color transform. I have gone back following all the steps four times I have tried it on several different clips with the same funky results every time. once I make all the color space corrections everything looks super red and over saturated. Please help me trouble shoot.
@@fortheloveofshakespearepro3707 I would make sure you are not working in a color managed workflow on your project settings. I also have a link in the description where you can download the powergrade if that helps subtract any possible human error in the process.
Excuse me, what effect does modifying the option in CST "Tone Mapping" and "Gammut Mapping" have? I have tried to investigate but no one explains it :(. Thank you
It basically helps you limit colors and luminance in the display so their isn’t harsh clipping and on the light and dark end and also helps saturation from becoming too much. It’s a great way to gradually limit luminance and saturation based on your display limitations so it does not look as crazy or harsh when you push it.
@@JanikBrosFilms Ohhhhhh, I did notice the highlights and washed blacks, a little better than what you can normally do with other tools and I liked it too much, I just wanted to confirm if what I deduced it did was correct. I will definitely use this, not in every project, but I will use it, I plan to use them to sometimes give a touch to when I want to give a 16 mm film. Thank you so much, every video I learn something new with you 🥹
@@yisuscarrillo3913 I recommend Cullen Kelly for coloring knowledge. I am still new by comparison. If you look up his videos on color management or node based color management you can learn a lot. I also recommend a site called mixinglight.com, it’s subscription based but I’m sure there is a free trial or you can just subscribe for a month. Thanks for your compliment it means a bunch.
Hi, thats great, but how can we use it on a ACES workflow ?
Create the node tree and then generate a lut from it after tweaking the way you want it. I would save node tree as a powergrade and make multiple versions of the lut
DUDE u goy my respect!! this works wonders with raw footage CHEERS!
I haven’t tried it with raw on my camera yet! Gotta check that out for sure
O MY GOD UR AWESOME
Thanks! I figured that I learned something cool that was not talked about online that much so I decided to share. Hope it works out with this node tree. :-)
FOLLOWED EVERY STEP YET I GET A PSYCHEDELIC ACID TRIP FOR AN IMAGE AT THE END...
Sounds like you did something wrong. Lol. Watch the steps again. Also you might have connected some wrong colors together to the last parallel node maybe?
yea this is where I'm at....
@@colemowery make sure you have color management as follows under project settings:
1. Color science: DaVinci yrgb
2. Timeline color space: DaVinci wide gamut
3. Output color space rec 709 gamma 2.4
@@JanikBrosFilms yea i was trying to use color management….. didn’t realize they broke it
@@colemowery yeah after making node tree and saving power grade just generate a lut and then you can use that lut in a color managed project later.
The node tree does not open! I repeated all the steps in the lesson - the result is a black field instead of a picture
Color management is the issue. Need to be non color managed.
Color science: DaVinci yrgb
Timeline: rec 709
Output: rec 709
@@JanikBrosFilms Yap, I did RCM, that's why it didn't work! Thanks for the answer and tutorial!
@@texus2009 yeah I was having issues like that too and then I figured it out. Also if you generate lut from the node tree it will work with any color management.
Do you work in DWG color space? Where is CST from camera color space to DWG?
Honestly I noticed whenever I do a transform from my colorspace to DaVinci wide gamut and then transform to 709 at the end it under exposes my original image. Am I doing something wrong?
@@JanikBrosFilms Wide Gamut is a color space for working in the Davinci timeline.Wheels, scopes and etc are working in DWG color space. But not single camera shoots in DWG.You are working without RCM. And therefore you need to make a CST at the beginning of the node tree from the space and gamma of the camera into DWG. At the end of the node tree you need to make CST from DWG into REC709. It will be correctly.
Usually the camera space to DWG goes in a preclip node as per group of camera type. And the DWG out to Rec709 goes in your timeline nodes.
Excelent , thank you
Hello, I tried your powergrade, I have footage from Panasonic use V-log/V gammut, the result seem not quite good, the image is not constrast like its still in log, can you help me with that 😊
Did you add a color space transform in the effect panel on your node tree yet?
Cool, but please make these videos short :D
I tried! It is a lot to go through to get this look! Lol
Another person complaining about free educational content. What a time to be alive.
@@ryanpaulretouch Well, it's good and who said I am complaining? The thing is he didn't explain the mechanics or the colour science behind it and he took almost 20 min to show that.
@@Naail05 you just complained again. 20 minutes is nothing for content that is 100% free. If it bothers you then you can even speed up the video.
@@ryanpaulretouch alrighty fanboy
AWESOME!!!I
I've seen this setup reposted for years. Tested several times. It actually doesn't do anything. All operations cancel each other out in the end. Simply turn the Compisite node off and on again. No difference.
Well that’s just not true.
@@JanikBrosFilms Did you apply it on some syntethic test images, too? - If it is different I suggest to show it also in a video. Maybe I am wrong.
@@allenpayne9182 yeah I just tested it on those synthetic images in resolve. It is definitely correct and there is a big difference.
I tested like 2 hours ago and its great, I combined with my other node trees and its beautiful
@@yisuscarrillo3913 I also discovered if you make it into a lut you can use it with any color management since it’s not in a node tree anymore. I’m glad it works! I spent another 2 hours looking at color charts in DaVinci to make sure because I don’t ever wanna post false info on here.