達芬奇調色 | 索尼slog3轉柯達50d復古電影感膠片調色powergrade

Hi guys, welcome. How are you doing? I'm good. Very excited for this video because I think it's going to be tremendously helpful whether you are a cinematographer, a content creator or you just want your videos to look more like they've been shot in film. So the goal of this video is to make you understand what film does, what the components of a film system are, and ultimately how we can apply this new knowledge to our color grading workflow to achieve a believable film look. This video is going to be brief, but packed with information. And if you stick until the end, I've got something for you. And it's going to be great. And it's going to be free. You'll see. But you've got to stick until the end, okay? Promise me. In a second. Hello? Jimmy, you know this is a YouTube video, right? They can just skip to the end part and get it. Yeah, but they would miss so much information and they would probably not use it properly. Yeah, I know, but you've got to keep them engaged. Yeah, I'm explaining stuff. I think it's engaging. What if you make it a short, maybe? The algorithm would be happy. What do you mean a short? Like, it took me months to figure this out. I can't make it a short. A short is too short. Well, I warned you. You know what? Like, screw you. Whatever. So a film system would work like this. You have a film camera that records what it sees on a film negative. The negative can be processed in different ways. The most basic would be to send it to a laboratory where it would be processed chemically and then printed on a positive that is then ready for projection. If a movie requires special effects or any digital manipulation, the film negative would be processed chemically, then scanned, imported on the computer, manipulated, and then out to be printed on a film positive for projection. Film is a great medium because it looks amazing. And it looks amazing because the color scientists over at Kodak and Fuji spent literally decades perfecting tonal and color rendition of film to make it aesthetically pleasing. The first step towards getting the film look would be to analyze what the attributes of film are the digital lacks and find a way to shape our digital footage to match those attributes. So here's the list of the four most important attributes of film. The first one would be contrast. Film is contrasty. It has a strong S-curve with a long toe and shoulder. To achieve a believable film look, you've got to embrace the contrast. Second, we have colors. As you know, film produces very dense and saturated colors and renders rich and beautiful skin tones. Third would be grain. Well, there's no explanation needed here. And fourth would be halation. Not to be confused with glow. Halation is a spatial attribute of the film that produces a red-orange halo near the contrasting boundaries of overexposed areas. So where the light meets darkness. There are other attributes like, for example, film blur. But I think those four are the main ones and the ones that are more worth the effort of matching in order to achieve a believable emulation. Today we're going to focus on the first two attributes. So colors and contrast. We're going to leave grain and halation for another video. And so let's jump into DaVinci Resolve to see how we can practically do it. Here we are in DaVinci Resolve. And I think if you messed around with DaVinci Resolve enough, you came across this LUT folder called Film LUTs. Well, you don't know what you found yet. But trust me, you found a treasure. And you found a treasure because these film LUTs are these film LUTs are film print emulation LUTs. Well, remember when I told you before that film negative would go would be scanned and brought to digital for whatever type of manipulation. Well, these film print LUTs have been created by color scientists to give a preview of how the images would have looked after printing while still in a digital domain. These LUTs represent the most accurate way to mimic the printing process digitally. And they are free, which is nice. Just keep in mind that out of all these LUTs, the only ones that we're going to use are the ones that say 2 Rec. 709 because the other ones are for theatrical delivery, just a disclaimer. If we try to apply one of these LUTs, let's say the Kodak 2383 D60 to one of our log images, we can see that it's definitely doing something. But like the saturation is way off, like it killed all the saturation in the image. It added contrast for sure. It might be interesting for that. But overall, I don't like the look of this. And the reason why the LUT is not behaving properly is because those film print LUTs are expecting scanned film negative images. And if you're feeding them log footage, they can't behave properly. The better we can match our log footage to scanned film negative, the more accurate our film look is going to be. So there are two ways to do so. The first one I'm going to show you is the one that you probably know already. And it involves applying a color space transform to go from whatever log you have to senior log. So prior to the film print LUT. So we can do this by going to fax color space transform. And we apply it to the node prior to the film print LUT. And we go from, in this case, ary log C to rec 709 senior log. So here you got to select the flavor of log that you have. Like for example, for Sony, you go from S gamut dot, S gamut 3 dot senior whatever, S log 3, if you use S log 3, to rec 709 senior log. This is the correct conversion. And you can see how this transformation before the film print LUT brought back colors and saturation by getting closer to what the LUT actually expects. So we can see before, after, before and after. So here we have the log image that we started with. Then we can see the image with a standard rec 709 conversion. And then we have the same image going through the film print LUT without any transformation prior to it. And then the actual color space transform before the LUT. And we can see how the results are much better. So okay. This is the first way to get closer to what the LUT expects. But the second and most accurate way to match the footage to scan film negative is to use a LUT that has been purposely created to match a scanned film negative. Like the Kodak 50D LUT that I created and decided to give away to whoever clicks the link down below. So please do it and I'm gonna show you how to use it. The LUT has been created by matching ARRI log C to Kodak 50D film negative within the fusion tab inside of Resolve. The process involves matching color charts shot under the same conditions on both ARRI camera and a film camera with a Kodak 50D negative. So here we can see. So okay. We apply the LUT and we can see it's more contrasty than the color space transform version. And it adds some hue shift especially in the greens that are turned slightly more towards yellow just like Kodak would do. And I really like that. And overall I think it delivers a very pleasing film tone and colors. And this power grade that you're gonna get with the download if you decide to download it. It can be used with any camera. But it expects ARRI log as an input. So if you're using any other camera with its flavor of log. You'll just need to go to the first node which is disabled as default in the power grade. Which contains the color space transform. You enable it. And select the correct input. The output is already set to ARRI Alexa ARRI log C. And you're good to go. So with the color space transform or my power grade even better. You can finally use the film looks inside of DaVinci Resolve effectively and reliably. And if you wanna get your copy click on the link in the description down below. It's completely free. It works amazing. I use it all the time. And just because nobody is sponsoring this video. I'm gonna sponsor myself by saying that the Kodak 50D power grade is part of a product that I created called Film Match. Film Match is the result of more than a year of research. And it comes as a powerful yet flexible film emulation power grade. That allows you to transform your digital footage to film. Delivering amazing skin tones. Film like saturation. And all the characteristics of film that we love. Like 35mm grain and halation. Film Match is super easy to use. But the transformations that happen under the hoods are very complex. And they have been developed outside the color page of DaVinci Resolve. Utilizing custom math and color science within Fusion. Here's a quick demonstration with the images we already worked with today. Going from Rec. 709 to Film Match. If you wanna know more about Film Match. Go check it out at film-match.com. And if you like this video please let me know by leaving a thumbs up. By commenting, subscribing. And I guess I'll see you next time.