Davinci Resolve Film Look + Free PowerGrade
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- čas přidán 10. 11. 2022
- PowerGrade Download: www.film-match.com/new-page-1
In this video, I'm going to show you how to use the film looks inside Davinci Resolve, and how you can use a PowerGrade that I created to get even better results.
Wow don't know how you made this but my videos now look amazing. The exact look I have been trying to get for like a year with no success. I had even given up on using the Da Vinci Film LUTS and just gone back to standard Rec709 because no matter how much I tried my film look videos did not look nice. But with this I can now get an amazing film look. Thanks a ton.
Love the richness in the colors. Absolutely epic work. Subbed.
i honestly appreciate all the information your videos provide. love the skits too haha
Hey man, you popped up as a suggested video. I clicked. Watched. And now I am Sub number 124 LOL Good stuff man. Looking forward to more. You definitely stand out amongst the crowd!
Thank you so much!I really appreciate it :)
I was engaged and entertained so you got me there and a new sub! Thank you for the value and looking forward to checking out the grade on my next set of applicable footage. ❤
This was some legit video - learned a bunch! Keep up the good work bud!
Thanks!! Appreciate it!
Nice job Jimmy, I subscribes and I wish you mad success you know your stuff and I will watching for what's next.
Thanks man!! 😊
I just discovered your channel. You're a gem! Thanks for sharing. Please which node do I work on if I need to make changes to the skin tone without ruining the effect of the PowerGrade? I shoot on Sony FX3. Thanks mate
Nice. Can you share the source the PowerGrade is based on? So the film scan / LogC comparison footage.
having trouble with finding the right match in color?
My options it gives is only ARRI LogC3 or ARRI Log C4 on both? not sure what the right settings are?
I shoot on a Sony camera
Same problem...
what should we do if it shoot on cinestyle in canon
Can't wait to try this!
💪🏻😊
So what does your "Kodak 50D"LUT consists of? I would like to see a break down.
Love your videos. 😁
What kind of Input Gamma I have to set if I shoot with bmpcc4k in raw?
Thank you very much!
Great content mate!
Subscribed ✌🏻😄
Thanks man! 😁
Fire video bro. I’m subscribing 🤞🏾
Thanks man!!!
Just saw your vids... love to see your work.
Thanks man :)
Can someone help me what i have to fill in in the cst window. Actually I shoot with my bmpcc4k in raw.
Thank you!
Great video. Great personality. Keep it up 😊
Thanks man!! Glad you enjoyed it!
nice lamp brother!
Subbed love your video
im not any pro or anything but the final grades look just like analog film! amasing. I have to try it on my RAW eos M footage! with Canon color science
Amazing!!!
Great tips!
Thanks :)
Thank youuuuu
Sir I need raw data for practice colour grading
Could you please tell me which film print is used in 3rd node 8:16 above ?? is that kodak 2383 D60 lut which you included to make it easy for us?
Yes, that’s right. It’s the Kodak 2383 D60 that I already loaded on the last node as a default. You can change it with any of the other film print luts from resolve, but this one is personally my favorite. Sometimes I go for a warmer white point and I use the D55 tho
@@jimmyonfilm thank u for the response 🙂
Hi Jimmy great video i love it! i want to try on my own footage but i have issue, the ".cube" file cannot be added to my DaVinci, you have any suggestion fo me?
Hi, I'm sorry to hear that. How do you add it? Cause I just tried to import the LUT on another computer that I have and it worked fine. I open the color management settings of the project, then I click on "Open LUT Folder" I copy paste the LUT into a folder that I named Kodak50D (you can name the folder how like) and then clicked on "Update Lists". I don't know if you did the same thing. Let me know if it works :)
@@jimmyonfilm oh great Jimmy i followed your method and its work perfectly fine. Thank you!!!
upstream connect error or disconnect/reset before headers. reset reason: connection termination
Download is not working
Thanks
Loved this and subscribed, is the film match lut at the end the same as the free one?
Happy to hear!!! FilmMatch has the same Lut that I shared for free + other transformations to replicate film characteristics. In a couple of days I’m gonna release an update of FilmMatch since I profiled Kodak50D with new techniques and the results are amazing. Once FilmMatch PowerGrade is updated it’s not gonna be the same lut as the free one
in my case in the CST panel on output color space it only appears, ARRI WIDE GAMUT3 or 4 and OUTput gamma ARRI LogC3 or C4. What should I do?
You should set it on ARRI WIDE GAMUT3 and ARRI LOGC3. The wide gamut4 and Logc4 are the new log encodings that arri released with the new Alexa 35, but the Kodak profile in the PowerGrade is based on the standard LogC3 :)
@@jimmyonfilm thnx!
why i can’t find in CTS arri Alexa ??
I was trying to do this film lut in davinci wide gamut colour management , other than rec709, but it's not working .
I haven't tried it myself cause I don’t use davinci wide gamut color management. Basically color space transform from davinci wide gamut to the input color space of the LUT (Arri LogC in the CST node), and then color space transform from the output color space of the LUT (the film print lut) to davinci wide gamut again (so going from rec709 color space and gamma to davinci wide gamut). Keep in mind that the film print lut was built for SDR so it will not work 100% accurately. But you can try. This powergrade works best with a manual color management :)
I signed up but I didn’t get any download link. Why’s that?
Nice video and nice style of explaining. +1 subscriber. I'll give your PowerGrade a try. Any ideas on settings to use when working with non LOG files? My footage consists mainly of drone (DJI Mini 2) footage. Not sure of the color space but I think it is Rec709. What are the best settings for applying LUTS in the best way? Keep up the good work!
Thanks!!!!
In that case I would use the CST in first node in the PowerGrade with the input color space and gamma both set to “rec709” and the output to Arri Alexa and Arri Log. The results are not 100%accurate cause it’s hard to go from rec709 color space to Log in a very clean way. But I did it from time to time when I had to and it wasn’t bad at all. Maybe you just gotta mess with the contrast a little bit to find the sweet spot.
@@jimmyonfilm Thanks a lot! Downloaded your Kodak PowerGrade and it works like a charm with these settings
@@TomBoudewijns Happy to hear :)
@@jimmyonfilmhelp! What would be the best way to use a old canon 600d 8bit footage? Does that also output rec709? Would the workflow you described be the same?
207 here! Great video man
Thanks man! Appreciate it!!
thank you
👍🏻
Great stuff!
🙏🏻😊
@@jimmyonfilm 🙌
Hey Jimmy..love the video. and I'm trying really hard to go on your site for the power grade. but in every browser it says the site would be blocked.
Hey Thomas, thanks man! I’m sorry to hear. I tried to access the website from other computers and it seams like it’s working. Let me know if solves the problem. Otherwise I can DM you the PowerGrade😊
I tried this and it’s not coming out right for me. I changed the input color space and input gamma to my camera in the first node and then put the “Kodak50D” LUT in the third node. The image comes out very blue and I’m not sure if that’s the intended look. I was under the impression that this PowerGrade would create a look similar to this video. If not, that is user error on my part
I thought
Hi Johnny, do you have a “film print lut” on the last node?
@@jimmyonfilm Yes.
The last node is set to “Rec709 Kodak 2383 D60”. Is there a difference between the two PowerGrades in the ZIP file download? One PowerGrade is 8,108 KB and the other is 1,863 KB. I am using 10-Bit footage and i am not sure if that plays a factor in the final look
Thank you for your reply
Good tips
I love the look
How do you avoid the gamma shift
In resolve using a Mac
My exports always look washed out compared to my grades in resolve
Hey Karlie, thanks!!
Yeah, I used to have the same problem. You have to go to "Project Settings" and in the "Color Management" section you set the "Output Color Space" to "Rec709-A". Then in Davinci resolve General Preference Setting make sure that "Use Mac Display Color Profiles for Viewers" is turned on. This should get rid of the shift in the export. Let me know if it works :)
@@jimmyonfilm ok thanks
@@jimmyonfilm yes it did work, thanks alot, my footage still does't look as good, but at least the not good is consistent with how it looks in resolve now
@@karliemorris7318Try to tweak the export to Rec709-A in the export preferences on the deliver page as well..
I follow everything, but mine get much worst, weird
don't we use cineon film log instead of arri for film print simulations?
Yes, that’s right if you want to use film print luts you should use cineon log. Cineon log is the film negative log curve. Using the Kodak50D PowerGrade on the other hand you should transform di incoming footage to Arri LogC because the Kodak50D lut (that is gonna bring the footage to film negative state=cineon log) is expecting Arri LogC as input. Hope I explained clearly enough :)
@@jimmyonfilm indeed u did , already tested ur powergrade , its looking nice ! Ty for giving it for free
Thank you 🥺🤌
🙏🏻🙏🏻😊
Love the phone part 😂😊
GOOD
Is it still free?
Hey, just one small tip: If you're converting footage from one color space / gamma to another, and it's not the final conversion for display, it's best to switch off 'tone mapping'.
what is it for?
@@anonyrus tone mapping maps all the values of your larger (log) space to the smaller space (f.e. Rec709) in a pleasant way.
@@RubenStuveling and then why we should turn off if its not final conversion
Hey Jimmy, love the video! I want to buy your filmmatch but what exactly is it? Is it a lut I throw on?
Could you make a video showing how it works or how to install it? Thanks man! Love your work
Hey John thank you so much, happy to hear! FilmMatch comes as a PowerGrade to use in Davinci Resolve and as a LUT if you want to use it on a monitor or other editing softwares. The PowerGrade can be adjusted to your needs depending on the look of the project but 99% of times I throw it on and adjust the White Balance only and I’m done. If you decide to get it, there is a video that comes with the download for the installation and the explanation of every node of the powergrade. If you’re planning to use only the LUT version of the emulation and not the powergrade (maybe cause you’re working in premiere) beware that the LUT version is gonna give you the colors, saturation and contrast of the film emulation but it doesn’t have the spatial attributes baked in (like grain and halation). That’s why I suggest to use davinci resolve to get the most out of the emulation :)
Have a great day!
@@jimmyonfilm Awesome, sounds like it's worth the price! I'll buy it to have ready for my next project :)
@@johnzambrana6884 Thank you so much! If you have any questions along the way on how to use it or if something is not clear, Hit me Up:)
Used this in v Log footage..didn't work .
Did you use the first node of the powergrade (CST) to go from Vlog to Arri LogC? Or do you have some other type of color management in place? That might be the cause.
so chill! maybe music was a bit too loud (in my opinion idk about the others) but keep em coming :)
Thanks :) I’ll keep it in mind for the next video😊
SUUUUUBSRIBE… this is the one. Love the content and the give away… thanks a million
music is to loud bro
Thanks for the suggestion. I’ll keep it lower for the next one :)
Psycho
Change Color, add Grain, Film 😂😂😂
This is far away from film.
First try a real cine lens....i speak about a REAL cine lens.
Than learn to light right.
No Colorgrad in the world can give u "THE Cine Look"
"The Cine look" is right lens and right light, nothing more and nothing more to argument about it.
It doesnt matter what camera. U Can bind a cine lens on a iphone and get the same look.
This wannabe youtube clickbaiterts get on my nerves.
Use your time and learn the people about the right things and not to commercial a product.
The technical color transformation that brings the image from what the camera saw to what you’re seeing on a given display is a very important piece of the puzzle. Every other aspect is important too. If we’re talking about lenses, once you have a technically accurate lens that reproduces correctly the scene you’re capturing, the differences between lenses become more of a feel thing. The color grade doesn’t give the film look (it’s not supposed to), but the color transformation that the whole project goes through (the show lut) have a huge impact on the feel and look of the final image
Wasting time with unnecessary and not funny intro
Sapiens got my Eye.. Cheers Human
I want to contact you
Yeah of course you can DM me at @jimmytales :)