Thanks for watching! 🎥 If you enjoyed this tutorial, don’t forget to like, subscribe, and hit the bell icon for more in-depth DaVinci Resolve tips and tricks. Have questions or want to see something specific in future videos? Drop a comment below-I’d love to hear your thoughts! 🙌 #DaVinciResolve #FilmLookCreator #CinematicGrading
Thank you! I'm thrilled to hear that it helped simplify the color grading process for you. It's great to share what I've learned, and I'm glad you found it useful. If you have any more questions or need tips, feel free to ask!
This is one of the best tutorials on film look. I literally love it. One more thing if you could explain how to set color transform if the footage is rec709 already?
Absolutely loved it! Thank you so much..i always wanted to create this type of high contrast/bleach bypass kinda look and you showed to so simply..thank you!
@@ihassan1001 Thank you so much! I’m happy to hear that you loved it and that the tutorial helped you achieve that high contrast/bleach bypass look you’ve been aiming for.
Thanks for this amazing tutorial, can I ask you how you set your Project settings > Color Management > Color science - Timeline Color Space - Output color space... Thank you
Hi, sure. Color Science: DaVinci YRGB Use Separate Color Space and Gamma (Unchecked) Timeline Color Space: Davinci WG/Intermediate Output Color Space: Rec 709 Gamma 2.4 All the best,
an explanation as to why you put the film look creator module in between the CSTs when the majority of colorists i've seen put it as the last node of the timeline (i.e. after the CST to Rec709). i'd imagine it's because you want to grade and make the changes within the widest color space (davinci wide gamut), it just seems you can watch 100 videos about this stuff, and everyone has a different technique. also, info as to how you have your color managment settings set up would be informative. thanks.
Absolutely, the placement of the Film Look Creator between CSTs rather than at the end allows for grading in DaVinci's Wide Gamut, utilizing its rich color information before compressing to Rec 709. This method gives more nuanced control over the film look in a broader color space. My settings are as follows: Color Science: DaVinci YRGB Timeline Color Space: DaVinci WG/Intermediate Output Color Space: Rec 709 Gamma 2.4 Thanks!
Amazing grade and tutorial! How would the result differ if you put the lut before the output cst? If you for example work in a color managed environment. Thx! 🙏🏼
Thank you! Great question. The KODAK 2383 film look LUT is designed to work in Cineon Film Log, while the working color space before the CST is DaVinci Wide Gamut. Placing the LUT before the output CST wouldn’t give the desired results because of the mismatch in color spaces. Always best to apply it after the CST to maintain the correct look.
You need Davinci Resolve 19. If it is already installed, go to Help button at the top of DR19 and click on Davinci Control Panels Setup. This will open the app that I believe you are referring to.
In the input color space, there's no any Apple or Apple log option, I recorded my clips on my IPhone, log profile, with the bm camera app. What do i do? Thanks
Great question! For footage shot in a log profile with the BM camera app on your iPhone, a straightforward solution is to use a LUT specifically designed for converting Apple log footage to Rec.709. There’s one by ONE LUT that costs $25, which has received good reviews, though I haven't used it myself. You may find this article helpful: www.newsshooter.com/2024/01/26/one-lut-for-apple-log/ If you prefer a free alternative, you can try using a generic log input option like 'Rec.709' in DaVinci Resolve, or experiment with different profiles that closely resemble the gamma curve and color science of your footage. This can be a great way to get started without any additional costs. Feel free to reach out if you need further assistance or have more questions. Happy grading!
Great question! Using Wide Gamut intermediate under a color-managed timeline is indeed a powerful approach, especially for maintaining color fidelity across various workflows. It's particularly effective in environments where you're aiming for consistency in color space handling. However, CST (Color Space Transform) can offer more control and flexibility in certain scenarios, allowing for specific adjustments when converting between different color spaces. It really comes down to the specific needs of your project and your workflow preferences. Both methods have their place, and it's valuable to understand when to use one over the other.
Thanks for pointing that out, Karim! You’re absolutely right-it’s important to note that this feature is only available in the Studio version. I’ll make sure to mention that in future tutorials.
@@JesúsYOración Haha, that’s the best compliment I’ve received all day! 😅 Thanks so much for the kind words, and I’m glad you enjoyed the work. Always happy to share-stay tuned for more!
Thanks for watching! I understand it might seem complex at first, but keep practicing-it’ll get easier with time. You’re on the right track, and I’m here if you need any help along the way! Keep going, you'll get better!
Incorporating music while discussing technical details is definitely a personal choice. I find that a bit of background music can enhance the viewing experience for some, though I understand it might not be everyone's preference. Thanks for your feedback-I appreciate hearing different perspectives!
Thanks for checking out the video! I appreciate your enthusiasm, but we try to keep the discussion here focused on the content of the video. If you have tips or feedback related to this specific video, feel free to share them! For promoting other content, it’s best to use the appropriate platforms. Thanks for understanding! That being said, since you already shared this comment here, let me share my opinion, as well. while AI tools can be helpful, they can't replace the expertise and creativity of a professional colorist. One key aspect AI struggles with is consistency-ensuring that the look and feel are uniform across different scenes, especially when lighting and conditions vary. A skilled colorist knows how to maintain that consistency while enhancing the story, mood, and emotions in a way that only a human touch can achieve. AI simply can't match that level of precision and intuition.
Thanks for watching! 🎥 If you enjoyed this tutorial, don’t forget to like, subscribe, and hit the bell icon for more in-depth DaVinci Resolve tips and tricks. Have questions or want to see something specific in future videos? Drop a comment below-I’d love to hear your thoughts! 🙌 #DaVinciResolve #FilmLookCreator #CinematicGrading
maybe the best tutorial I have ever seen on this topic!
@@herbertcampos8377 thanks so much! Glad to hear that ☺️
Fantastic! The most straightforward tutorials that I've seen. Thank you
So glad to hear that. Thank you!!
This is amazing! This simplifies a lot the color grading process… Thanks for sharing your knowledge.
Thank you! I'm thrilled to hear that it helped simplify the color grading process for you. It's great to share what I've learned, and I'm glad you found it useful. If you have any more questions or need tips, feel free to ask!
thanks for the simplified tuorial , iam hooked up to these short straight to the point tutorials !
Thanks so much! I’m glad you’re enjoying the simplified, straight-to-the-point tutorials. I’ll keep them coming! Your support means a lot!
This is one of the best tutorials on film look. I literally love it.
One more thing if you could explain how to set color transform if the footage is rec709 already?
Thanks! You can choose Rec 709 for both input color space and input gamma... the rest would be the same as I show in my tutorials.
wow..excellent!
@@gabequezada2066 🙏
You are the best. Thank you so much for sharing and also simplifying the tutorial. 👍🙏👏❤
@@nollybosttv Thank you so much for the feedback. You are very welcome and thanks for watching👍
Thank you very much, it was very useful 🎉 I hope version 19 goes live soon
I’m glad you found it useful! I’m also eagerly waiting for the official release-shouldn’t be too long now! 🎉🎬
I'm so happy I stumbled upon your channel! Thank you for sharing your knowledge. Bless you!
Thank you so much! I'm really glad you found the channel and that you’re enjoying the content. Your support means a lot. Bless you too!
Very nice tutorial. Watched it two times already. Thank you 🙌
Awesome! Glad it was helpful! Thanks
Thank you 🙏🏼
☺
Thank you again for a wonderful tutorial 🔥
Glad you liked it! Thanks for the comment!
Such a great work, thanks for sharing your knowledge...❤❤
@@gaMingclipZ-ke2gb thanks so much, glad to hear that!
I've watched many tutorials, this one is the best! Thanks a lot! I will save this on my favorites; from now on, this will be my starting point! 🫶
Glad it was helpful! Thank you very much!
Absolutely loved it! Thank you so much..i always wanted to create this type of high contrast/bleach bypass kinda look and you showed to so simply..thank you!
@@ihassan1001 Thank you so much! I’m happy to hear that you loved it and that the tutorial helped you achieve that high contrast/bleach bypass look you’ve been aiming for.
@@MediabeeColorLab can't thank you enough...this will help me a lot in my next project!
@@ihassan1001 glad to hear that!
Thanks for this amazing tutorial, can I ask you how you set your Project settings > Color Management > Color science - Timeline Color Space - Output color space... Thank you
Hi, sure.
Color Science: DaVinci YRGB
Use Separate Color Space and Gamma (Unchecked)
Timeline Color Space: Davinci WG/Intermediate
Output Color Space: Rec 709 Gamma 2.4
All the best,
@@MediabeeColorLab Thank you so much...
Now that’s 🔥🔥🔥🔥
Thanks!
an explanation as to why you put the film look creator module in between the CSTs when the majority of colorists i've seen put it as the last node of the timeline (i.e. after the CST to Rec709). i'd imagine it's because you want to grade and make the changes within the widest color space (davinci wide gamut), it just seems you can watch 100 videos about this stuff, and everyone has a different technique. also, info as to how you have your color managment settings set up would be informative. thanks.
Absolutely, the placement of the Film Look Creator between CSTs rather than at the end allows for grading in DaVinci's Wide Gamut, utilizing its rich color information before compressing to Rec 709. This method gives more nuanced control over the film look in a broader color space.
My settings are as follows:
Color Science: DaVinci YRGB
Timeline Color Space: DaVinci WG/Intermediate
Output Color Space: Rec 709 Gamma 2.4
Thanks!
Makes sense to me!
COOL !!!
Thank you!
Amazing grade and tutorial! How would the result differ if you put the lut before the output cst? If you for example work in a color managed environment. Thx! 🙏🏼
Thank you! Great question. The KODAK 2383 film look LUT is designed to work in Cineon Film Log, while the working color space before the CST is DaVinci Wide Gamut. Placing the LUT before the output CST wouldn’t give the desired results because of the mismatch in color spaces. Always best to apply it after the CST to maintain the correct look.
Sooo Good Thank You Thank You
@@RN-MediaProNV glad you liked it, thanks
❤❤❤@@MediabeeColorLab
Hi, love the tutorial...but I can't find Film Look Creator In my Davinci .. I do have the studio version. Does anyone know a fix?
@@crabsonfire118 hi, thanks. Did you upgrade it to 19?
which software to download to use blackmagic micro color panel ? kindly share a link.
You need Davinci Resolve 19. If it is already installed, go to Help button at the top of DR19 and click on Davinci Control Panels Setup. This will open the app that I believe you are referring to.
Which setting (color transform) should be used for Gopro Hero 10?
I would use Rec 709 for both Input Color Space and Input Gamma. Have fun grading!
Hi , great video , which camera was used to film this video ? Thxs
Thanks very much, DJI zenmuse camera
In the input color space, there's no any Apple or Apple log option, I recorded my clips on my IPhone, log profile, with the bm camera app. What do i do? Thanks
Great question! For footage shot in a log profile with the BM camera app on your iPhone, a straightforward solution is to use a LUT specifically designed for converting Apple log footage to Rec.709. There’s one by ONE LUT that costs $25, which has received good reviews, though I haven't used it myself. You may find this article helpful: www.newsshooter.com/2024/01/26/one-lut-for-apple-log/
If you prefer a free alternative, you can try using a generic log input option like 'Rec.709' in DaVinci Resolve, or experiment with different profiles that closely resemble the gamma curve and color science of your footage. This can be a great way to get started without any additional costs.
Feel free to reach out if you need further assistance or have more questions. Happy grading!
@@MediabeeColorLab thank you very much
Have u tried dehancer? What’s your opinion on it?
Yes, Dehancer is an essential part of my workflow and I will be posting a tutorial on that later this week. Please stay tuned. Thank you.
@@MediabeeColorLab 10q sir
@@DeyanIlievDoctora ua-cam.com/video/e-jmUi52InQ/v-deo.htmlsi=HtWY7tqB_eEqlBrf
Here is the Dehancer Pro tutorial ☺
@@MediabeeColorLab magic, thank u 🙏
great
Thank you!
Why do CST when you can just do Wide Gamut intermediate under color managed timeline?
Great question! Using Wide Gamut intermediate under a color-managed timeline is indeed a powerful approach, especially for maintaining color fidelity across various workflows. It's particularly effective in environments where you're aiming for consistency in color space handling. However, CST (Color Space Transform) can offer more control and flexibility in certain scenarios, allowing for specific adjustments when converting between different color spaces. It really comes down to the specific needs of your project and your workflow preferences. Both methods have their place, and it's valuable to understand when to use one over the other.
You should mention that it is only available in the STUDIO version.
Thanks for pointing that out, Karim! You’re absolutely right-it’s important to note that this feature is only available in the Studio version. I’ll make sure to mention that in future tutorials.
I don't see the "core look" dropdown option.
Please try turning on the film look blend slider right above it. It should enable the core look options.
Can you adopt me? Great work, thank you for sharing 😅
@@JesúsYOración Haha, that’s the best compliment I’ve received all day! 😅 Thanks so much for the kind words, and I’m glad you enjoyed the work. Always happy to share-stay tuned for more!
Nice...but not simple.
Thanks for watching! I understand it might seem complex at first, but keep practicing-it’ll get easier with time. You’re on the right track, and I’m here if you need any help along the way! Keep going, you'll get better!
Pointless having music while talking. 👎🏼
Incorporating music while discussing technical details is definitely a personal choice. I find that a bit of background music can enhance the viewing experience for some, though I understand it might not be everyone's preference. Thanks for your feedback-I appreciate hearing different perspectives!
Color grade your videos with ai | premiere pro tutorial in hindi
ua-cam.com/video/pfhSJ6WpnI8/v-deo.html
Thanks for checking out the video! I appreciate your enthusiasm, but we try to keep the discussion here focused on the content of the video. If you have tips or feedback related to this specific video, feel free to share them! For promoting other content, it’s best to use the appropriate platforms. Thanks for understanding!
That being said, since you already shared this comment here, let me share my opinion, as well. while AI tools can be helpful, they can't replace the expertise and creativity of a professional colorist. One key aspect AI struggles with is consistency-ensuring that the look and feel are uniform across different scenes, especially when lighting and conditions vary. A skilled colorist knows how to maintain that consistency while enhancing the story, mood, and emotions in a way that only a human touch can achieve. AI simply can't match that level of precision and intuition.