Sorry i‘m a bit confused about the source tab. I work with idt and odt at the beginning and end of my tree and work in dwg/intermediate. Does Dehancer expect rec709 only or can i feed it dwg/intermediate and get the same out? There is an option for dwg/rec709 and dwg/intermediate. Kinda confused😅
Do you feel like using cheat when using LUTs other people made? I don't agree Dehancer is like a cheat code. It is similar to an algorithm in computer programming or coding field. Programmers or Coders can make their own code however they use codes already other people written because it is more efficient. The point is the "contents" with this Dehancer.
@@killa-kitty I never use LUTs, and I said it feels LIKE using a cheat code. Not that it is a cheat code, it's just not something you turn on and leave, you have to modify it a lot to get good results but I said it feels like a cheat code because it just looks so damn good and is pretty easy if you know what you're doing.
@@eyeslikeoceans I agree it is easy to use and makes good results yes I also use dehancer however I've never felt like it is cheat code on it. Everyone can adjust colors, make halation, grain or more with adding nodes for their own feeling on videos. the dehancer also need a lot of adjustment. What I want to say is that the cheat means you become kind of immortal, but I feel it is more like shortcut. Let's say in a small business, a CEO hires some competent employers and the Ceo makes much more money, how do you feel like about CEO? I don't want to push but what makes you feel like cheat? because of the less effort and better result?
We love how you use Dehancer to subtly enhance your images. Great job! If anyone has any question about Dehancer, our team is here to answer them. Just drop a comment below 😉
Would the base model Mac Studio handle Dehancer well? I’m looking to get Dehancer but I’m not sure if it will just make my current setup lag while editing
@@filmandframeca Hi, it depends. We tried to add the link to the dedicated blog post here, but seems like it get deleted...Please consult our blog to learn more about what affects performance and what it depends on.
Hey Blaine, I like how your going through all the settings. I did a review for their iOS and I’m still working on their DaVinci Resolve review. I really enjoy working with Dehancer.
I really love that one as well. Also my favorite. I knew I liked it when I was shooting it but while recording this video.. and seeing it in color.. I blew my own mind 😂
Cool Tutorial, Thanks, I use it in FCPX but the theories are all the same, Subscribed. I hope you keep doing Model and "Fashion" type stuff in the future. Looking forward to your lighting set ups...
Incredible video 🎉 do you think it’s possibly to get a film look without an arri alexa like with a Sony A7s ? I wonder if the lack of global shutter can effect getting that film look hmm 🤔
Thank you! Definitely possible on the a7s. I have a video on this channel (ua-cam.com/video/L71ZwMne5S0/v-deo.html) that uses only footage from the fx3 and I love how the image looks. I’ve also tested Dehancer on the fx3 footage and it looks great. I wouldn’t worry about the shutter, the Alexa doesn’t have a global shutter. Let me know if you have any questions!
thanks so much! that shot (my favorite) was lit using 2 skypanel S60s. There was natural light coming through a wall of windows behind the camera as well. I may have closed the slightly opaque shades on the windows for that shot.
BTW- you can use Dehancer with Davinci Wide Gamut Intermediate as the input (I use Davinci Color managed workflow) - I think that might provide the most data depth for Dehancer to work with...
Newb here. Can’t seem to wrap my head around project settings, csts & Dehancer source settings, and export setting for Resolve when editing on a Mac and trying to send back to Premier for final edits, titles etc. I watched your video from Dehancer, and the last technique you used seems most similar to where I’m at, but the export peice is missing, and I’m not sure if choosing rec709a as the timeline color space in project settings is limiting when compared to working in DWG Intermediate.
That was a great walkthrough! Thanks for that! Did you shoot these clips yourself? If so, would love to see some content on lighting techniques as it really seems very well done. Subbed either way, looking forward to more content from you!
Whenever I render from resolve I bring back to premiere and render from there. Always. No color shift after that, but yes the rec709 A helps out of resolve only. When I render a colored project, I render to source res, or UHD, prores 422 hq max quality settings in resolve. Then I render out of premiere mostly to 422hq, sometimes 422, sometimes h264. For this video I actually didn’t render anything from resolve. Everything you see is screen recording and edited in premiere.
Blaine thanks for this info . Question . What do you do if it is a feature film or a big project etc ? I group the shots in day night or anything special and adding it in the post clip grade after I did my primaries . What’s your process ? Are you using one instance of Dehancer in each clip ? I think that would be cpu intensive in a big project , that’s why I’m asking you . Thank you 🙏
Hi, congratulations for the video! :) Please I need urgent advice! In your opinion, if I backup the projects and uninstall Dehancer and Davinci, and then reinstall them, will I eventually find all the parameters I modified in the nodes with Dehancer or will I have to redo all the colors? Thank you very much in advance for your kind reply!!!! :)
Hi. You should be fine. As a backup, save your grades as power grades and export them as .DRX files. Can I ask why you are uninstalling and reinstalling everything? Are you having an issue are you on a Mac?
@@BlaineWestropp1 Many thanks, you are very kind. Unfortunately I have a job that I can not use. After the Davinci resolve 8.0.4 update I can no longer open the time line in 4k with the Dehancer nodes as everything crashes after a few moments. I'm on Windows and planning on uninstalling and installing Davinci Resolve 8.0 beta 1 which was giving me no problems, otherwise I won't be able to get the project ready for a DCP. But I hope once it's done I don't miss out on 90 minutes of finished color.
Always a pleasure and as always weirdly synchronous. Been doing something similar with the HDR wheels on footage that needs to appear bright but not overexposed and using zones but that is why i don’t understand, is there any reason why other wheels eg primary LGG dont have zones that can be adjusted this way. I normally prefer adjustments in terms of shadow in the HDR to not affect color density or saturation but i cannot understand how davinci controls relate to raw tab controls say in r3d. I assume you are not using raw. Changing exposure in the red raw tab is acting like HSL or LGG? I end up using both to taste in different ways in davinci rather than changing any raw controls but again what is changing the ISO in the raw tab really doing? A dp once said that the mark of an alexa sensor was that it retained the integrity of colours and specifically the saturation and separation in the shadows. Sure. That makes sense in terms of over and under exposure and the image degradation though its not as simple as dynamic range as this is an issue with individual RGB colour channels at different exposures on the sensor and it comes down to colour science and how the sensor is tuned. I used to use CST workflow and make adjustment prior to that node so working with log but seeing 709 in the timeline but now dont trust the CST process and just start from scratch and add onto the log image. That way the LGG are important as a first step for me to get the saturations in the right ball park but im pretty sure that this isnt the normal way as setting up colour space usually involves a 709 conversion. Maybe cineon is a way to go but this is output for 709??The reason for this whole excursion is something you did in your alexa v komodo video and that same thing had been bugging me for months previously ie the Komodo needed an exposure lift compared to the Alexa. Something is happening similarly with komodo and komodo x. The effect that i am trying to identify seems to be the same when pulling back windows in this case here where something seems to be concerning the brightness of the image and saturation. The best way to imagine it is to look at the way Deakins shoots in bright conditions but exposes to maintain the impression of brightness and specifically in Sicario. Often westerns like true grit are a bit muted but in Sicario and because its Mexico there are a lot of bright blues and red around. It’s especially clear where he shoots in bright light and has to show panoramas and sky as backgrounds in frame so everything needs to be shot in a way to maintain an overall feel of brightness and where the mids feel lifted but nothing looks remotely over exposed. The key is in pulling down the white point and softening highlights curve as you did using HDR and zones and which can be done to bring high lights back in for a window and avoid clipping but the detail or maybe saturation isn’t really there. I know that can be adjusted easily but it feels the solution is something more global. Basically the detail in what looks like a very bright shot is all held and nothing looks over exposed yet everything is living high in terms of the brightness of the frame but not over exposed to give the impression of it being a bright sunny day. I assumed its all done using maybe polarising filters and low con filters but is it? The effect is like wearing a great pair of vintage polaroid sunglasses on a sunny day but the whole light level is pushed back up. Sorry i am drifting. Going back to your image and shooting with windows in the background the issue seems to be not how to not blow out but how to maintain the sense of brightness or otherwise that our minds naturally associate seeing a bright window. (For Mank Fincher let window blow out completely to give this impression of brightness). Its weird but its almost as if the contrast in the window should be different from what is inside. Have you used a polarising filter to help with the sky and window background? I guess what i mean is the window behind and its quality is may be sold better if say a stray shaft of light hits the coffee table or the girls shoulder. Maybe i am making this way more complicated than it is but check out Sicario bright sunlight scenes particularly vistas and you’ll get what i mean. It even applies to interiors or particularly when the source is a bright fluorescent that deakins has shot, specifically in Prisoners and the lighting for the police CSI garage scene when they inspect the van. Its whether the intention is to create an illusion of brightness but where the details are all incredibly sharp and clear. Like someone set the mid gray at 70ire instead of 50. Meanwhile i thought the lens initial might be a rehoused canon FD or k35 but that doesn’t seem your style so maybe a tuned blackwing7. ??? Regardless thanks for another great post and apologies for the meandering comment.
ayo blaine keep the videos coming! love your channel. I'm shooting my first gig with the LF this month, pretty excited. any tips? I'm coming from a blackmagic ursa mini pro and I know you use the LF too. Oh, a little thing you might try next time to compare footage is to put the split screen in davinci so we can see all the options side by side. just something I'm always using when i'm grading and thought it might come in handy in this videos. Cheers!
Yo thanks! Noted on split screen. I use it all the time, but haven’t ever shown it in a UA-cam video. Regarding the LF… biggest piece of advice… just let it rip. Consistently check your false color (button on the top of the viewfinder), push your EI up a little if possible. Depends on project. If super clean commercial keep it lower but if you’re out and about.. push that EI. I shoot a ton at 1000 and 1280. Set your user buttons to whatever you prefer to use most. The camera is the best.. you don’t need to do much.. check those false colors and you’ll be good! Also, go to Arri frame line generator to set any frame lines you may need, then import them into camera (a lot are built in). Lastly.. “user setups” is underrated. If you are shooting different settings and switching back and forth Between formats or frame rates, consider defining user setups. Major time saver!
Also two more notes… take my EI advice at your own risk. I don’t mind some noise, but the LF is very good. Also, I stick to the standard arri709 LUT when viewing the monitor. I think that’s a wise decision and always gives me great results.
@@BlaineWestropp1 thanks for the tips, Blaine! it's a pretty controlled studio comercial, and we have a pre lighting day, I'll try to test the camera in this day. It'll be delivered to 16x9 and 9x16 but I assume this frame lines are pretty common and already built in. Good to know about the user setups! Might come in handy. I'm so used to monitoring on my smallhd 703 that i'll probably take it with me, even tho I'm sure the evf/monitor of the camera is amazing. Thanks a lot man!!!
100% bring your smallhd 703. output rec709 from the camera to the monitor, which will likely be default on SDI 1. Also, I would make custom frame lines in the Arri frame line generator. you will download an XML and put it on the camera via a USB stick (which should be already in the camera). There will not be 9x16 frame lines by default. there will be 16x9 though! Hope you have a great shoot and hit me up if you have any questions!
Thanks for this video! I gave it a test with the free trial and it seems to match my workflow and get me the result I've been looking for (or been too lazy to get to). It sure is heavy on the processing power but it's mainly the Grain option. If you turn this off, it runs way smoother. Cheers!
Thanks! Are you working in resolve? If so, a good move is to put the Dehancer node on the timeline, so you can build your look, then turn off the grain and finish polishing the grade. Then turn back on the grain when you’re done. Also, the m2 max chip handles Dehancer pretty smoothly, even with grain.
@@BlaineWestropp1 haha I was just watching videos on the M2 chips when I saw your comment. I have a M1 Pro, editing in Resolve, yes! Editing at half resolution seems to do it for now, toggling the grain on/off. I'll prob wait and get myself a M3 Max. Thanks for the tips!!
@@madupaul yes if you have an m1 waiting could be wise. I also weirdly find I get better playback in color tab vs edit tab. also depends on the footage obviously.
@@BlaineWestropp1 I am even ready to buy the settings, I found this video and purchased the dehancer, trying to get similar effect, the first footage is sick
What is your take on using grain for youtube delivery? I love the astethic, but always feel it gets compressed too much and ends up looking mushy, unless I pump up the intensity quite a lot. How do you handle that? Thanks for the video btw. I have the full version for over a year now, but was too lazy to get into it. I used your video to experiment along as well with my own footage.
I had it for a while before really getting into it as well! grain is bad on UA-cam. especially in darker footage. it looks okay in brighter footage but YT compression on dark footage is not good.. for now. I experiment with grain every month or so to see if YT has made any updates. my current stance is to only use it on brighter footage. I keep testing..
Are you working on An M1 Mac? I tried Dehancer free version long time ago when I still had my 2015 MacBook. And it made editing terrible. So I didn't bother with the purchase instead I actually have power grades saved with the Film look such as Halation, Grain, Film Luts and HL bloom all within resolve, just one click and adjust my grades accordingly. Now that I have my M1 Max, i wonder how good it will handle Dehancer. I may wait until end of year for a Black Friday Sale. That's a long time from now 😭.
I think the M1s will handle Dehancer pretty well! This was 4.5k prores 4444 footage (some arriraw) on a 2019 MacBook Pro. If you are using resolve for grading, I think you will be fine. I don’t rely on playback on resolve but I have to imagine the new macs will handle pretty well.
This looks aaamazinngg. anyyyy chance there is a more "economical" alternative for someone who just edits videos for a hobby? Something simple to get the film look with some bloom and halation etc =].
I tried the dehancer, I didn't really like the result, unlike the Filmconvert nitrate, it gives better results for me than in the dehancer. I would like to try Filmbox, but unfortunately it is only for mac, what I saw is a very cool result gives filmbox
What didn’t you like about Dehancer? I’ve been using it since this video and finding it really amazing. I haven’t used filmconvert nitrate, but I do have Filmbox and like it a lot, but don’t love the cost structure as much as Dehancer’s.
@@BlaineWestropp1 there are few profiles for cameras, and they do not twist the picture as deeply as in filmconvert, and dehancer a dimmer image, compared to filmconvert, the interface also seems overloaded to me. just more contrasty with brighter, nicer colors and gives filmconvert faster, with dehancer I don’t was able to repeat what I like to do with filmconvert
Thank you! More tests to come. Interesting about filmconvert. While I do love Dehancer and have been getting great results, I will try out film concert some time. What software are you using?
@@BlaineWestropp1 what do you recommend to pull off that look? I’m getting some vintage glass rehoused for a feature film I’m shooting and I’m really torn between shooting on super 16mm or super 35mm vs shooting on an arri alexa lf with vintage glass , so far I have yet to see an arri alexa pull off that 16mm look, my feature is set in the 1920s and that old nitrate 35mm look isn’t for every project but I find with period films shot digitally they always look too clean for that look 🤔
You definitely need to build the look in the grade, and one of the best ways I find to make one camera look like another is to shoot both side by side, then build the look on the one you want to match the other. I’d choose 35 over 16, just my personal preference. Another big thing is to use the sensor area that matches the film size you want to use. If you shoot LF open gate, even if you match the colors and grain, you are shooting at such a larger frame size than film, so matching the sensor cut to the film is important. With a good colorist, or honestly Dehancer, you can get the Alexa looking like s16 or s35 film. I guess it comes down to asking yourself if you prefer to use the Alexa and have a very smooth time shooting and build a heavy look in post, or shoot on film, have a different experience actually shooting with the camera, but have less work in post (once the film is processed and scanned to digital). Don’t think you can go wrong either way, if you go Alexa, maybe shoot at a higher iso. Also, I have something I’m working on that I will be sharing soon that may even further help you decide!
Also, this project was shot on the Alexa with super speeds and I think it has a nice film look to it. I initially thought it was shot on film. ua-cam.com/video/6bGZYjU7YG8/v-deo.html
Was slower on a 2019 MacBook Pro, was much much smoother on the new MacBook Pro. I actually don’t really watch playback when working in resolve so it doesn’t bother me much.
The problem with grain is video compression. Wherever you post your video online, it will suffer from heavy compression artifacts if there is a significant amount of grain.
I think the biggest problem is that if you want a little bit of grain in your video it is hard to have it show once on UA-cam. I’ve experimented with this for years and it’s just not the best on UA-cam but if you upload in 4K you can have some okay results. Dark stuff has a lot of banding, but most of my stuff I put a little grain and some of it looks okay on UA-cam!
@@BlaineWestropp1 Yeah, that's the thing. Compression hides the grain, but apply too much grain and artifacts pop up too much. 4k upload fixes it a bit.
@@Leos74 yea 4k upload definitely helps. I also find banding in dark areas to be really tough to avoid on UA-cam. I am also mostly uploading 4k prores 422 and 4k prores 422hq files!
Use code WSTRPP for 10% off :)
Hello, thank you for the great videos you're making unfortunately the code is not working, can you advice?
Thank you! Stand by let me check.
@@ZeinElCheikh code is working! Code: wstrpp
Let me know if it still isn’t working for you.
Sorry i‘m a bit confused about the source tab. I work with idt and odt at the beginning and end of my tree and work in dwg/intermediate.
Does Dehancer expect rec709 only or can i feed it dwg/intermediate and get the same out?
There is an option for dwg/rec709 and dwg/intermediate.
Kinda confused😅
Yes if you are working in DWG, set it to DWG before your ODT!
Dehancer feels like using a cheat code, so easy to make it look amazing and I love using it in lightroom too. 10/10
Oooo I gotta try it in Lightroom!
Do you feel like using cheat when using LUTs other people made? I don't agree Dehancer is like a cheat code. It is similar to an algorithm in computer programming or coding field. Programmers or Coders can make their own code however they use codes already other people written because it is more efficient. The point is the "contents" with this Dehancer.
@@killa-kitty I never use LUTs, and I said it feels LIKE using a cheat code. Not that it is a cheat code, it's just not something you turn on and leave, you have to modify it a lot to get good results but I said it feels like a cheat code because it just looks so damn good and is pretty easy if you know what you're doing.
@@eyeslikeoceans I agree it is easy to use and makes good results yes I also use dehancer however I've never felt like it is cheat code on it. Everyone can adjust colors, make halation, grain or more with adding nodes for their own feeling on videos. the dehancer also need a lot of adjustment. What I want to say is that the cheat means you become kind of immortal, but I feel it is more like shortcut. Let's say in a small business, a CEO hires some competent employers and the Ceo makes much more money, how do you feel like about CEO? I don't want to push but what makes you feel like cheat? because of the less effort and better result?
We love how you use Dehancer to subtly enhance your images. Great job!
If anyone has any question about Dehancer, our team is here to answer them. Just drop a comment below 😉
Would the base model Mac Studio handle Dehancer well? I’m looking to get Dehancer but I’m not sure if it will just make my current setup lag while editing
@@filmandframeca Hi, it depends. We tried to add the link to the dedicated blog post here, but seems like it get deleted...Please consult our blog to learn more about what affects performance and what it depends on.
Did you try to post a link here? I didn’t delete anything. If you want me to add a link to the description I can :)
@@BlaineWestropp1 Thank you Blaine! It's probably due to the UA-cam policies :) So no worries!
Will add link to description if needed. Just let me know!
I love how casual this video is and still super informative!
:) thank you
Another banger, thanks for taking the time to go so in depth on this! Had a trial before but I don’t think I ever used it properly.
Thanks Cody!
Great follow up. Thank you!
Thank you Ashley
Awesome video! Love this software, and your quick and pragmatic use of it confirms that from the looks you got in a few min. Love it 🤌🏻🤌🏻🤌🏻
Thanks Miles! I really love it. Been using it a lot lately. The new update is really nice.
I´m 11 minutes in and would totally love to see those shots rendered out and in motion... just a request for another video, thanks!
Some of those shots can be seen in these two videos:
ua-cam.com/video/7goTxkpyEf8/v-deo.html
ua-cam.com/video/Ln06svnXmG0/v-deo.html
crazy that you made this as i was literally looking for a new dehancer film look specific video yesterday, and there was nothing. algo got you a sub.
Perfect timing :)
Amazing clean video my friend. Thank you for this.
I have some older footage filmed in 1080p. How do you think this would do on that?
Thank you. I think it would do just fine. I don’t worry too much about resolution… 1080 is perfectly fine.
Awesome !!! Thank You !!!
You’re welcome!
What a hidden gem your channel ! greeting from France
Bonjour! Merci ☺️☺️
Discover your channel a while ago, and thanks for uploading so great content. You are kind of a teacher for me, cheers.
im glad to hear it, thank you so much!
Really great video man, exactly what I was looking for. Covered everything without any over or under explanation.
Glad you found it! 🫡
Hey Blaine, I like how your going through all the settings. I did a review for their iOS and I’m still working on their DaVinci Resolve review. I really enjoy working with Dehancer.
Hey thanks! It really impressed me. Maybe I’ll have to check out their ios app.
I'm a new sub.
Keep up the excellent work!
Thanks Daniel!
Best Image To me Was 12:30 i love your video, i have to buy dehancer
I really love that one as well. Also my favorite. I knew I liked it when I was shooting it but while recording this video.. and seeing it in color.. I blew my own mind 😂
@@BlaineWestropp1 you should’ve saved that one as a preset
I definitely did :)
if you buy, use the code WSTRPP for a discount :)
Cool Tutorial, Thanks, I use it in FCPX but the theories are all the same, Subscribed. I hope you keep doing Model and "Fashion" type stuff in the future.
Looking forward to your lighting set ups...
Thank you! I have a lot more in the works!
@@BlaineWestropp1 Please, Love it, Thanks!
:)
Thank you for sharing this!
😊
Incredible video 🎉 do you think it’s possibly to get a film look without an arri alexa like with a Sony A7s ? I wonder if the lack of global shutter can effect getting that film look hmm 🤔
Thank you! Definitely possible on the a7s. I have a video on this channel (ua-cam.com/video/L71ZwMne5S0/v-deo.html) that uses only footage from the fx3 and I love how the image looks. I’ve also tested Dehancer on the fx3 footage and it looks great. I wouldn’t worry about the shutter, the Alexa doesn’t have a global shutter. Let me know if you have any questions!
Very useful info mate, keep up the great work!!
Thank you :) more to come
Beautifully done! Did you use a fresnel on the shot of hazel eye girl at 12:05?
thanks so much! that shot (my favorite) was lit using 2 skypanel S60s. There was natural light coming through a wall of windows behind the camera as well. I may have closed the slightly opaque shades on the windows for that shot.
@@BlaineWestropp1 Thanks for the reply! Look forward to more from you.
Thanks! Definitely more in the works!
BTW- you can use Dehancer with Davinci Wide Gamut Intermediate as the input (I use Davinci Color managed workflow) - I think that might provide the most data depth for Dehancer to work with...
yes you definitely can!
Solid take bro! No one ever goes through these. /salute
Thank you! More to come
Newb here. Can’t seem to wrap my head around project settings, csts & Dehancer source settings, and export setting for Resolve when editing on a Mac and trying to send back to Premier for final edits, titles etc. I watched your video from Dehancer, and the last technique you used seems most similar to where I’m at, but the export peice is missing, and I’m not sure if choosing rec709a as the timeline color space in project settings is limiting when compared to working in DWG Intermediate.
Need that discount code!
It’s coming! I will let you know
code is WSTRPP
awesome video man, what do you do for the grain settings in terms of size, amount, total output, etc? just the default?
thank you! I just kind of move it around until I find something I like. always testing different settings as UA-cam doesn't replicate it that well.
That was a great walkthrough! Thanks for that! Did you shoot these clips yourself? If so, would love to see some content on lighting techniques as it really seems very well done. Subbed either way, looking forward to more content from you!
Thank you! I did shoot all of the clips that we looked at in this video. I for sure have some lighting videos planned. Stay tuned.
Buying this now
good boy. Use the code WSTRPP
crazy man just crazy!!!!!!!
I love it!
thanks for this deep walkthrough , may i ask if these footage might be available for download by any chance?
Hi, I could send you some clips. Message me on Instagram. @wstrpp
amazing video ! what is your color management settings ?
Thank you! No color management for this one, all resolve default settings.
Rec 709 ( scene ) ? Or 2.4 gamma
Mac user Rec 709 - A ?
@@sibtainmushtaq2896 on a Mac.. all default settings in resolve. Nothing was changed.
@@BlaineWestropp1 try Rec 709 A if you see color shifts on export
What’s your render settings ? Same as output ?
Whenever I render from resolve I bring back to premiere and render from there. Always. No color shift after that, but yes the rec709 A helps out of resolve only. When I render a colored project, I render to source res, or UHD, prores 422 hq max quality settings in resolve.
Then I render out of premiere mostly to 422hq, sometimes 422, sometimes h264. For this video I actually didn’t render anything from resolve. Everything you see is screen recording and edited in premiere.
Blaine thanks for this info . Question . What do you do if it is a feature film or a big project etc ? I group the shots in day night or anything special and adding it in the post clip grade after I did my primaries . What’s your process ? Are you using one instance of Dehancer in each clip ? I think that would be cpu intensive in a big project , that’s why I’m asking you . Thank you 🙏
I would add to post clip grade. would never go shot by shot!
Cool video man! Subscribed!
thank you :) more on the way
finally pulled the trigger and downloaded... wow!
😇🫡
Hi, congratulations for the video! :)
Please I need urgent advice! In your opinion, if I backup the projects and uninstall Dehancer and Davinci, and then reinstall them, will I eventually find all the parameters I modified in the nodes with Dehancer or will I have to redo all the colors? Thank you very much in advance for your kind reply!!!! :)
Hi. You should be fine. As a backup, save your grades as power grades and export them as .DRX files. Can I ask why you are uninstalling and reinstalling everything? Are you having an issue are you on a Mac?
@@BlaineWestropp1 Many thanks, you are very kind.
Unfortunately I have a job that I can not use. After the Davinci resolve 8.0.4 update I can no longer open the time line in 4k with the Dehancer nodes as everything crashes after a few moments. I'm on Windows and planning on uninstalling and installing Davinci Resolve 8.0 beta 1 which was giving me no problems, otherwise I won't be able to get the project ready for a DCP. But I hope once it's done I don't miss out on 90 minutes of finished color.
Maybe try updating Dehancer first!
Also, export your project to your desktop as well. Then re import it into resolve. Make sure to “include stills”
@@BlaineWestropp1 Thanks!🙏
Always a pleasure and as always weirdly synchronous. Been doing something similar with the HDR wheels on footage that needs to appear bright but not overexposed and using zones but that is why i don’t understand, is there any reason why other wheels eg primary LGG dont have zones that can be adjusted this way. I normally prefer adjustments in terms of shadow in the HDR to not affect color density or saturation but i cannot understand how davinci controls relate to raw tab controls say in r3d. I assume you are not using raw. Changing exposure in the red raw tab is acting like HSL or LGG? I end up using both to taste in different ways in davinci rather than changing any raw controls but again what is changing the ISO in the raw tab really doing? A dp once said that the mark of an alexa sensor was that it retained the integrity of colours and specifically the saturation and separation in the shadows. Sure. That makes sense in terms of over and under exposure and the image degradation though its not as simple as dynamic range as this is an issue with individual RGB colour channels at different exposures on the sensor and it comes down to colour science and how the sensor is tuned. I used to use CST workflow and make adjustment prior to that node so working with log but seeing 709 in the timeline but now dont trust the CST process and just start from scratch and add onto the log image. That way the LGG are important as a first step for me to get the saturations in the right ball park but im pretty sure that this isnt the normal way as setting up colour space usually involves a 709 conversion. Maybe cineon is a way to go but this is output for 709??The reason for this whole excursion is something you did in your alexa v komodo video and that same thing had been bugging me for months previously ie the Komodo needed an exposure lift compared to the Alexa. Something is happening similarly with komodo and komodo x. The effect that i am trying to identify seems to be the same when pulling back windows in this case here where something seems to be concerning the brightness of the image and saturation. The best way to imagine it is to look at the way Deakins shoots in bright conditions but exposes to maintain the impression of brightness and specifically in Sicario. Often westerns like true grit are a bit muted but in Sicario and because its Mexico there are a lot of bright blues and red around. It’s especially clear where he shoots in bright light and has to show panoramas and sky as backgrounds in frame so everything needs to be shot in a way to maintain an overall feel of brightness and where the mids feel lifted but nothing looks remotely over exposed. The key is in pulling down the white point and softening highlights curve as you did using HDR and zones and which can be done to bring high lights back in for a window and avoid clipping but the detail or maybe saturation isn’t really there. I know that can be adjusted easily but it feels the solution is something more global. Basically the detail in what looks like a very bright shot is all held and nothing looks over exposed yet everything is living high in terms of the brightness of the frame but not over exposed to give the impression of it being a bright sunny day. I assumed its all done using maybe polarising filters and low con filters but is it? The effect is like wearing a great pair of vintage polaroid sunglasses on a sunny day but the whole light level is pushed back up. Sorry i am drifting. Going back to your image and shooting with windows in the background the issue seems to be not how to not blow out but how to maintain the sense of brightness or otherwise that our minds naturally associate seeing a bright window. (For Mank Fincher let window blow out completely to give this impression of brightness). Its weird but its almost as if the contrast in the window should be different from what is inside. Have you used a polarising filter to help with the sky and window background? I guess what i mean is the window behind and its quality is may be sold better if say a stray shaft of light hits the coffee table or the girls shoulder. Maybe i am making this way more complicated than it is but check out Sicario bright sunlight scenes particularly vistas and you’ll get what i mean. It even applies to interiors or particularly when the source is a bright fluorescent that deakins has shot, specifically in Prisoners and the lighting for the police CSI garage scene when they inspect the van. Its whether the intention is to create an illusion of brightness but where the details are all incredibly sharp and clear. Like someone set the mid gray at 70ire instead of 50. Meanwhile i thought the lens initial might be a rehoused canon FD or k35 but that doesn’t seem your style so maybe a tuned blackwing7. ??? Regardless thanks for another great post and apologies for the meandering comment.
I use Dehancer in Lightroom it looks very nice, but for resolve what do you think about filmconvert vs dehancer ?
I haven’t used filmconvert so I can’t fully comment on it but I’ve heard good things. I am really liking Dehancer though.
ayo blaine keep the videos coming! love your channel.
I'm shooting my first gig with the LF this month, pretty excited. any tips? I'm coming from a blackmagic ursa mini pro and I know you use the LF too.
Oh, a little thing you might try next time to compare footage is to put the split screen in davinci so we can see all the options side by side. just something I'm always using when i'm grading and thought it might come in handy in this videos. Cheers!
Yo thanks! Noted on split screen. I use it all the time, but haven’t ever shown it in a UA-cam video. Regarding the LF… biggest piece of advice… just let it rip. Consistently check your false color (button on the top of the viewfinder), push your EI up a little if possible. Depends on project. If super clean commercial keep it lower but if you’re out and about.. push that EI. I shoot a ton at 1000 and 1280. Set your user buttons to whatever you prefer to use most. The camera is the best.. you don’t need to do much.. check those false colors and you’ll be good! Also, go to Arri frame line generator to set any frame lines you may need, then import them into camera (a lot are built in). Lastly.. “user setups” is underrated. If you are shooting different settings and switching back and forth Between formats or frame rates, consider defining user setups. Major time saver!
Also two more notes… take my EI advice at your own risk. I don’t mind some noise, but the LF is very good. Also, I stick to the standard arri709 LUT when viewing the monitor. I think that’s a wise decision and always gives me great results.
@@BlaineWestropp1 thanks for the tips, Blaine! it's a pretty controlled studio comercial, and we have a pre lighting day, I'll try to test the camera in this day. It'll be delivered to 16x9 and 9x16 but I assume this frame lines are pretty common and already built in. Good to know about the user setups! Might come in handy. I'm so used to monitoring on my smallhd 703 that i'll probably take it with me, even tho I'm sure the evf/monitor of the camera is amazing. Thanks a lot man!!!
100% bring your smallhd 703. output rec709 from the camera to the monitor, which will likely be default on SDI 1. Also, I would make custom frame lines in the Arri frame line generator. you will download an XML and put it on the camera via a USB stick (which should be already in the camera). There will not be 9x16 frame lines by default. there will be 16x9 though! Hope you have a great shoot and hit me up if you have any questions!
Thanks for this video! I gave it a test with the free trial and it seems to match my workflow and get me the result I've been looking for (or been too lazy to get to). It sure is heavy on the processing power but it's mainly the Grain option. If you turn this off, it runs way smoother. Cheers!
Thanks! Are you working in resolve? If so, a good move is to put the Dehancer node on the timeline, so you can build your look, then turn off the grain and finish polishing the grade. Then turn back on the grain when you’re done. Also, the m2 max chip handles Dehancer pretty smoothly, even with grain.
@@BlaineWestropp1 haha I was just watching videos on the M2 chips when I saw your comment. I have a M1 Pro, editing in Resolve, yes! Editing at half resolution seems to do it for now, toggling the grain on/off. I'll prob wait and get myself a M3 Max. Thanks for the tips!!
@@madupaul yes if you have an m1 waiting could be wise. I also weirdly find I get better playback in color tab vs edit tab. also depends on the footage obviously.
@@BlaineWestropp1 Hey, would you let me know what are your M2 Max specs, so I know what to get in the future? Thanks!
Fully maxed it out!
can we edit the video which i shoot in go pro and in iphone ? and if yes should i select rec 709?
Yes! And yes select rec709! Let me know if you have any issues.
fucking beautiful work, and great guide. subscribing to this type of content all day.
Thank you so much, got a lot more coming!
how do you get that greenish color in your footages? does it depend on temperature?
Sometimes it’s in the grade, sometimes I do it in camera with tint!
@@BlaineWestropp1 thanks, I’m trying to get that color on my fx30
July 1 I may have somethin for ya 😊
@@BlaineWestropp1 I am even ready to buy the settings, I found this video and purchased the dehancer, trying to get similar effect, the first footage is sick
😎 stay tuned
What lights and modifiers did u use for the footage u show btw 7-10min of the video?
Hey! Used an aputure 300d with no modifiers, some v flats, and a quasar tube up and behind her!
@@BlaineWestropp1 that was fast :)
🫡
another banger!
Thank you papi ❤️
What is your take on using grain for youtube delivery? I love the astethic, but always feel it gets compressed too much and ends up looking mushy, unless I pump up the intensity quite a lot. How do you handle that? Thanks for the video btw. I have the full version for over a year now, but was too lazy to get into it. I used your video to experiment along as well with my own footage.
I had it for a while before really getting into it as well! grain is bad on UA-cam. especially in darker footage. it looks okay in brighter footage but YT compression on dark footage is not good.. for now. I experiment with grain every month or so to see if YT has made any updates. my current stance is to only use it on brighter footage. I keep testing..
@@BlaineWestropp1 yea that are sadly also my learnings so far 🥴 anyway keep them videos coming. Refreshing style!
Are you working on An M1 Mac? I tried Dehancer free version long time ago when I still had my 2015 MacBook. And it made editing terrible. So I didn't bother with the purchase instead I actually have power grades saved with the Film look such as Halation, Grain, Film Luts and HL bloom all within resolve, just one click and adjust my grades accordingly. Now that I have my M1 Max, i wonder how good it will handle Dehancer. I may wait until end of year for a Black Friday Sale. That's a long time from now 😭.
I think the M1s will handle Dehancer pretty well! This was 4.5k prores 4444 footage (some arriraw) on a 2019 MacBook Pro. If you are using resolve for grading, I think you will be fine. I don’t rely on playback on resolve but I have to imagine the new macs will handle pretty well.
Download the trial and try it out!
also, use code WSTRPP for a discount if buying!
hello , can i ask what alexa camera was it ? classic ?
Hi this was a mini LF
But i will be happy if i just get the basics for color grading so i can keep up with Mr Blaine.
I’m here to help if you need it :)
This looks aaamazinngg.
anyyyy chance there is a more "economical" alternative for someone who just edits videos for a hobby? Something simple to get the film look with some bloom and halation etc =].
Stay tuned! I plan on going over this soon.
Does this work with Adobe Premiere?
Yes!
Does it work with fcpx or premiere?
yes it works for both premiere and fcpx! I have only used it in resolve though.
I tried the dehancer, I didn't really like the result, unlike the Filmconvert nitrate, it gives better results for me than in the dehancer. I would like to try Filmbox, but unfortunately it is only for mac, what I saw is a very cool result gives filmbox
What didn’t you like about Dehancer? I’ve been using it since this video and finding it really amazing. I haven’t used filmconvert nitrate, but I do have Filmbox and like it a lot, but don’t love the cost structure as much as Dehancer’s.
@@BlaineWestropp1 there are few profiles for cameras, and they do not twist the picture as deeply as in filmconvert, and dehancer a dimmer image, compared to filmconvert, the interface also seems overloaded to me. just more contrasty with brighter, nicer colors and gives filmconvert faster, with dehancer I don’t was able to repeat what I like to do with filmconvert
thanks for your tests, very interesting. sorry for my english (google)
Thank you! More tests to come. Interesting about filmconvert. While I do love Dehancer and have been getting great results, I will try out film concert some time. What software are you using?
This users profile pic is filmconvert, paid commenter probably haha
greeting from iran 😍
Hello hello!
I really would like to see your attempt of using the ACES lite method of Joo Works. I'm pretty happy with the results. ❤
I could potentially look into it..
there no color in mine., what should I do?
what do you mean!
Do you think it’s possible to achieve that painterly 16mm look with an arri alexa ? Hmm 🤔
Definitely yes!
@@BlaineWestropp1 what do you recommend to pull off that look? I’m getting some vintage glass rehoused for a feature film I’m shooting and I’m really torn between shooting on super 16mm or super 35mm vs shooting on an arri alexa lf with vintage glass , so far I have yet to see an arri alexa pull off that 16mm look, my feature is set in the 1920s and that old nitrate 35mm look isn’t for every project but I find with period films shot digitally they always look too clean for that look 🤔
You definitely need to build the look in the grade, and one of the best ways I find to make one camera look like another is to shoot both side by side, then build the look on the one you want to match the other. I’d choose 35 over 16, just my personal preference. Another big thing is to use the sensor area that matches the film size you want to use. If you shoot LF open gate, even if you match the colors and grain, you are shooting at such a larger frame size than film, so matching the sensor cut to the film is important. With a good colorist, or honestly Dehancer, you can get the Alexa looking like s16 or s35 film. I guess it comes down to asking yourself if you prefer to use the Alexa and have a very smooth time shooting and build a heavy look in post, or shoot on film, have a different experience actually shooting with the camera, but have less work in post (once the film is processed and scanned to digital). Don’t think you can go wrong either way, if you go Alexa, maybe shoot at a higher iso. Also, I have something I’m working on that I will be sharing soon that may even further help you decide!
And when I say shoot both side by side, I just mean as a test so you can build the look that you can then apply to future footage.
Also, this project was shot on the Alexa with super speeds and I think it has a nice film look to it. I initially thought it was shot on film. ua-cam.com/video/6bGZYjU7YG8/v-deo.html
isnt dehancer really taxing on your laptop? My play back is terrible after grain, halation has been applied with dehancer
Was slower on a 2019 MacBook Pro, was much much smoother on the new MacBook Pro. I actually don’t really watch playback when working in resolve so it doesn’t bother me much.
What does dehancer cost?
Dehancer pro is $399, if you use the code wstrpp it will take 10% off of that. You can also download a trial and try it out.
@@BlaineWestropp1 thats alot of money but it looks amazing
It’s definitely really great and I’ve been using it a lot since this video. It’s worth downloading the free trial at a minimum!
hi ! In the lite version 200$ there is not print profile (I think). Be aware :)
Ah yes I think you need the pro version. I do have a discount code coming!
code is WSTRPP
The problem with grain is video compression. Wherever you post your video online, it will suffer from heavy compression artifacts if there is a significant amount of grain.
I think the biggest problem is that if you want a little bit of grain in your video it is hard to have it show once on UA-cam. I’ve experimented with this for years and it’s just not the best on UA-cam but if you upload in 4K you can have some okay results. Dark stuff has a lot of banding, but most of my stuff I put a little grain and some of it looks okay on UA-cam!
@@BlaineWestropp1 Yeah, that's the thing. Compression hides the grain, but apply too much grain and artifacts pop up too much. 4k upload fixes it a bit.
@@Leos74 yea 4k upload definitely helps. I also find banding in dark areas to be really tough to avoid on UA-cam. I am also mostly uploading 4k prores 422 and 4k prores 422hq files!
😎
Now that’s a username
Press shift F when using dehancer
I should have done this for this video..
@@BlaineWestropp1 yes
this is fucking cheating...im getting it right now.
Right? It’s pretty amazing. Use the code wstrpp if you buy it.
not that good imo...fair enough for saving time..
I think Dehancer is so good! So much you can do and tweak.
What’s your IG I want to ask you a message please based on coloring
Hi, it’s @wstrpp