Colorists create THIS tool! You should use it!
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- Опубліковано 7 сер 2024
- Today we are going to look at the PixelTools Vol.1 PowerGrade Collection and the PixelTools Film Lab Collection. Link to their web site below! Why use luts when you can use powergrades, and see how the looks are made?!
Link to web site: pixeltoolspost.com?aff=15
Example of halation (there are more web sites. I recommend you search around for more examples): mixinglight.com/color-grading...
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Hey Dave - really cool product- Jason Bowdach and the team did an awesome job - Why anyone would buy LUTs and not buy this, is beyond me. The exploratory value and learning tool is really easy to follow and learn. And unlike a LUT, these power grades can work with any footage.
Have been waiting for years to be able to grab nodes in the display nodes in groups and drop them on the node tree. I have done power grades with compound nodes when saving the still and I can drag them over, but it seems a bit clunky.
My other thing that I have posted in the BMD forum is to get sticky notes for the node trees - especially on stills and power grades. They should have a sticky note that you can quickly make a note and drop into a node tree - so many times I have forgotten things and had to trace them back.
Good video as always dave.
Wow! You have so much knowledge. I always learn something. Thanks, Dave.
Thanks for saying so! Glad it's helpful. You're welcome! Always nice to see your comments :)
So am I correct in thinking that the PowerGrade looks could be applied within one of the full node trees? Somewhere in between the input and output nodes? I imagine closer to the end would be most effective. Or would it make more sense to append a look after the output node if both collections are to be used together in such a manner?
One thing I noticed that does not make much sense in my mind is the placement of the halation compound node in the signal chain of the film lab preset. As it is placed directly behind the input transform but BEFORE all the nodes for exposure etc. it might very easily not do much at all or do too much, depending on how well shot / exposed the camera original is. Since all exposure correction nodes are placed behind it, it might reference underexposed footage and not get any highlights to glow. Raising the exposure after that would not affect the halation intensity at all in this case.
I see your point. I may reach out to the creator and ask about the logic behind that. Or maybe even have him comment here. Thanks for watching, by the way!
@@PostColorGear I just realized I did not comment on the video itself. Great work and a nice overview of what one gets from this collection and how to use it. 😃👍
Thank you! I appreciate the kind words!
Hey! I'm Jason and I'm the lead colorist at PixelTools. Great question and something we thought a lot about when designed FilmLab.
In the end, its technically more realistic to emulate the grain, halation, and other photochemical elements before color correction, emulating the process of working with a scanned film negative, but for workflow reasons we moved all but halation to the end of the chain. If you project does require more significant adjustments, you can move halation to the end of the node tree, but we decided for the default node tree to have it towards the start of the pipeline. Like the color timers before us, I suggest working with a light touch in the three color correction nodes, but I understand some footage needs more love than others.
Hope that helps clarify and we're always open to feedback!
@@JasonBowdach hey Jason, thank you for replying! I get what you are saying. There’s not one size fits all when it comes to these methods. But like you say the beauty of powergrades is that they are flexible and fully editable. I’ve built my own film emulation as a powergrade on a group level for example so I can keep the look consistent and still work on the clip level for the adjustments. Anyways, great work on the collection, looks like a neat product!