Thanks, Todd. During an appearance on Cullen Kelly's Grade School, the colorist Jill Bogdanowicz revealed a secret to accenting texture without it looking over-processed. While working on Joker, the colorist used Live Grain - which separates out the red, green and blue channels, creating grain that resembles scanned film - to accentuate the texture in the cooler, darker backgrounds while de-emphasizing grain in the warmer, red tones of the talent's skin. This can be accomplished with Dehancer and Resolve in a number of ways, but because I find isolating skin tones too tricky, I just use the depth map and reduce grain in the subject. It makes a dramatic difference to just plopping the same amount of grain on the entire image. You'll see this technique often used in films. Cheers.
Thanks for this Todd,and greetings from Sydney. I am intrigued how @Dehancer will work in an iOS workflow, either in the DaVinci App or preferably with LumaFusion for whom I am a beta tester. I arrived at your video after going down a rabbit hole of Pro Mist, Glimmerglass and CineBloom reviews - and realise that the optimum solution is to selectively craft the desired ‘look’ in post, rather than compromise the crisp high bitrate source image by impacting high grade glass with a hardware filter whilst filming. Love your work…
What if I set the Timeline color space to DWG when I'm in a non-color-managed workflow? Do I still need to set the input source as Rec.709 in Dehancer?
Thanks, Todd. During an appearance on Cullen Kelly's Grade School, the colorist Jill Bogdanowicz revealed a secret to accenting texture without it looking over-processed. While working on Joker, the colorist used Live Grain - which separates out the red, green and blue channels, creating grain that resembles scanned film - to accentuate the texture in the cooler, darker backgrounds while de-emphasizing grain in the warmer, red tones of the talent's skin. This can be accomplished with Dehancer and Resolve in a number of ways, but because I find isolating skin tones too tricky, I just use the depth map and reduce grain in the subject. It makes a dramatic difference to just plopping the same amount of grain on the entire image. You'll see this technique often used in films. Cheers.
Thanks for this Todd,and greetings from Sydney. I am intrigued how @Dehancer will work in an iOS workflow, either in the DaVinci App or preferably with LumaFusion for whom I am a beta tester. I arrived at your video after going down a rabbit hole of Pro Mist, Glimmerglass and CineBloom reviews - and realise that the optimum solution is to selectively craft the desired ‘look’ in post, rather than compromise the crisp high bitrate source image by impacting high grade glass with a hardware filter whilst filming. Love your work…
Great tutorial 😍Wish you would have demonstrated on few more clips
What if I set the Timeline color space to DWG when I'm in a non-color-managed workflow? Do I still need to set the input source as Rec.709 in Dehancer?
Thanks for sharing! If I shot the video in the Standard/regular profile (not log) ... what should my profile setting in DaVinci Resolve be set to?
Rec 709 for your camera
ive noticed that if im using curves before dehancer on node tree i cant do matt look, they work little bit different, could you explain/help?
Fantastic overview. Though I would have liked to see a little more of the "bloom" effect. Even though you personally don't like it, it's very popular.
if only They can figure out a way to get that phot-chemical color of film. not sure what that would require but everything looks amazing.
Damn thank you for this. Also, ngl you somehow look like Tony Northrup lol
isnt it slow on your mac?