do this to your camera footage instead (part ii)

[@impatrickt]

this is an interesting way to match a look - but what it totally misses is how the original Darius/Fincher work still retains nice pink/rose skin tones in faces. it’s really a set dec and wardrobe look more than anything, which makes it hard to recreate with footage that lacks that very specific palette in the frame. your examples just look like blue/green desaturated clips. again, cool method but to get this look properly you gotta shoot for it (set dec, wardrobe, location, lighting).

[@talburobj]

David Fincher says he hates pink, that at some point in the 70’s broadcast television overemphasized pink skin and cinema still hasn’t recovered. He is quoted saying he wants to “abolish magenta” and it’s not that he loves green but “just hates pink.” He doesn’t think people should be depicted as having rosy healthy skin.

[@ColoristFoundry]

Ofcourse, most of the look building during that time happened on set. And more than that, there's a whole underlying analog film science to it. But nevertheless, trying to mimic an analog digitally can be a fun way to explore what a software has to offer. It's more of a healthy newbie exercise. Ofcourse being a little clickbaity, apologies for that, still trying to gauge our audience.

[@lonewalkerproductions]

@@ColoristFoundry no need to apologise mate, you're doing amazing work. Much respect for taking criticism well

[@gaarax0x]

@@ColoristFoundry yeah for us noobs this is gold, for the purists GTFO... jokes 😁

[@sonidojamon]

This is the kind of constructive feedback and discussion that the world needs

[@Scottposts]

this is such an interesting method of matching a reference image, genius

[@movie-trailer19]

An incredible professional look at the creation of Bleachbypass I have not seen such a technique Very impressed. Go ahead.

[@ErrickJackson]

This was a pretty interesting approach to matching a palette. I’ll have to give that a shot.

[@MukotokotoFilm]

Thank you for your inside tips as always. Please create a part two and three. I have been searching for content like this. shot matching is something I want to master.

[@Finjodb]

.. it says part 2 in the title

[@karliemorris7318]

thank you for these, please keep teaching us these gems

[@deividvieiradop]

Amazing how that this content is free

[@filmspot_wedding]

the best place about color grading...!!!

[@philddlesticks]

Makes more sense to do a colour space transform to Davinci colour space when you use different cameras, doesn’t it ?

[@danielrachbuch2301]

This was incredible content.

[@antoinehusser6142]

I don’t understand anything about color grading but we’ll done, it looks sick

[@VLEXfilms]

Yea, it would be good to see more DWG look workflows

[@botbot3698]

Why not work in DWG instead of going from Red to Arri LogC if you're gonna grade footage from different cameras? Might be a dumb question, I'm a beginner.

[@alexandre9930]

i wanted to know this too

[@iMaxHack]

Why not adding grain after the CST? Also, why not working on DWG color space instead of rec.709 space?

[@sumitvaidya9685]

Waiting for colourist factory colour grading course 🙂

[@EugeniaLoli]

It's not just about color. One thing that's really triggering me on youtube color grading videos is that absolutely no one mentions texture. And no, film grain is only 1 part of the texture. There's more going on when you print film from one filmstock to another, or when you need to copy film multiple times while editing the old fashioned way. This creates a kind of look that is beyond color: it's texture, and how it renders "thin" details as "thick" (e.g. hair would clump together to become a thick detail instead of seeing every single hair stand). On top of that, vintage lenses created a different kind of softness, that you can only get via the guassian blur plugin on Resolve, by blurring only on one axis. And after you blurred, you need to re-sharpen, in order to emulate the various processes film with bleach. Basically, it takes a lot more than color to get an accurate look. That's where I'd like to see youtubers put some effort on. Because right now, not even Dehancer has these abilities (it has halation etc, but not the texture thing).

[@riffbaama]

Upload this tuttorial and I will follow you

[@joshpickup2581]

I have been trying to recreate the thick details thing - please point me in the right direction

[@EugeniaLoli]

@@joshpickup2581 I have a tutorial on my channel

[@th33b33]

this is a fun exercise Thanks!

[@CineFan911]

I learned a lot, thanks for the video

[@azfilmmaking6734]

The kissing couple looks 🙈 But the approach is interesting

[@deegees73]

Nice. thank you. Will this method work in a colour-managed workflow, like in DWG, for example?

[@martinadamcz]

big thanks for your video

[@BrodyLando]

Great tutorial! I am just getting into Resolve if you are using a sony a7iv and using Slog3 what would you use for the settings for the profile? You used ARII for one and I think RED for the other clips I believe.

[@moinmubarak6752]

Amazing content! I am in love with this look and trying to recreate it for our short film. The high contrast isn't working that well since we shot on canon log (clog) from the 5D Mark IV. Any other looks that you suggest we can try? I tried the cross processing and it looked bizarre! :D

[@Chewbachi]

How do I install the zip files for the Powergrades ? Or import them into Davinci

[@suatsekil]

thanks

[@bhaibhag2530]

Can you make a tool to convert colour table from photoshop to luts. Thankyou

[@kingmuhu]

Sickchannel

[@roknews924]

Colour grading in davainvi is very technical with lots of nodes, I love the software but hate the colour grading work flow node after node after nodes

[@DannyGan]

once you understand nodes, you'll understand how much more powerful it is than adjustment layers. There's a reason why visual artists all work in nodes, it's more functional for professionals.

[@4008517517]

Please make a tutorial of LogC 4 LUT for Alexa 35 camera, thank you very much

[@4008517517]

@@cicolas_nage This method is a failure because Alxea 35 comes with a corrected LUT.

[@4008517517]

@@cicolas_nage I tried CST a few months ago and it was a failure. You can see what the ARRI colorist has to say.

[@maurogutierrez]

Hello, excellent, we are beginners, to apply this technique with Sony cameras in Slog 3, what do you recommend? Thanks!!!

[@maurogutierrez]

?

Which is your source material from? Seven out of all movies, has to date 7 (funny, right?) different grades. Between DVDs, Criterion ,the Italian blu ray, and other blu rays. So this might not be the actual look of how they had it in the cinemas. Just saying. Also the film was pre-flashed to give a different look as well. Darius was probably the person behind this. Not Fincher.

[@ColoristFoundry]

Totally makese sense. Darius was the person behind this. We are writing an article to rectify this :( The video is aimed at total newbie audience who identify films by director, but I understand why curiosity must not end there and why we should provide a means to showcase BTS of look building that was intended.

@@ColoristFoundry I love the fact that people are showing this off, and content needs the right headline. But DPs have spent a lot of effort on the colour timing, or in the DI suite, and should get their time in the limelight :) And since seven has so many versions, this is such an interesting example you picked.

@@ColoristFoundry Did you ever write and article?

[@TZOBIEntertainment]

I find the way you do some of your tutorials is a confusing way to color grade in general. Wouldn't it be better to color in an acescct timelines or dwg timeline instead of rec 709 so that it takes the colors better?

[@AI-Hallucination]

Lol watch the making of it you have no chance of recreating it on a shoestring it's the lighting ffs and the abstract expression used to create mood and atmosphere 😂😂😂 kino flow lighting it's crazy expensive

[@szymonronowicz9019]

nope.

[@ColoristFoundry]

Alright, okay, hehe 😅