is this an actually unique “film look”?

[@onoratomedia]

I’ve found that disabling the luminance node in the negative compound node helps eliminate chroma noise and harsh banding. I think some of this issue arises from the fact that Tom is emulating stocks using native davinci tools like the color warper. It may be worth it replicate what he’s doing utilizing tetra or another DCTL with better math backing it.

[@hikkub]

Literally just did this last night after seeing terrible chroma issues.

[@edwardcrockett]

Definitely going to look into this because I haven’t experienced the issue I ran into in the video till I was literally recording but decided to leave it in cause I wanna keep it real!

[@mingshui01]

can you explain which specific node you're referring to? new to davinci and trying to figure this out. thanks!

[@hikkub]

@@mingshui01 in the film stocks color tab (i.e. "500T Color") there's another compound node called "Negative". That's split into a few different. You can toggle them on and off to see what they're doing. The most destructive of which is the one labeled "L". I imagine, for luminousity as it alters, what seems to me to be, the yellow and red channels especially. Anyways, turn that off and the image cleans up a bit. You could replicate what this node is doing with a DCTL, but I haven't found a free one that can replicate the effect in a controllable way to broaden the selection area. The real issue here is the use of color warper which is inherently too selective. Do I like what the "L" node does in terms of color, sure, but it's not worth it breaking the image. You could try to substitute it with color slice as well, but, once again, that doesn't allow you to broaden the selection like Mononodes does. Most of the built in Davinci tools are too narrow for practical use.

[@onoratomedia]

@@hikkub this is exactly it! I’ve been loving Iridescent Color’s Iris Pro bundle. It’s designed for macro look development and has three seperate dctls for hue, sat, and lum adjustments that span from dynamic, to standard, and then surgical widths. A lot cheaper than mononodes too! Tetra also is a really solid tool.

[@ekphotography]

It is one of my favorites hands down!! Even just the LUT's I use in FCPX sometimes for quick color is amazing!!!

[@edwardcrockett]

Heck yeah! It’s so freakin solid!

[@HasyirIbrahim]

FINALLY! This helped tremendously. Also, its so cool that you recorded with the X-S20! Because I have both the XH2S and the XS20. One question - why use the ARRI powergrade instead of the FLOG2 one from Tom? Any differences you noticed or its more of a workflow habit thing? KEEP THESE VIDEOS COMING!

[@edwardcrockett]

Thanks a ton bro! And honestly I feel like the Arri image is the peak quality when it comes to cinema cameras so I like to start from that point as much as I can!

[@luispaniagua23]

Very helpful tutorial! Thank you bro.

[@edwardcrockett]

Yooo thanks so much for watching! Really appreciate it!

[@KombatFlix]

Bro can you go over how you graded your shots speaking to camera? Looks bomb af!!

[@nativestrong7253]

It isnt a simple copy and paste LUT. It is a powergrade that requires tweaking for individual clip.

[@reedus3m]

hey do you mind going a bit more in depth on how to make changes on the threshold node in the halation compound node in cineprint35 on you next vid or something if possible? I want a little more control of that when grading but nothing seems like it's changing whenever I go in to the compound node and try to make tweaks.

[@VinGraceFTW]

I LOVE JOAN!!! Great video too

[@Mat.arantes]

incredible, but it's sad that it's so inaccessible in some countries because of the price :/

[@edwardcrockett]

Oh dang what’s the international price look like?

[@Mat.arantes]

@@edwardcrockett I live in Brazil and it's like the price of a week's worth of food, it's not impossible to buy, but it's still expensive for me

[@andriibudim6996]

nice tutorial. But actually how do you find it compared to cineprint 16 in terms of looks?

[@edwardcrockett]

I think it feels more refined but is especially good and I’d say better when you use the 160T stock

[@Lv01art]

I think this powergrade is a bit too heavy on the saturation for the reds.

[@GhettoFabulousFILMS]

How can I get the Alexa luts mate. I'm using xs20 too

[@Doeathlete]

I have a Sony ZV-1, trying to film log and then colour grading with cineprint16 just looks poor, not sure if it’s just the camera or settings I’m missing ?

[@DIRECTEDBYH]

maybe there is a better setting, I am not sure which settings there are on the ZV-1 but make sure you use 10 bit at least and the format with the most amount of data (usually it says how many mbps it needs on a card to write)

[@YesItsLu]

I film currently on my DJI osmo pocket 3 in log. You think it’s worth getting this ?

[@IDigrxss]

Yes but dlog-m doesn’t have a cst profile. You might have to convert it to another colorspace beforehand record it in hlg instead of log.

[@YesItsLu]

@@IDigrxss damn no shooting in log huh

[@IDigrxss]

Not in Dlog-m. Davinci doesn’t have a CST preset for it yet. You are converting it anyway. They do have one for hlg

[@YesItsLu]

@@IDigrxss what if I shoot in dlog m and use a lut to convert

[@IDigrxss]

@@YesItsLu I haven’t had very good results with it tbh.

[@departament.wizualny]

Did you grade this video where you talking using this cineprint?

[@KombatFlix]

Man like fr! I was looking at his setup and grade talking to camera, so awesome! Looks amazing, need a tutorial just on that lol.

[@Luis-nb2gu]

this aspect ratio does not work for this type of content ngl