New color science just dropped

Demonstrating the new CinePrint35 500T, 250D, and 160T film emulations on various digital cameras
The CinePrint35 film emulations are can downloaded as PowerGrades or LUTs. Available here:
www.tombolles....

[@graydonmollison5948]

You are the goat brother. all us amateur film makers owe you so so much.

[@valentinalsina4647]

Thanks for this bro! Love Cineprint 16 and now its time to try with 35! From Argentina! Really thanks bro! Love your word and this powergrade its a amazing

[@thomasbordas6642]

Thanks Tom, amazing work 🙏

[@moojoo1972]

Worth the purchase!

[@SCINEMACREW]

Upgrades baby! seems like such a more simplified less intimidating) workflow

[@jackkaiserfilm]

The mad man does it again

[@AniketBhattacharjee]

Hey Tom, great work once again 🔥 I am a proud owner of all 3 versions of your cineprints. I have just 1 feedback to share, if only 1 of your powergrade had a super clean (commercial look) right out of the box as well, along with the film looks, it'd be very helpful. As not all filmmakers are bold & brave enough to go with such rich film look. Other than that, big fan of your work 🙌

[@pixelspotpictures8822]

Absolut amazing. Waiting for months and finally god damn finally

[@AvinashMalavalli.]

Thanks much Tom! This is amazing work and we should really appreciate your efforts. I have a question when it comes to using Rec709 power grades. What should the color output be if the used camera is Sony A7C and shot on sRGB?

[@seemisamuel]

YOU ARE A GENIUS

[@jacksonmokk]

This is so inspirational, I should work on creating more content starting from now on too!❤

[@AveryAntonio]

So excited!

[@maniktakesphotos]

Hey Tom! Was just wondering, can the onset monitoring LUTs just be used as regular LUTs in other editors (ie Final Cut)?

[@connorobrien9039]

snagged it! so pumped to use this on our docs

[@kevinlittlewood9561]

Hey Tom, picked it up yesterday and loving it so far. Can I ask, your suggestion to have project settings with 'rec 709 gamma 2.4' as the output colour space means I'm having the dreaded gamma shift. I have avoided this in the past by using the 'rec 709-A' output colour space and gamma tag in export. Any issue with changing the output colour space in the project settings to rec709-A with regards this powergrade? Thanks

[@leanderofcourse8631]

I'd love to know this too!

[@user-zl4yi4jm8f]

Yes. It has a grey tone on the export

[@user-zl4yi4jm8f]

Is this a viable work around?

[@oscarabello84]

Same question here.

[@TomBolles]

Yes, if you are on macOS, you should tag Rec709-A if you use QuickTime as your media player and need it to match I prefer grading in a dim room at the Gamma 2.4 standard of my reference monitor, then dealing with any gamma tagging and gamma shift compensation at the end before export, however if you prefer working from the start with Rec709-A that should work perfectly fine

[@alexanderaleksander4272]

I'm not a filmmaker, but I shoot a lot of video with my family on my Fuji and edit it in Davinci. I think my videos will definitely look better now!

[@dakotasillyman5495]

Absolutely killer

[@he.smile_]

Since your working color space is LogC3, shouldn’t the Timeline Color Space be LogC3 in the project settings? It could create problems if you’re using the HDR wheels or switching the color space/gamma of a node! 👍🏾

[@obe3]

This exactly what I was thinking. All of your colour space tools would be broken or working incorrectly?

[@jhonesreece4946]

I like your tutorial on DaVinci resolve thanks for the color grading in DaVinci resolve make again more of tutorial 🎉🎉🎉🎉🎉🎉🎉🎉🎉

[@leebrandt8597]

I would be very interested if there is a version of this that can be used under color management/wide gamut intermediate, since this gives me the best colors and most image latitude. Dehancer allows me to do this, so it can be done. Will be keeping an eye and see if you make this version. Cheers

[@kiabumusic]

I can use it on BMPCC4K. My powergrade does not appear when I apply it, because it will be

[@Flowersyn]

Will changing our DaVinci setting that you recommended in the intro negatively impact colour grading with cineprint 16?

[@TomBolles]

No

[@Jonbontabas]

Genius

[@ehliogomme]

Lets go 😍

[@oscarabello84]

How do I set the TIME COLOR SPACE and OUTPUT COLOR SPACE on a Mac? Because when I export, the color is less contrasted. It doesn't look like I see it in the Davinci window.

[@TomBolles]

Use Rec709-A gamma tagging in the advanced export settings if you want QuickTime to use a more accurate gamma. It will still look different after uploading to web with gamma 2.2 conversion. I generally do not compensate for this but some people like to in order to prioritize darker viewing environments. In that case, you would add a CST to the timeline level before export and transform your entire project from gamma 2.4 to gamma 2.2. It will then look darker in the viewer & export, but it will match when uploaded online

[@magnetoclash]

Nice. Is there a grade in this set that works with this the OG BMPCC?

[@joshadaniel]

Also wondering☝️

[@TomBolles]

I would recommend using the Blackmagic Gen5 powergrade, but add a node prior where you convert from the OG BMPCC space to black magic Gen5 using a CST

[@TomBolles]

Alternatively, I’m not sure if this works or not because I’ve never used the OG BMPCC, but blackmagic designs their color science to be backwards compatible with their raw formats, so you may actually be able to change your footage to Gen5 color science in the raw tab. Not sure if this applies to the OG BMPCC or not

[@tariko7]

I love your channel and i got the Cineprint 16 V2 can't wait to use this new banger I'm asking also, could we use the new tool pour saturation on DA Vinci (solor slice) to get the subtractive sat instead of using the color boost or thebasic tool saturation ? And then, did you in the future putting this on the powergrade ? Thanks a lot !!

[@TomBolles]

Yes, you can absolutely use the new tools in the Resolve 19 Beta. With something like that, I just recommend experimenting with it yourself to see where you like using it best in the node tree.

[@fortifiedfitnesscoach]

Don’t recall if it was mentioned, are any of the powergrades for working in a DWG colour space?

[@thedigggers]

my nodes are empy after import any suggestions

[@kopoko.]

Same here, any suggestions guys ?

[@thedigggers]

@@kopoko. I fixed mines make sure you have the most recent version of Davinci

[@mammifero]

buyed some minutes ago !!!

[@mrshaheedmalik]

Can you profile some Eastman 5247 or 5248 next?

[@johnnyway8667]

Does it also work for fuji f-log (not flog2) or rec 709 footage?

[@unclejezza]

I'm really struggling with the magenta level in lips/mouths using FX6 footage across all emulations. Any ideas how to reduce magenta/tone in those areas without affecting overall skin tones (which look really great). Everything I do seems to smash the tonality of the overall image

[@OliKember]

Thanks for this! Is there any difference between gate weave for 16mm or 35mm?

[@dominikielbasa]

just wondering if I'm doing something wrong but when I'm grading some red footage I get a decent amount of colour bending? are the colours being pushed to much ?

[@nightsbeatswitchgood]

could you show how the process works if using the LUTs in premiere?

[@maxi.designs]

Love it! May I ask what app do you use to record Apple Log with the iPhone to get best quality?

[@theacewatson]

Black magic app

[@mauiaguirre]

Hey Tom! Do you think its okay to use Fujifilm Flog-2 powergrade with F-Log? I just started using F-Log 2 (newly purchased XH2s) recently but most of the footage that I currently have that I want to use for projects are F-Log. Will this greatly impact the image/results? Thank you and follower for a long time now!

[@TomBolles]

I made the F-Log 2 version because it has extended dynamic range, but you can still use it on F-Log footage, you’ll just need to turn off the F-Log 2 node while leaving the CST at F-Log

[@oscarabello84]

@@TomBolles What you mean is to shut down the node called FLOG 2 adj which is inside To LogC?

[@TomBolles]

Yes

[@user-zl4yi4jm8f]

No CST needed now? Is that because of the project setting changes that you made in the beginning?

[@TomBolles]

The CST & additional color mapping is already preset for your camera within the powergrade. You just have to apply the appropriate one for your camera

[@lostlukex]

Why do you prefer white balancing with the offset wheel instead of the chromatic adaptation device? I find the offset wheel much more difficult and inaccurate

[@TomBolles]

You can move it at whatever hue angle you need instead of having to go back and forth between different sliders, so it's a lot more intuitive and faster, which is valuable when you're going through a lot of shots. Working early in the node tree & under the emulation, the results appear very natural. Everybody has their own grading preferences though, so I always recommend implementing what works best for your own tastes & workflow

[@jbw6351]

Will this work with 8 bit log footage or is 8 bit rec.709 footage recommended?

[@lostlukex]

Is it compatible with slog2 and sgamut? Do you recommend modifying the sony slog3 powergrade or using the cst powergrade?

[@user-if3pt5nm8s]

Is there a good way to use this with SLOG2?🙏 I really wanna it but i only have the regular a7iii:/

[@matthewazn]

me too, using cineprint 16 with the a7iii’s 8 bit footage is difficult

[@ameercury]

@@matthewazn yes i would love to know the answer for this too!

[@kopoko.]

Hi Tom! Nothing happens when I apply the grading. However, no problems with the CinePrint16 version. Do you have a solution?

[@ftsdr1105]

If you use gm2.4 to export the image on your mobile phone, it will be a bit grayer and inconsistent with the color of your computer. I'll just change it to 709. Is it necessary to use GM2.4?

[@TomBolles]

You could do gamma compensation for the web at the project level, but you’ll also want to adjust your viewing environment to match the brighter gamma & be grading in a brighter room. The problem with doing color work in a brighter room is you begin to have issues with screen reflectivity. I recommended leaving the project at the Rec709 Gamma 2.4 standard, grading in a dim environment, and then if you want to do gamma compensation for the web, do that before export with a new CST at the timeline level. Technically speaking, the gamma shift occurs to correct for people viewing in a bright environment or against a white webpage. So if you’re adding compensation to make it look correct in your dark environment, just be aware that then your grade may look darker to people in a bright environment. You kind of just have to choose who you are grading for. Our human vision & perception of contrast changes based on our surroundings and that’s something you can’t control.

[@ftsdr1105]

@@TomBolles ok thank

[@BIZFILMZ]

Im using D-Log from my Ronin 4D do You have a preset for D log? Thanks!

[@BartoszRybotycki]

Hi Tom, is it possible to show us how LUTS works for FCPX and PREMIERE ?

[@unclejezza]

They are not LUTs, they are Powergrades for use in Davinci Resolve only

[@robertosanhuezarivera6765]

some can help me powergrade is not working

[@SiThuVisuals]

Got one haven’t test it yet but curious if grain and halation works for free version of DaVinci ? And also can I use this for HLG footage from my a7iii?

[@erdbeerkuchen952]

do you already have an answer on that? i am curious too

[@willy0297]

pretty sure grain is only available for studio

[@OmarSifuentes-gh1gi]

What picture profile do you use for Sony?

[@oc3318]

Is cineprint35 coming to fcpx anytime soon?

[@TomBolles]

You can use the LUT version in FCPX

[@oc3318]

@@TomBolles 🙏

[@oc3318]

@@TomBolles So I should purchase cineprint35 powergrade and the luts are in there?

[@Envisual]

Not compatible with C-Log 3? :-(

[@pixelspotpictures8822]

@@Envisual it is compatible with cclog 3, u have to use "color space transform" .

[@TomBolles]

I didn’t export a preset for it, but you can use the powergrade for Canon Log 2 and simply change the input gamma in the first CST to Canon Log 3. The custom gamut transform remains the same for both log curves. It’s 99% the same as the one built into Resolve, but with a very slight improvement to skin tones

[@Envisual]

@@TomBolles You’re the best, thanks so much. Can’t wait to try it out for myself!

[@LemonyLimeHands]

@@TomBolles Is this the same for F-log?

[@NKRDBL]

Hello! Can you tune it to RCM? Or DWG at timeline colorspace Level?

[@NKRDBL]

I’m working primarily in RCM (DWG/Davinci intermediate) pipeline and want to implement your power grades in my workflow. And it will be highly appreciated if you can tune your PGs for this purpose.

[@Tharunjpeg]

Mac Studio specs?

[@willy0297]

For the digital, do you profile it with the Alexa Mini in LogC3 or using other camera? So natively the powergrade is built for LogC3? Because I usually need to do a matrix from other camera to alexa. Thanks for sharing.

[@TomBolles]

Yes, the Logc3 Alexa Mini footage was the main camera that I profiled against the film, as the ALEV III sensor has been the ever popular golden standard, and everything else is matched to Alexa before feeding into the emulation. I did also shoot Alexa35 LogC4, so maybe that + color management for HDR will be my future project if I ever get around to it, but it was not my priority as those are more niche to most of the KZbin audience, and even my own work. I'm mostly renting Alexa Mini & LF and everything is finished for SDR on the web still. But when I have shot with the Alexa35, it has been very impressive. The dynamic range in the highlights is absurd. It's a lot more like film where the general rule of thumb is "when in doubt, overexpose" because you don't have to worry about highlight clipping much at all. You just want to keep everything above the noise floor.

[@willy0297]

@@TomBolles Good to know, thanks for sharing. The result is very nice. Hopefully a lot of people also feel the same