The TRUTH About the Film Look Creator (i read the manual) | DaVinci Resolve 19

The Film Look Creator gives you the ability to easily alter both the color and physical properties of an image to mimic motion picture film stock in a single Resolve effect. This effect is not focused on emulating a specific manufacturer’s film stock, rather it creates a base “Blackmagic” film look, that can be manipulated in a variety of creative ways. The Film Look Creator alters contrast, saturation, hue, and exposure of an image. It also includes the tools you want to have for film emulation, including halation emulation, film gate, flicker, weave, vignetting, bloom, and more.
#filmlookcreator #davinciresolve19 #filmlook
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Timecode:
0:00 Intro
0:26 What is the FLC
2:41 Blackmagic film stock
3:37 Color Management
4:17 FLC Demo
13:53 Outro
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For the algo:
film look creator
film look in davinci resolve
emulate film

[@jean-david-ouellette]

Awesome overview, looking forward the next video!

[@inknpaintCW]

Very nice overview of this tool - and great answers to the questions about Dehancer that have been floating around. Thanks for the video!

[@RomaFedorov]

Love your content. Thanks for the explanation!

[@wbynan]

Love your videos. Top quality

[@DannyGan]

Much appreciated!

[@ViktorCepeda]

Thanks for the breakdown Danny!

[@DannyGan]

Any time!

[@michaeldsilva6583]

it will be interesting to compare this with older presets i’ve made from your older videos keep up the good work!

[@jonicolton]

been a while since i stopped by. over 20k subs! so happy for you!!

[@DannyGan]

Thank you! Working my way to 100k haha

[@marcwielage92]

100% agree with Danny -- there are several aspects of Film Look Creator that I wish we could bypass. For me, it needs more user control to be useful.

[@bnk48analyzer82]

Love it! I hope one day BMD launch Dehancer effect for the studio version.

[@AustinGarcia-Color]

Great video! There’s been some confusion around the CST override but some can use it at the end of the node tree going from camera color space to rec709 cineon gamma if using resolves built in 2383 LUTs. I think you can use this FX tool all sorts of ways and really get creative with it.

[@cbcinematics]

YES another editor and teacher that uses the manual like i do! Good stuff. You earned a new sub my man. thanks for sharing this. I have been tinkering still and have yet to make a video. I'm also gonna be comparing it with Dehancer. Good stuff man. 👌

[@DannyGan]

Awesome, thank you!

[@ayoubthegreat]

10:34 I believe the color slicer allows you to add saturation without changing luminance

[@MrKokom]

Im curious about your new nodes structure with this update.

[@DegenFilms]

Same!

[@TomKuen_]

Thx for the video... Sometimes different windwos overlap each other so u can't see what u showing.... like the curves. Keep that in mind when editing

[@StefanRingelschwandtner]

Good comparison and review!

[@DannyGan]

Thanks Stefan!

[@arcian2519]

total bs

[@eliaslimapro]

Very nice

[@BlankerWahnsinn]

Thank you, nice explanation. I have a question, if you emulate a real camera in CGI you have to replicate the lens effects and the Filmstock. Where you have to put the nodes? For example, at first the Grading, then the Lens effects and then the Film Look Creator?

[@DannyGan]

Those I would categorise it as finishing effects, which goes behind everything. But since we want the grain to sit above all, you would have to do FLC > Lens Blur > Film Grain

[@nashhall694]

It doesn’t come close to Dehancer in my opinion. The bleach bypass doesn’t look nowhere as good as Mononodes Bleach Bypass Slider. The same with the color slice, I can get much better results with DCTL’s. Thanks for the review.👍

[@chevonpetgrave4991]

Would love to hear more on your experience with the color slice palette. Was Considering some dctls before the release of resolve 19. What makes the dctls better? For me with out having touched them yet (still waiting to upgrade to 19), i see two advantages of the color slice. 1. A distinct skin tone vector. 2. Being a native pallete on the interface means you dont have to use multiple nodes for Hue, Selective sat, and density if you don’t want to. But would love to get your experience. Also any links to dctls mentioned.

[@JimRobinson-colors]

I think that BMD should have a dropdown with the kodak and fuji stock considering that they they already have in them in lut form. So we could then choose to use the default BMD film stock or ones that we are already familiar with. I think people would just like the idea of using them in any color space, over being limited to the rec709 / cineon CS and gamma in the LUTs. The color space override is a bit confusing in your video here - pretty sure you could just leave that to "Timeline and use it between your input CST and the Output CST and it should work fine. It should read the timeline the same as it does in a project wide color management.

[@chevonpetgrave4991]

Regarding the color space override im not understanding whats confusing about it. If you use node base color management with two simple in and out transforms as in your example just leave the override setting to timeline. I Haven’t upgraded to 19 yet but when I do I plan to use this in conjunction with custom Juan Melara PFE luts (2393) on the same node where I use the PFE for the colorimetry (turn the color blend slider all the way to 0) and use only the effects blend for subtle spacial character and texture except grain and halation (that would be on a separate node with advanced settings version not the film look effect). For this, a color space override saves me from adding another CST node to prep the PFE as I currently do on the node just before the PFE lut (working space->rec709 and Log C3) and love the touch of also manipulating the white point as well. With this I can now do all of that on one node. I believe this was the intention of adding the override feature for node based workflows.

[@JimRobinson-colors]

@@chevonpetgrave4991 I didn't say that I found it confusing, I was referring to what he said in the video as being confusing - I basically said the same thing - the color space override says that it defaults to the timeline colorspace so if it is between two CSTs then what ever the color space for the timeline is correct.

[@chevonpetgrave4991]

@@JimRobinson-colors oh ok. My misunderstanding.

[@TrapPhoneLoveMelodiesss]

I thought this would replace my mononodes DCTLs, not at all… The mononodes are a lot better. But respect and appreciation to BMD for the effort

[@DannyGan]

Agreed

[@hugolinaresimages]

Not respect to blackmagic, we need real tools updates like in baselight 6.0

[@sacidepatinetewa]

Why nobody talks about the "Output White Point" that's the only thing I wish could turn it off!

[@oo0Spyder0oo]

7:54 to rein in, not reign.

[@DannyGan]

take it up to BMD, I just copied from their manual

[@dedikusmawadi9228]

free footage bro hehe

[@DannyGan]

Download FREE Test Footage from Sony S-Log3 & RED Log3G10 shorturl.at/hlpJ7

[@dedikusmawadi9228]

@@DannyGan thank you very much

[@quickpickle]

Hopefully this at least drops the price of dehancer a bit.

[@allenpayne9182]

Why? I think this video here shows that Dehancer is very different to "Film Look Creator". And: The Halation and Grain tools like Dehancer or Filmbox is still much better.

[@Mr.Fontastic86]

It won’t

[@michialharris1850]

@@allenpayne9182 resolve will improve. I’m sure they are gonna get there like dehancer. But For the people who don’t have dehancer I think this is great.

[@quickpickle]

@@allenpayne9182 I agree dehancer is more of a complete film look tool. And if the price does drop I would probably buy it.