(upbeat music) - What's going on, guys? Welcome back to the channel. My name is Jake, and
today's video is part two of a three-part series on film emulation, and if you missed the first episode, I recommend checking it out
here, and in that video, we really only scratched the
surface on film emulation. That just kind of lays our foundation, but in today's more intermediate tutorial, we really get into the
grit of film emulation, and start making our digital
image feel more like film. We're going to be bringing
in real film stills, analyzing elements like
flaring, halation, grain, and overall image sharpness. And then by using only Resolve's
built in effects tools, we're going to be
recreating those elements in our digital image, and
if you're an overachiever, and really want to take
things to the next level, part three, we're going to be diving even deeper into this topic. Then I'll begin showing you
some of the third-party plugins I use as alternatives to
the tools built into Resolve to get even better results. We're going to cover how
to build out your node tree at the group, pre clip
and post split level for more efficient grading, and of course, we'll have a whole section
dedicated to shot matching, as well as some excellent
shot matching tips that are gonna make things
incredibly easy for you. I also want to mention we're
running a limited time offer on the Masterclass for
the next seven days, so starting August 11th, and
running until August 18th, you can pick up the
Masterclass for 35% off. And if you're wondering if the
content in the Masterclass is any different from the
free content and posts here on YouTube, 100% yes. The freelance colorist
Masterclass features 10 modules, with over 27 hours of training, and we're constantly adding more to it. With FCM, you get access to
a private Facebook community where we hold weekly
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entries, and you actually get an opportunity to make
money, because at the end of every season, we have
cash prizes up to $1,600. You also get complete access
to a hundred gigabytes of professionally shot footage
for you to practice with, not to mention there's some
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Resolve Studio if you're in the U.S., and many more. And to top it all off, there's also a 30 day money back
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valuable the course material is for somebody who's just getting started, or someone who just wants
to brush up on their skills. The trainings and downloadable
content are always available, as you'll have a lifetime
access to the course, not to mention the incredible
community we have on Facebook, where you can ask questions, get feedback, and gain insights. Don't miss out, join
before the offer ends, and you can do that by
clicking the link up top, or in the description,
or in the comments below. There'll be pinned in the comment section. Now, if you're just here to
see how I build this look, feel free to jump around
based on the chapters of this video listed in
the description below. But if you really want
to learn about the why behind film emulation, and
walk away from this video with a better understanding
of each step of the process, I recommend grabbing a notepad,
sitting back, and watching this video from start to finish, because there is a lot to unpack. So with that being said,
let's roll the intro. (upbeat music) All right, jumping right into this one, I want to address a couple things, just before we actually get
started in building this look, that is one that film emulation
can be very technical, but it's also very artistic. And so I don't want for
any of you is to place the importance of the
technical accuracy above what I would consider
the artistic expression, because sometimes those two can compete, and we may sacrifice some of
the art of this technique, and color grading in general
for technical accuracy, and I just don't have
any interest in that. So keep that in mind as I
go through everything here. So in a past video, I teased
a film simulation process, and you guys were quite receptive to it. I saw a lot of comments that
were asking why I didn't touch on film emulation, and
the main reason is that I wasn't trying to do a full
on film emulation tutorial. It was more of graining your footage, and then I also used a
film print emulation LUT, in building that grain. But because there were
so many in such interest and controversy over omitting
that halation effect, which is, I'll get to exactly what that is if you don't know in just a few minutes, but because that was such a hot topic in the comment section, I decided, let me go ahead and make
another video. and we'll do a slightly more technical
film emulation tutorial. This would actually be less
of a film print emulation, more of just a film emulation in general. So that's what today's video is about. Want to touch on some
more of the techniques, and some of the technical elements here, and possibly even more
videos after this one, if you guys are interested. Now, another thing I
mentioned in that video is that grain sharpness should be matched with the image sharpness. And after doing a little more research, I'm not actually a hundred
percent sure I still believe in that as much as I did before, and the reason for that
is that after examining some film stills, which
we'll pull up here, I think for a lot of true film, the
grain is usually sharper. And I think the reason for
that is that images captured on film aren't known for
their sharpness necessarily. It's typically a less sharp
image, a less perfect image. There's a lot, I mean,
it's an analog format, so it's going to look more
natural and less digital, and part of that digital
look is sometimes sharpness. We're actually capturing
the image in pixels. The way that film images
are captured is not a digital sensor that it's
controlled electronically. It is a piece of organic
material, a sheet of film that is briefly exposed to
light, and that light's coming through the lens, it makes
contact with the photoreceptors on that piece of film, and then
through a chemical process, it is transferred into the
image that we would have seen it as in real life, so it's
a very different process than digital image capturing. We're talking about a digital
process with ones and zeros, versus an analog process with
chemical reactions happening. Because of that, there are some
downsides, and some upsides, and some of the upsides are
obviously dynamic range, and skin tones often
look incredible, but some of the downsides are elements
of that chemical process that lead to what some would
consider flaws in the image, but that we've kind of come
to love them, and so now we actually try and
recreate those, and emulate those film characteristics in
our digital work to make it look more like the actual film stuff. So back to the whole
grain sharpness thing, the image, as I was just
explaining, is usually less sharp than what we consider
sharp in digital world, but the grain is oftentimes more sharp. It's a chemical process that's happening on the actual film itself. So regardless of how sharp
or blurry the image is, the grain sharpness, and even the presence in general may vary based
on a number of factors, but we can create a similar
effect here in Resolve. And then we also may want
to add some saturation to the grain that is an option in Resolve's built in film
grain effect, or effects, and that can be very useful. We're probably gonna experiment
a little bit with that here in this video. But aside from the
grain halation and glow, there are a few more
elements that and effects that we can add to our footage to achieve a more film like effect, but
I'd like to work our way up, starting with that video last week, kind of just being an
introduction in using a film LUT. And so today we're just gonna
kind of build off of that, and go a little bit more
technical with things, as opposed to just strictly creative. There are some more technical
tools out there to create what would be considered
a more true to film look, but I think 99% of you are
going to mostly benefit from creating this film in Resolve without any additional plugins. But for those of you that
are interested in looking for some of those other
options, Film Convert, Film Convert Nitrate is an
excellent plugin for Resolve. It's also very affordable,
and then Dehanser as well is an excellent plugin. So let's go ahead now and
start diving into building our sort of film emulation
here, and like I said, you can take this as far as you want to, you can limit and omit some of the effects that we're going to be
throwing in this video. But overall, I think this is
going to help a lot of you, and it's going to be, if your client asks for sort of a film look,
or if they've shot it to be sort of filmic, I think
this is going to be a look that your clients are really gonna like, or if you're the director or
DP, and you're coloring stuff yourself, then I think this
is going to really step up your game, and allow you to create some incredibly professional looks. So the first thing we're going
to do is a proper conversion, and we're going to do that
using the color space transform. So we're going to drive
that color space transform onto this node. This was shot in the Arri,
and of course was shot in Arri log C, so we're going
to set our input gamma to Arri log C, and our
output gamma, this is sort of that rec 7 or 9 look, and also, let me go ahead and address this, since some of you were asking. Our color management
settings are DaVinci Wire GB, and the timeline color space
is rec 7 or 9, gamma 2.4, and that's it, no ACEs yet. But we do have that live training, so if you guys want to check that out, and see what ACE is all
about, be sure to check that link down below to
get yourself signed up, because we have an awesome webinar coming up on Monday, August 9th. So input gamma, that's
still at Arri log C. Output gamma, we're going to
set this, because we're doing a film print emulation with the
film lab built into Resolve. Those are meant to accept
a cineon film log input, and so our output for this
color space transform is going to be cineon log film. So we're inputting Arri log
C, and then we're outputting cineon film log, and
that's going to give us the best result. On the next step, where we
are just going to right click on the node, scroll down to
LUT, and then in film looks, we're going to select
Rex 709 Kodak 2383 D60. That's my go-to, my
preference, however, of course, you can also select any
of the variants here of the film LUTs that
are built in to Resolve. And obviously I prefer
the look of the 2383 LUT, but you can go with either of
them, and then the D60, D65, and D55, those are just
different color temperatures of that film LUT. So you're gonna see the
same thing, same results. You're just going to have
different color temperatures. So let's go ahead and drag this over here, and we'll start labeling these nodes now. So this first one, or second
one is actually going to be called our LUT, and the
first one is our CST. Now these are going to go
at the end of the node tree, and that's going to lead
to a much more technical and proper conversion of everything. The whole image pipeline
is going to be managed more effectively this way. So we know that all of the nodes happening prior to the CST is going
to be in the Arri log space, which gives us a little
bit more room to work with, and then our LUT is going
to be properly applied directly after that conversion. And we're not going to be
adjusting the properties that the LUT has applied, and
done so in a beautiful way. And on the last video, doing that, grading your footage episode, I didn't
necessarily do it this way, because I wasn't as
concerned with how technical the film look was. I was concerned with making
a good looking image, and sometimes those two
don't always coincide. But in this case, we are
specifically trying to create a film look, so that's why we're doing it as technically accurately as we can. So now let's go ahead and start adding some nodes beforehand, before the CST, and you can just do shift S,
which will add a node prior. So you I just threw in
our node before the CST, and we're just gonna
bring this one over here, and this one is going to be our primaries. Now in our primaries node,
there's a couple of things I want to do, because you see
this image was pretty dark whenever we started, and also
a great thing to mention, if you're on set shooting
and you have the intention, you know that you're going to be doing a film print emulation, I
actually recommend doing your best to protect your
highlights at all costs, and trying to preserve those
details in the highlights. And if you have to cross
the shadows, oh, well, a film does a lot better job
of capturing the highlights, and it kind of suffers in the shadows. So if you're trying to
emulate it, it'll help you get a better result by
underexposing a little bit. So in our primaries node,
we're just gonna take our shadows, actually that's logs. We're going to go into
our primaries wheels, and make sure this is reset. We're going to take our
lift, and just pull up a little bit, maybe the
same with our gamma, and actually come back down
a little bit on the lift. And my goal here is just to
bring a little more details out in the shadows without
crushing those blacks, all while making sure
that the highlight stay pretty protected, and pretty low overall. So right in here, that's
probably going to be fine, and might even take some
of our highlights here, pull them down just a touch,
and using our shadows slider, bringing this up some. That's gonna give a little
more information back here in the shadows. Now, our next node, alt S, just
going to label this one sat, and that's going to be
our saturation node. And here we're going to
jump into the RGB mixer, and here we're going to take
our red slider, max it out, our green slider, and
green output, max it out, and then same for the blue. And now we have a pretty
saturated image, and that's okay. What we're going to do
is in our node key tab on the key output, we're
going to cut this in half. We're going to type in 0.5, so we're setting this
to half the intensity. So the output of all the changes
in node is going to be set to .5 as opposed to one, which
would be the full intensity, so we're just cutting it in half. And then we may come back and
adjust this a little bit more later, if we think it's still
too saturated, but for now, we're just gonna leave it right there. So at this point, we have a pretty overall nice looking image. All we've done is add
saturation, and in our film LUT, and through our proper conversion here, we just had a little bit
of work in the primaries, and you could call it here. This could be a fully
functional film emulation. As the comments came in last time, I know you guys wanted to see some
more of the characteristics of true film introduced, the artifacts from that chemical process
be introduced here. So how do we add those? The halation, the grain,
the glow, this, the flaring, how do we add that in? So today's tutorial, we're
going to add in a blur effect, a halation effect, and
a little bit of a glow, just to give it that
soft, dreamy film look. So the first thing we're
going to do from here, go to alt S again, and
we're actually going to use a simple OFX here. We're going to go to our gloss
and blur, and drag this on, and obviously that's a
little bit too blurry. What we're going to do
is zoom in so we can see all the detail in this
image, bring this to zero, and we want to just
increase that blur a touch. We don't want to make it too sharp. We want to make it too blurry,
and I'm actually going to, I'm actually going to
go ahead and bring in a still that I have saved
here, and as you see here, we have much less sharpness
than what we'd see in digital, but you still make out,
like you can still see the texture of his skin. You can see these, some
of these smaller details, but what I really want to
draw your attention to is this little flaring here,
this sort of red glow on this sharp highlight, sharp contrast, anywhere those sharp edges
and contrast of luminance, we start to see that halation there. So our goal in recreating this film look in this film emulation here is to recreate some of these effects. We see the grain, you see
color in the highlights. We see halation, we see a
softness to the overall image. And another great example
of that relation is this still from Django
Unchained, and you can see just, this is obviously was
also shot on real film, and the glow, and just that flaring coming from these harsh edges
between shadow and light in this tree here. I mean, we see that just bursting through. There's not any sharpness,
there's not any detail in that fall off between
shadows and highlights, and just the colors
constantly bursting through. So there's not really any rules to this, unless you want to be a
hundred percent technical, but you know, me, I'd
rather just have an image that I think looks good, so that's what we're going to be doing and
recreating here in this one. So the first element of
that is making sure that our image softness is down in. We don't want it to be too sharp, and so we have our Goaussian blur here, and I think it might be fine as is. I'm going to just a rather
highly detailed area, because also whenever you're determining how much blurring you need
to add, it's best to work on an image, or a part
of the image that is actually in focus, and as sharp as can be, because that's going to
determine the overall effect, because it wouldn't
make sense for us to use this blurry section of the
screen, section of the frame to determine our blur intensity. So you want to work on an
area that's actually sharp. So for now I think this is going
to be a close enough effect for us, and the next thing
we're going to do is gonna be, we're gonna start to build
off of that halation, and I'm actually going to
do it in a compound node. And the reason for doing it
in a compound node is that it's going to be more than just one step, but I want to be able to control it all as one node essentially. And also want to be able to
go into that node and make changes later if I need
to, but I just like to keep it a clean node tree, if possible. Let's go ahead and label
this one our blur, that's our blur node, and we're
gonna add another serial node. It's going to be alt S, and alt S again. We're just gonna go ahead and make these a create compound node, and
that's going to put them into this little compound
node you see here. It's going to send it out
sort of as one signal, and continue on as one signal. You can disable it and re enable it. We're just gonna label this one halation. And now to go back into
this compound node, we're going to go into show compound node, and now we can make all of
these changes within it, and bounce back out whenever we need to. So there's a couple of
different ways to add halation, in Resolve using the built-in
tools, and one of them is a little bit more
complicated, using two CSTs, and what you're essentially
doing is converting your camera space into a linear
space, making some changes to the image, and then
converting it back from linear into your camera space. But I want to keep things
as simple as possible, so I've actually kind of
come up with my own version of that, that I think will
be a little bit simpler for most of you to follow, and
eliminate some of the chances for you to mess anything up. So we're just going to go
ahead and grab our eyedropper, or our qualifier, excuse me. And our luminance is going to
be the only tool we're using. I'm going to go ahead and highlight this. We're just gonna go shift
H, and we're going to drag our low end up, up, up until
we start kind of getting rid of some of these shadows, and
then turn on that low soft. We're going to bring this up a
touch, and right around here, we just want to get rid of those shadows, because we really just want
to be working on a sort of anything mid range and
up, because as we noticed in the still here from Django Unchained, almost all of that halation is happening in the upper regions of
the image, upper mids, and in the highlights. It's not so much happening in the shadows, except for where we have that
convergence and that fall off between shadows to highlights,
so we're going to be covered there just by qualifying the highlights. So this is our qualification, it's just using the illuminant slider. And now we're going to
go into our sharpen tool, and in the blur tab,
we're going to, de-select the link red, green, and blue channel, and we're going to start
working on them independently. And the reason for that is
that halation usually has a bit of color to it, so
by working on the red, green, and blue blur separately,
it's going to give us a little bit of a tint if we do it right. So we're going to zoom in
here to an area where there's some sharp contrast, this
area with her highlights, or her hair, sorry,
contrasting against the shadows in the background, and then
also it's gonna be great, because similar to that ring
in the other original still, we have this sort of gold
highlight that's being hit directly by the sun, and it's
going to be pretty reflective. So we're going to get to
recreate pretty accurately some of that halation that
we saw in those stills. So in our radius tool, we're
going to go ahead and take our red slider, bring it up just a touch, and same for the green, and then same for the blue. And we're doing these at
just slightly varying levels, because we're almost, you can think of it as sort of like gain. We're adding a little
bit more green than blue, and we're adding a little
bit more red than green, which is going to give
us this sort of yellow, just warm glow around
some of these sharp edges. So this is looking pretty decent. You can see the difference we made here, especially on these little
tiny little hairs here, as we enable and disable
that, we're starting to bloom those out, which has given
us that bloomy effect, and we're really starting to
see the halation do its work. So before and after, super
small change, but anywhere there's sharp details,
especially like right here in her arm, this is looking really good. We're just softening off those edges. Now, the other technique
that I like to use, I'm just going to combine them here within this compound
node is another OFX tool, and this one is actually
called edge detect, and so we're going to drag this on. And at first, obviously it looks terrible. We're going to make some changes here. We're going to set the
mode to gray scale edges. We're going to take the
threshold, and bring this up a little bit, because
this is just showing us all the edges we're going to
be blurring here in a second. And then we're gonna take our smooth, and just kind of soften this out a touch, and we'll come back and make more changes there in just a minute. Now we're also going to
select edge mask overlay, and as the name implies, this
setting is going to overlay the edges that we've
detected, and this outline that we've sort of added to them. It's going to overlay that on top of our original image, so we get this. Now, this is obviously not
exactly what we're looking for yet, although it is a
cool effect, and if we play through, you see it follows us
those lines and those edges, but obviously for what we're trying to do, this is not halation, so we've got to make some changes here. Now first, I'm just going
to be selecting the color. As you know, we have
that warm tone that is really going to get us in that ballpark of a real film emulation,
and these are again, using simple tools. There are more technical ways to do this. I just want to show you
guys a simple method that gets the job done. So we're just going to
take this color and drag it all the way into the top,
right, as red as it can be, and we're going to take our
luminance, and just pull this down just a little bit. It's going to give us a
little bit of a deeper red. And now on our smoothing
slider is going to smooth things off a little bit right around here, and now we're starting to see
the overall effect take place. The de-noise string is going
to help us eliminate some areas where it may think that
noise is actually an outline, or an edge, and so we don't want that, so having this turn up to
about 0.2 is going to be a good place to be. Now on the global blend,
we'll start to pull this back, and really start monitoring
the effects here. And this is going to give us
a much better idea of what the final result is going to be. So as you see, I do like the way that these edges are looking. They're starting to bloom,
and that sort of red color. I do think I want to bring it to be a little bit more orange,
though, especially after seeing that still from Django Unchained. So that's looking pretty good. Maybe leave the threshold where it's at? Yeah, I like where it's at now. Maybe increase the smoothing? And we have the brightness
of course, as well, and that's going to also
help with the intensity of this effect here. So now let's see, let's zoom
in over here, and we're doing some really good work with her shoulder. If we just disable these two
nodes that we've changed here, that's not bad. One thing I'm starting to see is we have the edge detect effect
taking place in the shadows, which I don't want, so to eliminate that, we're going to go back into our qualifier. Actually to save ourselves
from having to qualify everything again, let's just take the mask from our first node, and
drag it to our second node. So what that does
essentially is it just copies our composite information
from the first node, which is where we set our qualifier, so we just eliminated the
shadows, and it sends it over into our second node as well. And I actually do want to
limit this a little bit more than it already was going to
soften it out and touch more. And just so we're getting rid
of even more of the shadows there, so that we're only
affecting the highlights with these two nodes. So now just looking in
this area where a lot of these highlights are,
because that's where we're mostly going to see
the changes take place of the halation there. We're getting a really,
really nice effect, and this is looking incredibly
filmic, and we haven't even had a grain yet, so
I'm really liking this. So now we're just gonna go
ahead and close this down. We're going to jump back
into the original node tree, and as you see here, actually,
I do like to typically leave the halation effect stronger
than it needs to be, so that in the halation
compound node, I can also go back into our node key
tab, and in our key output, pull that slider back, and
just adjust the intensity to wherever I want it there. That's an easy way to
do it all in one step. So now we're looking pretty good. I like where this is sitting as is. Let's add a couple more nodes,
just to continue adding on, and building this film emulation effect. So the next thing we're going
to do is add our glow node, which is a must for me. I pretty much am always
adding a glow node, whether it needs it or not, and
we're going to use this tool in a couple of different ways. One, it's going to give
us more of that softness, and just that creamy look
that would resonate with film. And the other thing it's going
to do is it's going to help us tint our shadows in a
slightly different hue. I want to give them sort of
this blue and cooler tone to counteract the orange
highlights that we have here. And again, that's totally
optional, and this is a totally subjective step. That's just me looking at this image. That's what I want to do to this image. So we're going to take
our shine threshold, set that to zero, and
now we're going to take our composite node and
set this to soft light. And now we have a very different effect than what we originally started with. Another thing I want to do
is take our colorized tool, and this is going to select
the color of our glow. You know, right now it's just white, and we want it to have a tint to it. So I'm just going to give it
a little bit of a teal tint, and you see the changes
taking place as I'm dragging this around with our hue picker here. And that looks pretty good to me. Now we'll go to our global blend, and we'll just pull this back a touch. Right around here is good. That's another thing with film,
you're usually going to see some blooming in the highlights, and so this is another
nice effect to add there, and it's going to give us that
bloominess to the highlights on top of our halation. So I'm gonna go ahead and
label this one in glow, and you can spend a lot
more time with this effect, just dialing in, and getting
it exactly how you want it. But for me, this is pretty good as it is. The last thing we're going
to do, after our CST and LUT, is we're gonna add our grain. Our grain is going to
be the final step here, because as we talked about
earlier, like with that grain, I just talked about earlier,
the grain is going to be, I mean, on the actual film,
it's a chemical process that's happening, and it's
going to be, it's going to have its own characteristics,
regardless of how sharp or in focus the actual image is. So because of that, I like to add it last, whenever we're doing and more
technical film emulation. So we're going to select
grain, drag this on top, and we're definitely gonna want
to zoom in here, just to get an idea of exactly what we're looking at. So we're gonna set our film grain preset, I'm going to start off with
a 16 millimeter 500 T preset, and we're going to increase
that size a little bit. We're going to increase that
strength, and for the texture, may even increase this a tad. And then for our softness,
we can make it as a sharp or as soft as we want it to be, but overall, I want it to
be kind of big and sharp, so that's going to give me
the result I'm looking for. So let's see, now we
can take our saturation, as I mentioned, some grain is saturated, so if you don't have a super
noisy image to start off with, and you can make this
look even more realistic by adding some saturation to that grain. And so that's looking
not too bad right there. In the advanced controls,
you can of course control the effect of the grain,
the intensity of the grain in your shadows, mid-tones and highlights. I'm leaving it all as neutral right now, just to keep things
simple, but that again, if you wanted to take
this to the next step, and go even further with
your grain optimization, you can do that here. In the global blend, I'm
just gonna pull things back a touch, and that's going to give us, yeah, that's looking really
authentic if you ask me. It's a really authentic
emulation of film, I would say, so let's go ahead and
just play this clip back a couple of times, and the last couple of things we're going
to do in this video is we're just gonna watch through this clip, and then we're going to go
one by one in each node, and see how it affected our image. So we're playing through, and we've got this beautiful grain. I hope you guys can see it
coming through on YouTube there, but it looks absolutely
stunning right here. We have this halation that we've added. I mean, everywhere over
here in our shoulder, this is looking fantastic. The highlights hitting her face. This is the right, the way
that the sun is hitting her eyes here, and then
you have the sharp edges, and the contrast from his shirt
highlights to the shadows. We have this incredible
glow, and overall the image, just the right amount of softness, just I'm a huge fan of the way this looks. So it's an excellent process,
pretty easy to follow. You see we really didn't do much graining. Personally, if you want
it to customize this look from here on, what I would do
is kind of just set all these, the actual practical
emulation nodes, leave these separate, and right after the primaries, we'd add a second node
and if, for example, you wanted to make it a
cooler look in the shadows, we just take our lift,
cool things off, and then in the gamma, maybe keep
our skin tones nice and red. And if you wanted to give our
highlights sort of green tint, you could do that here. So just tiny changes in the
primaries, and we have taken, we already had a beautiful
looking image, and giving it a totally different look. We've got this green cast overall. So that's how I would customize
this look going forward. But I like it as is, and we
really didn't do much at all ourselves, other than
just adding the effects, adding that film LUT, and then making some changes in the primaries. So let's go ahead and go
through one by one in order of operations, and see
how we built this look from the start to finish. So first off, we have our
CST, and this is taking our Arri log C, converting
it to cineon film log, which enables us to
properly apply our LUT. This is our film LUT, and
the film LUT we used here was in the film LUTs tab, rec
7 or 9, Kodak 2383 D 60. And then our primaries tab,
this is where we started to brighten things up, and
sort of lift up our shadows just to give us a little
bit nicer contrast. Now, we also took our
highlights slider, because film is going to be a little
bit darker in the highlights. It has, it does a little bit better job of protecting the highlights
than digital cameras will. There's a much nicer roll
off there, so we took our highlights slider,
pulled it back a little bit, and then increased our
shadow slider as well. And then in our saturation
node, this is where we went into our RGB mixer, maxed out the sliders, and then controlled the
effect of that saturation by adjusting our gain in our
key output in the node key tab. Next step, we applied a
blur, and this just takes off some of the sting of that
sharpness of digital footage, even though it is shot on
Arri, it's still going to have some of that digital effect, that little bit over sharpening there. So this just softens things
off for us a little bit. And the next step we have our
compound node, and this is where that film emulation
really starts to take place. So this is the effect overall
of the two collation nodes, and one area I really want
to draw your attention to, aside from her shoulder
is the eye right here. If we disable that, you see
how we add that warm glow to that sharp contrast in
highlights and shadows? That's exactly what halation is all about, and it is a beautiful effect. We did that by qualifying the highlights, kind of eliminating the
shadows, and you'll see that with our Luminant slider there. And then in our blur tool,
we increased the red, green, and blue blur. We took it up to add some
softness to those highlights. And then we sent that
qualifier to our next node, where we used the open
effects of the edge detect. We added some color to
it, softened it out, and then sort of just
applied this overlay, this color overlay onto
the edges in our image, and took it one step further. We're only doing it to the
bright edges by setting that qualifier into this next node. The next thing we did was add a glow. I'm going to zoom back out
so we can actually see this. Next thing was our glow
node, and we also tinted that glow with a sort of
teal look, a very soft teal, and that just gives us this
nice result in the shadows, being a little bit more
complimentary to the skin. And we have a little bit
more of a blooming effect in the highlights, and
that's easily seen over here in this area in this window,
we started to bloom that out. And so just overall,
excellent look, in my opinion. And then the last thing
we did was, of course, add our grain, and this is
kind of a must have, if we're going to be doing film emulation. I selected a 16 millimeter
500 T grain preset. We increased the texture,
the size, the strength. We also increase the softness,
I believe, just trying to get it sort of realistic, based
on the stills we had pulled up earlier, and then added
some saturation to the grain as well, because the image was
clean enough for us to do so, and then pulled back on the
global blend just a touch. So all in all, if we disable this, here's our complete before and after. Let's go ahead and check out the final. (soft rock music) All right, that's it for this one. Hope you guys enjoyed it. I hope you learned something. Don't forget, we do have
a limited time offer on the freelance colorist Masterclass. We're offering 35% off from
August 11th to August 18th, so do not miss out on an opportunity to get yourself signed up. Again, that link can be found up above, in the description below, or
pinned in the comment section. As always, be sure to
like this video, subscribe to the channel for more awesome tutorials, and I will see you guys in the next one. (upbeat music)
