Davinci Resolve 19 Film Look Creator - A Brand New Feature to make your images look like film?

G welcome back so resolve 19 is out and it has a new feature called film look Creator which everyone I'm sure is going to make a lot of videos about because everyone is obsessed with the film look indenture resolve even though you really can't create film look in digital but there are some good colorists who get pretty close to it so let's look at that feature and let's look at how to use it and if it's any good so I'm just going to use a really basic no Tre today you know my color space transform in and out this is a black magic pocket 6K I think I'll leave a link below I'm pretty sure you can download this I'm actually not sure where I got up so we have this node here and we're going to go up to our ofx now this is only for the studio version I'm pretty sure so if you don't have the free version I'm sorry you just can't use it so let's go big screen so shift F and then Zed by default it's already putting a look on your image when you put that Ox on so if I press contrl D to take it off once again to put it on as you can see we have a much more muted palette and we have a little bit more contrast added to our look that's because in our presets we have default 65 mm so we can just go through these and have a look 35 is a little bit different a little bit of vignette going on and then we can just go around cinematic okay bleach bypass which is a little bit interesting I don't mind that one too much but we can change this up here and then we have Nostalgia which is something I feel like a lot of people are going to use and then we have default no effect so this is where you create it from scratch so if I turn this off and on it is doing a little bit but we can change it by our color blend and our effect blend so color is referring to all these color settings here so if I were to take this color blend off we are getting the original colors we had before we started using this effects and when it comes to the effects blend basically talking about everything else so we can just turn this off and on and that's allation and all that kind of stuff so let's look at our color settings first we'll leave this at 1 one so with our exposure this is working in a photometric exposure which is a better way to adjust your luminance in your image so this is a lot better way than you normally use by using gain or Gamma or that type of stuff so if we do this as you can see we getting much smoother exposure adjustments by using this so all in all this is probably the best feature of the entire ofx now the way I do exposure is I just set my node to linear and then I adjust my exposure that way but anyway this is a really good feature I really like this that's nice contrast highlights obviously this adjusts your highlights that's pretty interesting fade is referring to your shadows going to bring this right up as you can see we have a really terrible look so maybe don't do that anyway that's your fade which again referring to a shadow so as you can see we're not really hitting the brighter parts of our image white balance is good it's better than the one that's in resolve so again this is a nice feature it's using chromatic adaptation instead of the way it usually does so this is a really good feature again so white balance again a lot better I wouldn't use this to adjust my white balance for myself I work in the linear in my node so this is not something I would use but still it's really good tint again same as the one in resolve but a little bit better well a lot better skin bias now this is interesting one as you can see it's adjusting you go right in and this lady here we are adjusting our skin tones so this is pretty good I don't mind this tool we can go for more desaturated skin look so this is pretty good we'll make it really warm so obviously we're really warming up her skin tone so again pretty interesting stuff not amazing but pretty good now let's jump back out again now subtractive saturation this is a really interesting one and this is working in a more filmic saturation so when we are adding saturation in resolve normally we adding it in a digital way which means we are actually boosting the luminance in our colors we're making those colors brighter now the way subtractive saturation works is it's not affecting our luminance we are just adding in saturation without adding in luminance so that's a really good one again you can actually do this in resolve by using a HSV and then taking off channels one and three and you only work in two and then you work in gain and Gamma that's the way I usually do it but still this is really good so another good little feature here so so far so good let's move down the richness and again this is about your colors as you can see we're adjusting those colors not bad and then we have our bleach bypass look so we can go really bleachy bypass and then we can hump up our richness to get a really weird looking image so we have that really muted film look so pretty good so far now the good thing about this pre look is it's building a nice film contrast curve and also I should mention it's not using film stocks basically what's happening is you're not using like film stocks like Fuji or codc 500t or 50 daylight you're making that film look yourself interesting stuff again not amazing so let's go to the split ter one and I feel like this will be the one that most people are going to like but first let's take that bit bypass off and let's put that richness down so it doesn't look so crazy there it looks pretty good we have a nice saturated image so this is a good starting point here to here all in all pretty good start but we're going to do some split toning and this is the one that I find the most interesting with this ofx but it's not something I would use okay so let's do that split ter and the best way to do this is to use a gray scale okay so what I've done is I've made a gray scale in the edit page and then I've put it across into my timeline and then I've copied that look that we made with that other footage and I've pasted it onto this node here so the way split toning is going to work we bring it up here in our scopes is we are separating why did I make that smaller we are separating our red green and blue in our highlights here then we're taking out the red in our shadows which is giving us that classic film look meaning that we are warmer in the highlights and then we're cooler in the shadow or the darker areas of our image so it's kind of like a orange and teal look but not as Extreme as you know most movies so if we look at our split tone here and we come down to our split tone here able split tone now the amount is how much split toning you want to do so at the moment we're already got that split tone because we already have e effects going on if I Chuck in the amount we are already creating a huge difference in our split tone so that means our skin tones which are around here is are going to be a lot warmer and all those highlights are going to be a more pinky warm look as we're taking out that blue and we're increasing our green we're increasing our red so basically we are prioritizing our red in our whiter areas and then our green then our blue which means we are getting that pinky warm look or that golden look really actually we wanted pink we'd put the blue up there so we're getting more golden look in our red and greens and then we move down here in our shadow areas we're taking out that red and we're putting in a blue and green now we are prioritizing our blue so we're going for more teal look than a green look in our shadows pretty interesting stuff and if we look at our gradient here darker white so we're going for that teal look here we're going for that pinky warm look over here and this is where our midtones are kind of sitting so this line here is we're going to get nice warm skin tone now one thing we need to talk about is our Pivot Point down here so because we're working Da Vinci wide gamut which is 366 roughly we' want to set this to 366 now this is uh again bringing up our Scopes here that means we're sitting here so this is basically our middle gray when it comes to working in that split tone so we we don't want to be adjusting that we want that to stay the same so this is why that pivot is really interesting and really fantastic now if you're working in a different color space you want to come in and adjust it because we're working into V wide gam that's what we want to set at that point 366 so if we were to copy this split tone across I can get rid of the scope onto our other footage I've copied across now I'm going to press contrl V and if we look at our image here we have that split turn going on so we have a much cooler looking image in the shadows and then we have a warmer look in the highlights now it's still pretty muted so what we can do actually go back and let's add some more saturation in I don't want to go too crazy some funky look but yeah now we have a much warmer looking image in those wider areas and her skin tones look really nice and then we have a nice cool tearly look in the shadow so the darker areas here so all in all it looks pretty good it's not something I would use not because I think it's a bad tool just because I design my own Luts and I have a certain way that I like my Luts to be and this just isn't for me but I feel like it will be great for other people using it now quickly go across to the other ones and have a look and make this a bit bigger my mic is actually blocking it so let's get rid of split tone color settings so basically what has happened is resolve has put everything into this one film look Creator so we have pation which we had before we have vignette to enable vignette and you can like you know increase itase the size etc etc you have Bloom which is going to bloom those highlights and we don't actually have a whole bunch of highlights going in so it doesn't work for us then we have grain so this is an interesting one they put this in here now I don't like the fact that it is in this node I wouldn't use it because for me grain always needs to be your last node in your node tree because you don't want anything else affecting that node meaning that if you put this film look Creator on and then you do some other stuff afterwards it may mess up your grain if I was you I would not enable this and I'll put your film grain last don't put it on now now flicker I'm unaware of what this does I'm sure it does something amazing I'm also unaware what gate weave does I would just pretend like I spoke about them now as you can see film gate talking about the ratio in your camera well not ratio but the way the image is going through your camera it's Weir to put on a 241 for example as you can see this is the image coming out of your camera if you're shooting that ratio so let's say yeah super 16 you know it's that more boxy format that those fil uh those film cameras had I would just take that off I don't think you'd ever use that to be honest and I think really that's about it so oh when it comes to color space overrides uh what is happening here it's working in the color space that you're working in in your timeline so whatever color space you set that's what color space it's going to be working in so if you didn't want to do that you could change it here and you could put your own color space in if you want to do something else I'm not sure why you would ever do that but maybe they're just giving you that option so what do you guys think of the look I mean not the look but what do you guys think of the um tool do you think it's any good also resolves changed this little play thing here and it's really annoying why is it so small you what I mean like why is this so small now I don't like that at all so let's look at it off and then on we have a better look like let's not say we don't have a better look I feel like the contrast is probably the thing that I like the most about this and maybe the exposure adjustment but those are two things I could do without this film tool but if you're new to resolve or maybe you're just intermediate or beginner this will probably be a really good tool for you this would be a nice way to create looks and if you're a freelance color starting out this would also be a really handy tool this was something I wish I had when I first started down but all in all not bad not fantastic let me know in the comments below what you think I think it's okay I don't think it's amazing but anyway thank you for watching I hope you have a fantastic day I've been Drew from Haiti films thanks for watching and have a great day

Channel: Green Goat Productions

Views: 6,370

Keywords: davinci resolve 19, film look creator, davinci resolve film plugin, davinci resolve 19 new features, davinci resolve 19 film look creator, film emulation for davinci resolve, ofx plugins for davinci resolve 19, film look, film look creator ofx davinci resolve, davinci resolve new ofx, dehancer for davinci resolve, dehancer, davinci resolve 19 how to, davinci resolve 19 tutorial, davinci resolve 19 download, davinci resolve 19 walk through, film look color grading, resolve ofx

Id: p0Le1C2eckg

Length: 13min 20sec (800 seconds)

Published: Sat Apr 13 2024