Get a Film Look... That Actually Looks Like Film - DEHANCER

I long for the world to look like this but alas it looks like this clean clinical no magic no life over the years I've tried everything we all have missed filters grain overlays Lots hundreds of hours studying color charts years of Googling that red glowy effect on the edge of highlights and shadows before everyone found out it was called elation nothing captures it just one dead end after another some directors of Photography say that cinematography is a window to a story why would you add dirt or Grime to the window to which I say give me the dirt give me the grime I analyzed every detail of my day-to-day what was it that was doing this why did I feel this way and then I saw it or rather I saw them the pixels the world in which I lived was made up entirely of pixels the problem occurred to me my life wasn't one shot on film it was digital All Digital until one day everything was different perhaps for the first time ever my life was on film glorious 16 millimeter film in this world there were no limits and no sensor to deny me the beauty of grain dancing along in and through the images displayed a glorious 20 frames per second the illusion of motion but could this be real I've seen gray and overlays before look up tables and cheesy pluckins found in off the shelf annalize the tonal range felt right my color chart hardly looks like Rec 709 or Worse attacking teal and orange Lut I looked at still frame to see if it would dance with glorious gate weave sprockets missing their threads it did and that's a detail often missed in these so-called film emulations my silhouetted Shadows against highlights to see if I would witness glorious red halation a word only discovered by the masses after Steve yedlin's nerdy display prep demos it was there the red bleed that I had always spotted on film but hadn't known the word for until just a few years ago could this be real I cycled through numerous stocks and resolutions 16 millimeter 35 millimeter eight millimeter black and white color everything became more cinematic from that moment on my life became glorious poetic cozy and sometimes terrifying the door at the end of the hall plagued me now more than it ever did what was behind that door I spent many nights a week pondering that very question with no answers veiling until one day I finally summoned the courage I inched my way down the corridor heartbeat louder than footsteps there was no turning back only forward I hesitated for a moment then opened the door shocked to find hey you okay it's a nice microphone I've got one too what are you doing I'm just color grading my footage using a film emulation tool called dehancer it's a plug-in for Final Cut Pro X or DaVinci Resolve whatever you use I'm using show me [Music] okay I'm gonna be giving you an overview of the hanser pro the film emulation plug-in that in this case I will be using for Final Cut Pro X now you might be wondering why not use it for DaVinci Resolve DaVinci is a far superior color grading tool and I myself do use certain film emulation power grades in resolve I think it's an amazing tool but the reason why when dehancer reached out that I requested fcpx is because I know a lot of you use it for editing and I also wanted to try it because it fits really well into my workflow especially for YouTube for the past couple videos I've been round tripping with resolve again it's great in the color grading process but it's a little bit of a pain for just timing render times all those kinds of things so to be able to have a tool this powerful directly in Final Cut Pro I was very curious and I couldn't wait to see how it works and full disclosure dehancer did reach out to me and asked if I wanted to review the product in exchange for a license for the product they also will be giving me 10 Commission on every purchase made by you if you use the discount code Scott at checkout if you do choose to buy this product I do implore that you use that code as that will be a great help to me and supporting this channel so right off the bat we have input they have generic correct 709 Rec 2020 Etc but if you have a specific camera that they have here you can choose camera you can choose your vendor which in my case is Sony and then you can choose the model which is the fx3 and then the S log 3s gamut 3 cine ISO 640 it might be different for you depending on what camera you're shooting on but it's great that it can get this specific so immediately it applies a look so this is sort of the meat of dehancer right here these are essentially your film stocks that you would shoot on these are the film stocks that you would load into your camera and record to I'm not going to go through all of them because there are dozens and dozens my favorite though is Kodak Vision 3 500t which is a film stock I've long admired from movies and it's a stock that often when used in movies is used throughout the whole process even though it's meant for Tungsten it can be balanced to neutral even in daylight situations I'm also a big fan of 200t which is a little bit warmer a little less magenta but for this demonstration we're going to do 500t you can push and pull which as you can see really just sort of cools it under input you also have exposure compensation in case you didn't quite nail your exposure you have temperature obviously you know what that is I'm going to warm up my shot just a little bit and I'm not going to worry about exposure because I'm going to deal with that with my print so I'm skipping down to print because in the film pipeline of traditional celluloid you would essentially have your film stock then you would have your processing bathing color timing and then you would print to a print stock which in our pipelines is usually a Lut or a lookup table the print is basically what makes it displayable without the print it's essentially a log format like a cineon log so in this case we have linear Sydney on film log in case you wanted to create your own print essentially Fujifilm kodak2383 and Kodak endure glossy paper which is more sort of just a standard look I'm gonna go with Kodak 2383 something you're probably all familiar with that even nowadays if you print to film is gonna generally be 2383 print and then what's great here is you have tons of control over your final look or your final print I'm gonna bring down the exposure I like the Shadows slightly lifted as they are so I'm not going to mess with that but you can adjust the tonal contrast of the print which is fantastic you can also go back to expand and film compression which we will get to in a second but again under the print film you can adjust the color density which something that's awesome about this is I think often we think of film as being very saturated because we think of those deep Reds from movies like Inglorious Bastards for instance or deep blues or deep Browns and the truth is if you look look at it under Scopes it's not really all that saturated across the board even those colors like red or blue or brown are not necessarily over saturated they are just very dense and very deep so here you can control the color density which is really cool you can see it pushing in the skin tones and adding a little more of a gradation of colors and a little more detail here in the skin so I like to push the color density not necessarily the saturation and if you want you can even dial back the saturation just a little bit okay that's looking good for me another element that we have here and I'm going back to it because now I know what my final print looks like is film compression now this is a cool feature you can see immediately what it's doing there especially in the highlights film if you look at it under Scopes maybe some stills from your favorite movies if you throw them into Final Cut or DaVinci and look at it under scopes you're gonna see that the highlights and the Shadows never really go below or above certain ire ranges there's sort of a smooth roll-off and the compression affects that it sort of compresses the highlights to Shadows it's never quite a linear zero to 100 so with every input of this tool you have impact which really affects the overall impact of that module and here these are pretty self-explanatory you have white point which really adjusts those highlights you have tonal range which you can really subdue the range you can subdue sort of the roll-off you don't really want to go too far with this because if you looked at this same effect in a different shot it would have almost that iPhone HDR look where there's not really any specular highlights or occlusion in the face so you don't want to push that too much but the option is there which is really cool and in movies like not to go all Tarantino on all of these but Once Upon a Time in Hollywood you'll notice that the tonal range is closer to what we're seeing here a little less highlights a very sort of smooth and dark but I'm not going to go that extreme with it I'm going to keep it right about here another tool for color density which we had already talked about I'm going to push that because I like it I like those deep rich colors and then in my print I'm just going to pull down the saturation a little bit so I still have the dense colors but I'm not going overboard or getting you know orange skin tones Color head this is essentially your color timing or color grading I'm not going to go through each of these but you essentially have tonal controls of the white balance of each level whether it's Shadows mid-tones highlights next up we have film grain probably one of the most important aspects of a film emulation it's the main thing that people associate with film though in my opinion not necessarily the most important for capturing the film look however it's pretty cool what you can do here in this tool with dehancer and this is one of the areas where I think dehancer shines Above the Rest so you have controls over the size of your grain whether you want to go from 35 millimeter 65 millimeter to eight millimeter you have controls of course over the amount film resolution which I'll come back to controls over the different aspects of the film one thing that I love about dehancer and that is different from other tools is that the grain is not just an overlay it really algorithmically does some sort of magic to integrate with the imagery and that's how film looks there's sort of this imperceptible integration with the image and that's why it never quite looks the same when you shoot something digitally and then you overlay grain or try to emulate film but in this case it does a pretty darn good job and one thing that really sells that is when you go to film type rather than negative you switch to positive which is a part of the film process you shoot on negative and you invert to positive as you print you can go either way depending on what you prefer but I really like the look of positive it's just so seamlessly integrated and to me it looks very realistic and obviously you can adjust that to whatever extent you want make it more visible one thing I love about film resolution here is that you can essentially lower the perceived resolution of your image and what I'm mean by that is you know the tool is called dehancer you are not enhancing it you are dehancing it and so basically one of the pitfalls that I think a lot of people fall into is that they do grain overlays or they use these kinds of tools and they maintain that super sharp 4K resolution of their footage to the extent where you have the grain but the underlying footage still looks Ultra sharp while film is not extra sharp it may be Resolute but the underlying image is never sharp there's always a softness to it and a softness to the edges which is essentially like a blur in this case but film resolution is great because you can control that underlying softness and it really just makes it look more like actual film moving down halation a buzzword that you probably learned in the past year or two this is something I had been looking everywhere on the internet to find out what it was called it's one of those distinguishing factors of films where even when you watch a trailer you're like the that shot on the film because you can see the halation a couple years ago Steve Yedlin sort of demystified this whole emulation process in his display prep demos when he created his own film emulation and he put a name to this element which is called halation it's essentially when the red channels reflect back through the film and they sort of bleed into the highlights and the Shadows where highlights and shadows are intersecting I think because halation is sort of a buzzy new way of getting a cinematic look it's easy to get carried away with it so I would caution just don't get carried away with it and what I mean by that is a lot of the times you'll see essentially halation that looks like this I'm just gonna push it to the extreme and that does not look realistic halation varies depending on the stock whether it's 35 millimeter 16 millimeter Etc but in general you want to keep it very tight you want to keep it almost imperceptible it's something that should be almost subconscious for the viewer at least that's my philosophy on it I also find that I'm using the Hue tool here that rather than it being further to the Deep Red magenta side of things you're going to want it to be more of a yellowish orange color to me that just looks the most realistic I'm going to back off on global and local diffusion and what Global and local diffusion is is local is essentially Elation coming out from the highlights and Global is coming into the shadows I'm gonna push up the impact so that the color is a little more vibrant and yeah it's nice and tight you can see what it looks like barely perceptible but it looks realistic the other reason why you wouldn't want to push it too much and I'm just going to do that real quick is because then you start to see it on the skin which halation on real film does not happen on the skin like this so it just becomes completely unrealistic and ridiculous looking you want to be careful Source limiter is how you sort of modulate that if you push it too far to the left it's going to start showing up places that it shouldn't and every shot is different so you're going to want to control it shot to shot to get the most realistic effect I reiterate don't get carried away with it otherwise you're defeating the purpose of trying to emulate film and No One's Gonna think it looks like film next up is Bloom and the word is exactly what it is it's a slight blooming that you can see very much in the highlights here it's pretty straightforward you've got diffusion you've got various controls on where it's coming from to what extent how much it's spreading Etc how much you want to amplify it but the main thing here is that to varying degrees film does tend to bloom a little bit more than digital the nice thing here is that you can leave your promise filter at home you're not locking yourself in and frankly I think it's a bit of an overused look these days anyway so you can shoot without it and if you have the Panther Pro you can apply it in post and you have control over it so you're mitigating the possibility of going overboard with it vignette I'm not going to go over that but you all know what that is film breath film breathing is is essentially when light passes through the film you can see varying degrees of light to dark across the tones flickering and with period you can adjust the speed more is sort of slower less is a tighter flicker exposure obviously adjusts the lightness and darkness color Etc and tonal contrast is how it flickers over the tones it might be hard to see here because my computer is not fast enough but and it hasn't rendered but you can see it's sort of flickering there and if you're wanting to see this in a movie to see what it looks like Christopher Nolan's Dunkirk if you look at the iMac sequences and especially pay attention to the skies and the highlights you'll be able to see that breathing again it's a subtle effect that really sells that film look last but not least we have gate weave which is a subtle effect you'll see It'll punch in a little bit there and I'm not going to adjust it too much same thing with film breathing period is essentially the speed translation is the XY coordinates gate weave is when the film is missing the sprockets and so it sort of dances around a little bit again you don't want to go too far with this unless you're doing you know some sort of eight millimeter effect Etc but I do think that gate weave even just a teeny bit really sells it for me I can spot a bad film emulation when it's completely static like that just doesn't read his film if you want to know what this looks like in a movie look at some movies from the 80s and 90s I'm up at Christmas Carol if you look at the text at the beginning in the credits you can see it sort of dancing around okay the final features here we have false color this is great because when you get to the end of the grade you can double check that you're within exposure clipping indicator it's not really showing up here but it will indicate where you are finding clipping in your frame output is essentially your total impact of what you've done I would not mess with this if you're going to adjust the extent to which you're grading I would do that within the tool itself otherwise it's just going to look weird Lut generator this is a great little feature say I've created this look I love it I want to use it on a whole film or project I can export the Lut I can use it in my camera or in my external monitor to shoot appropriately and then the other element here is that enhancer sort of bogs down your computer it's doing a lot of effects that require a lot of processing so you can export a lot you can create an adjustment layer you can apply that light and then as you're editing you have sort of an idea of what it's going to look like before you do the final grade in dehancer so what are my overall thoughts on dehancer for Final Cut Pro X I think it is pretty incredible I've used some good film emulations in DaVinci Resolve but to be able to do this directly within Final Cut Pro X for a lot of these quicker turn projects whether it's YouTube music videos narrative projects what have you I think it's absolutely fantastic especially if you're not familiar with resolve but if you are you can get it for resolve and I think it's still just as powerful a tool I've used it for that as well what are some of the drawbacks it is definitely GPU intensive so you're going to have to render you're gonna need a fairly fast machine it is a little bit expensive in my opinion at four hundred dollars but if you use the discount code Scott at checkout you will get 10 off of any of their products so I highly suggest that if you're interested in this tool that you use that discount code it will also give me a 10 commission from the purchase which is going to help me out a lot especially as I create some of these more ambitious videos but all that to say it is expensive I do think if you can afford it it's worth the money especially as a priority over getting a new camera if you're trying to achieve you know cinematic film looks because you just have so much control over the image now the one thing I would caution with this tool is that it's not a out of the box look like film tool you really have to understand how film behaves what film should look like and frankly how to color grade it's not the same as applying a lot and then doing some tweaking if that's not you this might not be for you having said that you do have so much control and if you know what you're doing you can pretty much get any look you want which is one of the reasons I love it there's just so much variability to it and so much adjustability one other thing that I would love to see and this might just be me but when I watch movies sometimes I see a blur in the halation so I would love one more dial where you can adjust the blur of the halation maybe that is not scientifically correct and I'm getting that completely wrong but if it is and dehancer if you know more than me that's a feature I'd love to see in future versions of this product and then the last con for for me is that using this in Final Cut Pro I pretty much every time I open the program at some point in the process will get an error that the plugin is not responding and then I'll have to close it out and then open it back up and it'll be working again this might just be my computer and the OS I'm on it might just be that I'm using a demo version could be a great many things that aren't related to dehancer at all but for the version that I'm using this happens frequently and it's pretty annoying not saying it will happen to you but I'm just giving my honest thoughts about my experience with the tool so those are my overall thoughts I'd love to hear what you guys think please feel free to sound away in the comments and let me know what you think and I hope this was helpful to you pretty amazing except what the deuce is this oh it's a watermark you can get the pro version for 3.99 for the light version for 200 or D hands or grain for 100 or D answer Bloom which is sort of like a digital promise filter for 100. a hundred dollars yeah but you'll never have to carry around that stupid promise filter anymore and you're not baked into any look you can always change it in post I don't know money's tight well even if you don't want to pay full price or 200 for the light version you can always get specific categories so dehancer gateweave is 50 dehancer halation is a hundred dollars and the answer is false color monitor is totally free you should just use the discount code Scott at checkout code Scott it'll give you 10 off plus it'll give me a 10 affiliate commission to help support this Channel and make you more elaborate reviews like this one I don't know you don't know you're sure very sure okay suit yourself [Music] [Music] thank you

Channel: Scott Jeschke

Views: 408,535

Keywords: a7iii, lut, cine, cinema, arri alexa, cinematography, final cut, final cut pro x, final cut pro, fcpx, film, sensor, custom lut, atomos, ninja v, fx3, dehancer, dehancer pro, davinci resolve, resolve tutorial, final cut pro x tutorial, color grading, color grading in fcpx, gate weave, halation, film breathing, kodak 2383, Kodak vision 3, cinematic film look, how to get the film look, 35mm cinematography, promist filter, bloom filter, sony a7rv, slog3, full frame vs apsc, film look

Id: 4wZsWn57JPY

Length: 25min 8sec (1508 seconds)

Published: Mon Mar 27 2023