The 'Cinematic Look' is already there

[Music] hey guys welcome to a brand new video i'm filippo and today we talk about look it's not what you're thinking about this is not a look recreation pipelining liquid recreation no tree this will be more about what flavor what look what colors are already inside your image how to thread them how to work with them and how to manage them because one key point that not everyone is getting is that you have to build a look based on the look that you got in your image because let's just think about the most common look that everybody knows they overuse look like the orange and tail can you make an orange until on a sunny shot made a nun maybe you can but actually you can't it will look like and you don't want to you know create something that it's not based on your image so based on this fact on this thing i just want to take one single clip make an analysis of how it's being worked how it's been photographed and based on that imagine that i'm working with a client that i'm talking with a client i will come to the creation of a look because always remember the look is already there there is a production behind things behind a shot or if there is not a production there is someone that made a thing not in a brainless way he think i want to do this thing because i want to achieve that goal so keep that in mind and based on that let's jump inside that into resolve okay guys so if you know me right now you know that i'm not a fix-it impulse guy i'm more uh you know do whatever you have to do and then help it in post and because post-production it's not made to fix things you actually can use it to fix it things obviously but it's not made to fix things but it's made to help things to go on their delivery and where they are intend to be so in this video i just stuck a few clips with uh thanked cinematography you know cinematography behind the shot is there for uh for a sense this clips were shot actually ndp by me and this one i took this one for from our grid and it might say that it's the the perfect one to start with because i want to let you understand that there are too many videos that are talking about look recreation very less talking about helping the look that it's already there so all those clips are sharing three or four notes on adjustment notes i just drag the offset down for this one and for this one and the other ones just have idt okay conversion show up that's it's turned on right now with a negative stock but we can turn that off and i know dt and what i did for all this clip is just converting the color space into re remaining inside re and delivering from re to rec 709 really really simple for all those clips and i might turn off the show lot and this will already let you understand that if you got an image like this shut on red when i convert it on rec 709 and just make the conversion you can see from there that the look is already there colors are there and the cinematography actually did the job so what's the point of the video the point of the video and the thing that we're gonna see right now are actually two i'm gonna be back inside ahri we wanna cover two things first one is how to manage a clip that already have an intended look in a really simple way because you want to maintain things simple and as every time i say this i can tell you that you can split around in groups if you have multiple clips in giant groups or in little groups your correctors or just use it similarly with your image and also what i want to tell you is how to read an image and how to read the cinematography and the color that you got in it so i just want to start from this one as you can see from the conversion everything is being well exposed well balanced and so bypassing the show light what i'm doing here is just you know converting my color space and from this chorus space i'm just delivering to the output color space so by using the look designer software i'll be you know doing this with this and then without this i'm just choosing a negative stock and as you can see by choosing a different narrative stock it will take a pretty different flavor based on this film stock but the look will remain intact so the blues will change bit the u the oranges will change a bit the u but everything will stay stuck into this word because it intended to be you know made in this way you can change the negative intensity okay you can go on the odt and just select a print option so let me say s2 [Music] go with the scopes and select your intensity the print stock if you want one that's might be too hard and inside the intensity and the post processing on the fp that's limited based also on the factory scope whatever you have to limit it and you want to limit it exact same thing should have been done just by passing this shoulder and just doing a peril and based on whatever you got here you might have done you know exactly the same thing that's my cranking up parade i want to take my pipette and qualifier and just read where my colors are on the scopes and just know where to go so you can maybe clean up the situation a bit or worm it okay and by warming it i might to the darkest area and bring back something do the same thing on the log and just open a bit the range so what i intend to be here is just by looking at the shot you can make few tweaks around and just decide where to place your wheel wheels based on what you already got here and that's a key point it will be creating a lock or another based on what you already got there what you don't want to do is going opposite to what already is there or to just overdo things around i think that we might do here just create another character and just say okay maybe you know i just wanna crank everything down except for the projector here so just invert this a really wide window okay and exaggerate this and maybe you create a parallel and crank up a bit that ray so go maybe there okay from this spot zone and just create another window here and just let me do something like this really simple really quick but just let you understand this so you can treat around things to help intense cinematography but about the look the look is already there so really quick by passing on the other clip again before the idt prior to the idt i just want to adjust it by offsetting it down a bit like there okay and opening the show light will be the same thing i will be selecting uh random negative stock and you can see that the old flavor changes a bit okay so a situation like this where everything is really lighted up you can help it just a bit with the creation of the look so i might say that up here going on subtractive color we might play a bit with cyan by cranking a bit of cyan up adding some of the sound with superactive color method and with a push and pull pushing this down a bit okay maybe too much sand a bit less okay and then on the odc by creating a contrast we'll be creating contrast with the print stock will give back a bit of a flavor from the color that you already got there i'm gonna enable the fp and for this one maybe yeah uh an extra window might be really good so again a window crank it a few stops down inverted and just doing the same thing we did on the previous one okay so you're just helping cinematography the flavor is already there again i can deactivate the show light create a parallel and do it myself and by the way guys i'm doing this with a look designer but you can do the exact same thing with the color space transform okay that will be the exact same thing what i'm doing here with the idc and the odc is just transcoding what i am doing from one color space to another that's the exact same thing that does the color space transform and in the middle i'm just creating in a custom way or with look designer my own look so again here i might say okay maybe there's a bit of a messiness with the color around so i might want to crank everything on the blue side just to cancel something that i got on that middle area right here with the gamma so i'll be opposite to the color that i am reading that i got and i'm cool with the blacks these are fine with me i might crank them a bit down [Music] and with the gain i just want to go on the rng yellowish side like this and create a bit of contrast with contrast i'm playing a bit with the pivot okay so we are not messing around too much we are just helping what we got in order to create the look the exact same thing that i've done in few seconds with one corrector should have been done with look designer okay in the same way just by moving around selecting a negative stock and play with a bit with subtractive color and the creation of the look in the same exact way so again another clip same thing we got colors there everything is there oh i just adjusted the exposure just a bit show light same thing again i'll be and you can see that if you want to just stick with the print emulation the negatives you can just see how the colors pop in a really simple way in a really you know custom way based on the film so we can just play with intensity going on the odt where this one i might go with the kodak okay really really cool let me with the print option stick with the same one look how colors pop out and that's us everything that we got there five seconds to make this and it really is incredible and the same thing show light blah blah blah we can help the same thing just you just have to read what you got from the parade and from obviously the vector scope and just interpret it okay interpret it and help it okay and again same thing i want to help the highest areas but at the same time preserve what i got there a bit more on the magenta side and on the darkest area i just want to be a bed down and maybe a bit cooler or warmer let's set it up on the mid zone okay we might we know something around but i want to go on the next clip because this is big okay so by the way you got it okay few tricks it just has to help the look this already there and don't mess too many things around next one will be this one okay this is a big one because when i dropped this in my color reading mask because tons of students were like everything it's so blue i can make this you know okay normalize this okay i'm just gonna bypass for this one look designer i will do it all by myself the odyssey was just transcoding so i'm not selecting printing options and things around okay and the negative started not selected so people here were like everything is so blue so let me contrast this a bit everything gets so blue how can i you know make everything natural and that's the point of this video you don't have to if the image has been shot in this way and the colors are in this way if the director didn't say to you something like you know we shouldn't have shot this in this blue color you you might say to him so so why you you do that might have been a problem they might not maybe the rgb were broken and everything was stuck you know on blue and then okay you you just have to fix it but 99 of the time if the color is there it just have to be and stay there okay so you just want to read blues and say okay let's go on the opposite way and actually in this way it will be better doing this with the offset by the way let's go in the opposite way and as you can see start balancing things around and then do the same thing with the shadows and do the same thing with the with the left okay but that that's that's not the point what you don't want to do it's exactly this so you just want to peek things around and just cancel what were there you want to help it so again there crank up the contrast a bit the p that and that's a problem that tons of you guys got when they when when you start you know color grading you think that you have to overdo things around most of the colorists don't even touch the gamma will they just have to crank down few things in order to make it appear edited as intended to be and stop nothing more even there might say that we might have done another window here power window here and just isolate the center situation from the rest of the image invert it just crank this down a bit nothing more the look is there you just don't have to overdo things around and i'm really pissed when i see all you know look recreation that's that's not the mindset that you gotta have you don't have to think about shooting whatever you do we'll do the interstellar look in post no that's not as it is interstellar were in this arrow because it has been shot in that way and then the colors of the look it helped the look he worked in order you know to make the look proper that's the fact okay so let me make a pearl and in this parallel i'll be actually cranking a bit up the upper part [Music] and so as you can see it's just about helping it and that's where you want to go okay a really strong note 3 that it's working and that it doesn't have to let you make too many things around but just helping what already is there last one to let you understand this thing will be really big so uh john wick like scene that i made for my colorway for my cinematography masterclass uh two years now i might say same thing i want to deactivate the whole lot i just want to create a parallel there too when i crank down the gain so look what i have to do here i'm going to crank down the gain i'm going to crank up the contrast a bit up the left i don't want to break this or better a bit up the shadow okay and look at this i said already that also bad few points warming the p-value more contrast and guys here we got it we got look it's already there view moves around to make everything stand still everything that we already got stencil where it is we want to help it okay let's do it what we got here we got cyans so that's on the midpoint we got those really strong arrows on the oranges side so let me crank the pivot a bit on the opposite side let me go on the camera go a bit on this side inside let me take the gain and going a bit on this orangey side maybe too much just a little touch like this and with the lift or better i'm okay with the darkest areas but with the shadow i might clean it up just a touch in this way here it is a few tweaks to help it and yeah maybe maybe they're another window a little curve adjustment again guys when i do those tricks with the curves it's just to those tricks those moves there are no tricks with the curve just to make it quicker for you again ignite it a bit it's even too strong by the way here so i'm not putting this way and feather it out even more like this and there you go so guys that's the key point when you got a image that it's working and that already got a cinematography inside it you just have to help it you don't want to mess around too many things you don't want to make extra things if you don't need to okay and again i use look designer here or went by my hand you know as i i felt this you can do it in the same way with look designer by the way you got a discount code down in the description on this video or you can just go with the color space transform okay really really simple and again as always you can split those things in groups so you can just be super organized this time we haven't been making too many uh things around too many masks too many things because we don't need to and again this video was about creating clicks with images that already talk to you that already got cinematography we will be talking about you know image that doesn't have you know specific emitters or specific lights or a specific cinematography because here we got a specific cinematography and we are talking about that about helping that about helping the look but stick with me and stick with this singular fact you should a you are and you will be working 99 of your time in your life with clips that are there for a reason and you have to respect that thing you have to respect cinematography you have to respect it the season the artistic decision why i think it's there why that color is there why he's dressed up in this way with these colors okay that all makes sense if you have an image that it's working let it work okay don't overdo things around that's the first rule okay thanks again for being here so guys hope you liked the video hope this triggered something new even because there is a lot of misunderstanding behind the look recreational look creation on look stuff things around youtube so be ready to hear from the production to read the image to talk the director talk to the ep talk to whatever had done the image do your interpretation on the mood and create something beautiful until the next time oh and wait a second again uh on november 7th color grading and advanced green mascaras doors shut down forever i said before these mass cases will be available just for my students and for the ones that will join till november 7th these courses will remain asked if just for the students that are joining in right now and after number seven they will be closed permanently because after two years of these two masters i'm looking forward on new things and i'm gonna create new exciting stuff and actually want to maintain some exclusive things for all you by the way all the links are below everything you need is below until the next time be brave and make it better

Channel: Filippo Cinotti

Views: 787

Keywords: cinematic look, cinematic look davinci resolve, cinematic look in davinci resolve 17, cinematic look premeire pro, cinematic footage, cinematic look davinci resolve 16, cinematic lookbook, cinematic look after effects, cinematic look video, cinematic look in davinci resolve, cinematic look premiere pro, cinematic look photoshop, cinematic look lightroom

Id: Zq3MTV6WEv4

Length: 24min 27sec (1467 seconds)

Published: Fri Nov 05 2021