Dude is chilling here with just over 10k subs while providing the best color science modern technology has to offer without being a multimillion dollar corporation. Please keep blessing us!
this is cool - something that really helps here is how you shoot for the film look. good wardrobe, hard sources (a lot of tungsten) and set design. not to discredit the emulation work, it's great, but that's just the final puzzle piece. you're really good at the stuff that most people forget.
This is amazing! I actually hopped to your website earlier today out of curiosity and saw some of this. I was very close to emailing you asking if it had been formally released. Can't wait to give this a whirl and would love to hear more about the process into making it.
Hi Tom, huge thanks for this plugin, I just purchased it I can't wait to test it! I wanted to know which emulation is used on the footage at 0:58 ? I've been looking for this look for months... so beautiful
Great stuff, looking forward to using it, after enjoying cineprint16 a lot! One question - are those shots at the beginning all digital+cineprint35, or are there some real film shots in there?
Superb, great work Tom! And thanks for the music recommendation goes on my Spotify list definitely. Ps. Great vibes in your intro scene. I loved all the small details you got there (broken glasses) and everything else 'period style' vibes. Props,, costum and set design is hugely part of the colorgrade work, always.
Tom I love your work from the beggining! One question i shot with my Samsung S24 what do you recommend put in the Cam Prep, because the colors in the CST node I see too saturate and high contrast image! Thanks for all your work!
Tom, congrats on the launch! I saw on the website that you also created a LUT for non resolve users! Could you maybe make a video on how to use the LUT on different editing software or how you would use it in different scenarios? Definitely plan on picking up both the powergrade and LUT! Thanks!
Just the same as any log to display/look LUT. Any additional adjustments you make to the look should be done on the log image prior to / “under” the LUT
Amazing work Tom, loved what you did with CP16! Can’t wait to try this new emulation out
3 หลายเดือนก่อน
Thanks Tom, amazing film emulation as always. Can you tell me how the OSMs differ from the LUTs pack? I'm not sure if I'm suppose to get both packs or if that would be redundant. Thanks again.
Hi Tom, I checked out the link to the new product page - in the future I'd love to see any examples of what footage might look like straight out of a Fujifilm! I just got the XT-5 and am excited to try it with your CinePrint 16 which I have & am curious how the 35 would look different.
I have a question, why does the intro sequence have blue looking so out of gamut in it? Was it due to the LED lights or due to the emulation? Maybe need a node to compress the colours before the emulation? And in 4:03 the shot with lady laying on the grass, the blue tones from the cool skylight on her skin doesn't seem to transition well with her skintones, looks a little blotchy to me. Is it just me or other people seeing that as well? But kudos to you Tom, that's a decent look you're cooking here.
So that saturation response is how film actually sees high saturation blue: www.tombolles.net/blue-fuji-emulation-gamma-shift The main issue is the way in which TH-cam's gamma shift affects the shadows When you go down the rabbit hole of gamma 2.4 vs gamma 2.2, viewing content in dim vs bright environments, and how our human vision & perception of contrast changes, it gets quite complicated. Ultimately it comes down to choosing what viewing environment you want to optimize for because you can't optimize for everything. I personally choose to deliver Rec.709 Gamma 2.4 to TH-cam and let the gamma shift adapt my content for better viewing in bright environments & against white webpages. Some colorists preach the same, while some prefer adding gamma compensation to prioritize dark viewing environments. You simply can't optimize for all viewing environments. It's also other variables stacked on top of each other. I chose to shoot with high saturation blue lighting at an already cool white balance, and if you watch the adjustments I made while grading, I ended up making creative choices for skintones & general shadow response that pushed the blues even further as a side effect. So it is certainly at the extreme edge & stress testing the look. If that's something you would want to scale back to taste prior to the emulation, you could certainly do so. As far as 4:03, maybe some of what you're seeing is compression artifacts since TH-cam doesn't like grain. There are higher quality stills of that shot on the CinePrint35 page. If you scroll down you can see a comparison to Rec.709.
I was going to make this exact comment. I think you made an excellent job here but the two examples that was pointed out is a little bit concerning.. its like the blues have a bit too little luminescence to them? Is this specific part of the emulation easily adjustable if i get the power grade? If it is, in what specific node could i make this change? Thank you!
Im not arguing its something wrong with the powergrade, im just wondering if there were any sollutions to the gamma shift.. is it just a matter of exporting it to 2.2 in the output or have it transition somewhere in the node tree?
@@tjena the blues are meant to be dark in the intro sequence, just that they are highly saturated with a lack of tonal detail, so it looks like it is out of gamut kinda feeling. He said it was a creative choice . I suppose you can find DCTLs sold online that allows for clean shifts of hue colour with compression controls and achieve a smoother tonal gradation? I think you will have to compress/shift the hue prior to the Powegrade of the CinePrint35. As for the other image I asked about, I’ve seen the image on his website, yes TH-cam does make it worse, but I suppose the noise from the braw from pocket 6k pro with the added grain amplifies the issue in the blotchy look to the cool shadows, but some of the colour variances are already present in the original footage without the powergrade. His powergrade might also be quite precise with the shift in colours, so I suppose this kind of skin tone issues has to be fixed in the grading process where you clean up the skin tones with a bit of hue compression. Just sharing my view, maybe Tom will have a better explanation.
@@TomBollesWhat portion of this blue appearance in the sample you linked is a result of the post processing (IE the 2383 viewing LUT)? I'm curious how the original scan looked.
My goat is back. Are you doing all of this with the color correction tools in Resolve or are you baking in 3D "film matching" luts that you made outside of Resolve? Resolves native tools aren't really made for look creation so I was wondering if there's special Tom Bolles math under the hood. This looks really good though, I'm thinking of doing something similar myself.
That looks amazing? How does the cineon output look? One big complaint i had about the previous cineprint 16 were that it's cineon output was still very over saturated and contrasty vs a real film scan, an accurate print emulation is amazing of course but I'm personally more interested in how closely the cineprint 35 can match the scanned cineon output of these filmstocks!
I love the video, but also, as a filmmaker who love fujifilm stocks, in my future career, In almost all of my films projects, one way or form, I want to included emulations of almost every fujifilm film stock, from 64D to 500D, maybe even asking fujifilm themselves to return to cinema, by reviving their stocks, by certif. emulations luts by them & maybe even doing a film print of a movie, both 35mm & 70mm fujifilm prints, a dream goal of mine, sounds challenging but never impossible, and it seems that you might be the one to potential do so, so yeah...
I want the davinci powergrade and also the Vlog lut for the s5ii real time lut feature. Do I also get Panasonic vlog LUTs in the davinci 68.99$ version? Or do I also need to buy the 44.99$ pack to get the lut?
What do you say to the emulation workflow provided by filmconvert? If you used it I am curious to know your thoughts or tips on making the best of it 🙂
It's not possible on other editors. Only Resolve supports powergrades. Other editors would need a software plugin, and the guy is a color grader, not a software engineer.
Despite your incredible work with the color emulation, something about the footage still looks digital, seems to be the sharpness or something like that.
![“อาร์ต พศุตม์” เกือบเอี่ยวทุกคดีดัง เอ๊ะไว้ก่อน ไม่มีอะไรได้มาง่ายๆ | แฉ 16 ต.ค. 67 [2/3] | GMM25](http://i.ytimg.com/vi/0Gx-0-kUBv8/mqdefault.jpg)
you're an absolute genius.
A legend recognizing a legend!
No u 🫵
Dayummm
Dude is chilling here with just over 10k subs while providing the best color science modern technology has to offer without being a multimillion dollar corporation. Please keep blessing us!
this is cool - something that really helps here is how you shoot for the film look. good wardrobe, hard sources (a lot of tungsten) and set design.
not to discredit the emulation work, it's great, but that's just the final puzzle piece. you're really good at the stuff that most people forget.
I bought an cineprint 16 in 2021 and since then I used that a lot in my projects. Such a gem! Thank you, Tom.
Hope to see an Ektachrome version from you one day. ❤️🙌🙌🙌
Less then 12k subscribers and giving us some god tier luts for a damn good price. So excited to check these out thanks for the hard work!
This is amazing! I actually hopped to your website earlier today out of curiosity and saw some of this. I was very close to emailing you asking if it had been formally released. Can't wait to give this a whirl and would love to hear more about the process into making it.
Common Tom Bolles W. Incredible work sir
question: i bought cineprint 16 v2, how is cineprint 35 different? thank you
Hi Tom, huge thanks for this plugin, I just purchased it I can't wait to test it!
I wanted to know which emulation is used on the footage at 0:58 ? I've been looking for this look for months... so beautiful
Great stuff, looking forward to using it, after enjoying cineprint16 a lot!
One question - are those shots at the beginning all digital+cineprint35, or are there some real film shots in there?
Tom is a legend
Amazing!! I cant wait to use these. I love your Cineprint 16’s
YOU'RE THE GOAT TOM
Superb, great work Tom! And thanks for the music recommendation goes on my Spotify list definitely.
Ps. Great vibes in your intro scene. I loved all the small details you got there (broken glasses) and everything else 'period style' vibes. Props,, costum and set design is hugely part of the colorgrade work, always.
Tom I love your work from the beggining! One question i shot with my Samsung S24 what do you recommend put in the Cam Prep, because the colors in the CST node I see too saturate and high contrast image! Thanks for all your work!
looks bonkers. the shot in the intro where you flick on the projector is so rich in color.
Tom, congrats on the launch! I saw on the website that you also created a LUT for non resolve users! Could you maybe make a video on how to use the LUT on different editing software or how you would use it in different scenarios? Definitely plan on picking up both the powergrade and LUT!
Thanks!
Just the same as any log to display/look LUT. Any additional adjustments you make to the look should be done on the log image prior to / “under” the LUT
Amazing work Tom, loved what you did with CP16! Can’t wait to try this new emulation out
Thanks Tom, amazing film emulation as always. Can you tell me how the OSMs differ from the LUTs pack? I'm not sure if I'm suppose to get both packs or if that would be redundant. Thanks again.
This is truly awesome. Gave me goosebumps! Beautiful work.
Bro you are amazing and like, just thank you... really impressive work and dedication to create the best colorgrading tools
Another Tom Bolles W!! So stoked to get my hands on this
Hi Tom, I checked out the link to the new product page - in the future I'd love to see any examples of what footage might look like straight out of a Fujifilm! I just got the XT-5 and am excited to try it with your CinePrint 16 which I have & am curious how the 35 would look different.
Thank you Tom for existing
Great work as always! Will be getting this without a doubt.
I have a question, why does the intro sequence have blue looking so out of gamut in it? Was it due to the LED lights or due to the emulation? Maybe need a node to compress the colours before the emulation? And in 4:03 the shot with lady laying on the grass, the blue tones from the cool skylight on her skin doesn't seem to transition well with her skintones, looks a little blotchy to me. Is it just me or other people seeing that as well? But kudos to you Tom, that's a decent look you're cooking here.
So that saturation response is how film actually sees high saturation blue:
www.tombolles.net/blue-fuji-emulation-gamma-shift
The main issue is the way in which TH-cam's gamma shift affects the shadows
When you go down the rabbit hole of gamma 2.4 vs gamma 2.2, viewing content in dim vs bright environments, and how our human vision & perception of contrast changes, it gets quite complicated. Ultimately it comes down to choosing what viewing environment you want to optimize for because you can't optimize for everything. I personally choose to deliver Rec.709 Gamma 2.4 to TH-cam and let the gamma shift adapt my content for better viewing in bright environments & against white webpages. Some colorists preach the same, while some prefer adding gamma compensation to prioritize dark viewing environments. You simply can't optimize for all viewing environments.
It's also other variables stacked on top of each other. I chose to shoot with high saturation blue lighting at an already cool white balance, and if you watch the adjustments I made while grading, I ended up making creative choices for skintones & general shadow response that pushed the blues even further as a side effect. So it is certainly at the extreme edge & stress testing the look. If that's something you would want to scale back to taste prior to the emulation, you could certainly do so.
As far as 4:03, maybe some of what you're seeing is compression artifacts since TH-cam doesn't like grain. There are higher quality stills of that shot on the CinePrint35 page. If you scroll down you can see a comparison to Rec.709.
I was going to make this exact comment. I think you made an excellent job here but the two examples that was pointed out is a little bit concerning.. its like the blues have a bit too little luminescence to them?
Is this specific part of the emulation easily adjustable if i get the power grade? If it is, in what specific node could i make this change?
Thank you!
Im not arguing its something wrong with the powergrade, im just wondering if there were any sollutions to the gamma shift.. is it just a matter of exporting it to 2.2 in the output or have it transition somewhere in the node tree?
@@tjena the blues are meant to be dark in the intro sequence, just that they are highly saturated with a lack of tonal detail, so it looks like it is out of gamut kinda feeling. He said it was a creative choice . I suppose you can find DCTLs sold online that allows for clean shifts of hue colour with compression controls and achieve a smoother tonal gradation? I think you will have to compress/shift the hue prior to the Powegrade of the CinePrint35.
As for the other image I asked about, I’ve seen the image on his website, yes TH-cam does make it worse, but I suppose the noise from the braw from pocket 6k pro with the added grain amplifies the issue in the blotchy look to the cool shadows, but some of the colour variances are already present in the original footage without the powergrade. His powergrade might also be quite precise with the shift in colours, so I suppose this kind of skin tone issues has to be fixed in the grading process where you clean up the skin tones with a bit of hue compression.
Just sharing my view, maybe Tom will have a better explanation.
@@TomBollesWhat portion of this blue appearance in the sample you linked is a result of the post processing (IE the 2383 viewing LUT)? I'm curious how the original scan looked.
Tim bolles deserves his trophies💥🥂
This feels like something machine learning would really excel at, I haven’t seen any attempts there yet. Very cool though!
Lets goooo been so keen for this since I started seeing creators trying it out!
Always the most incredible things from you
Excellent work Tom. I love your comment about Kieran appearing disappearing. Haha
Wait, wasn’t Slumdog Millionaire shot on digital?
Amazing work! Can't wait to use these
That's awesome Tom! Would love to see it compared to Fujifilm Eterna available on cameras!
Just a legend thank you!
Thankful for you Mr Bolles
Tom Bolles the OG in film emulation, I’ll always support
My goat is back. Are you doing all of this with the color correction tools in Resolve or are you baking in 3D "film matching" luts that you made outside of Resolve? Resolves native tools aren't really made for look creation so I was wondering if there's special Tom Bolles math under the hood. This looks really good though, I'm thinking of doing something similar myself.
That looks amazing? How does the cineon output look? One big complaint i had about the previous cineprint 16 were that it's cineon output was still very over saturated and contrasty vs a real film scan, an accurate print emulation is amazing of course but I'm personally more interested in how closely the cineprint 35 can match the scanned cineon output of these filmstocks!
This is incredible. Nice work!!
bro doesn't miss
I love the video, but also, as a filmmaker who love fujifilm stocks, in my future career, In almost all of my films projects, one way or form, I want to included emulations of almost every fujifilm film stock, from 64D to 500D, maybe even asking fujifilm themselves to return to cinema, by reviving their stocks, by certif. emulations luts by them & maybe even doing a film print of a movie, both 35mm & 70mm fujifilm prints, a dream goal of mine, sounds challenging but never impossible, and it seems that you might be the one to potential do so, so yeah...
Gotta call Christopher Nolan. He'll make it happen.
Well worked!
I want the davinci powergrade and also the Vlog lut for the s5ii real time lut feature. Do I also get Panasonic vlog LUTs in the davinci 68.99$ version? Or do I also need to buy the 44.99$ pack to get the lut?
you literally carry the internet with this
What do you say to the emulation workflow provided by filmconvert? If you used it I am curious to know your thoughts or tips on making the best of it 🙂
I’m so stoked about this !!!
Any chance you might look into reviving the Kodak 5247 look, as used in films like Back To The Future, Five Easy Pieces, etc
The best. I’m working on music video colored with this PG
This is amazing, thank you!
my coins... take them
Thanks Tom ❤️❤️🙏🏻🙏🏻🙌🏼🙌🏼
Are there any limitations using these in the free resolve version (non-resolve studio)?
Amazing 🙏🏼
This looks so good
That's Paula Rhodes!!!
Will there be a HDR version in the future ?
wowwwww this color is amazing
I want to know about the idt and the odt in ur film emulations.
Congrats bro 👏🏽👏🏽
Dumbledore of power grades
Beautiful my guy
How many monitors did you use to edit this video. My bet is on 6
This colour Science must be the new ' buzz ' word.
So so cool!
Can you provide RCM compatible Powerade?
Hackerman vibes
LogC4?
Awesome.
no more discount code Tom?
You're the man
hear me out...a Kodachrome lut? 🤩
So sick!
amazing
damn Arri deleted a whole ass person.
You didn't link the mentionned video in the description
Thanks for the heads up haha, doing that now!
This guy is my crush
Play the Fuji 160 on screen at the same time as your emulation. Don’t hide anything at all, whatsoever.
Is it compatible with slog2?
I am romantically in love with you. Incredible work, instant purchase.
woooo!
YES PLZ
This is incredible! You're the reason I study color science!
genius
wizard
You should offer us a discount for people who have bought your cine16 print
I got an email with a discount code and a nice thank you message for having the CinePrint16. Check your spam folder, it might be there.
Tom Bolles for president!
Still only Davinci?
It's not possible on other editors. Only Resolve supports powergrades. Other editors would need a software plugin, and the guy is a color grader, not a software engineer.
@@MSMImage there are 2 versions on the website. One has LUTs only for people who don’t use DaVinci.
There are LUT versions for use in other software
@@TomBolles could you link me to those? Would love to purchase.
@MSMImage they are available here:
www.tombolles.net/cineprint35/p/luts
11
dude couldnt even fix blue shift issue on 0:22 but selling best film luts ever! come and buy them
www.tombolles.net/yes-i-clearly-dont-know-what-im-doing
Despite your incredible work with the color emulation, something about the footage still looks digital, seems to be the sharpness or something like that.