It should be noted that where you place your film grain in a digital emulation that any spatial effects or blurs, smooth power windows or even lightening and darkening of secondaries, should be done before the grain node. All of the if done after the grain node will impair the grain. I personally wouldn't have the grain before any look lut either, but that's an subjective call. If you want to test this, just turn the "grain only" check box on and try some power windows and blurs etc. on nodes after it and take a good look at the grain. It will look terrible. The last CST is an exception, but everything else in my opinion should be done before the grain node in Resolve. We are doing visual emulations and it matters not how or when it appeared on film, because if your were doing a true emulation of the process, we would have grain on the first node and then do some printer lights and be done with it. Obviously we don't because we have the capability to change the camera footage and shape and finnish it to all kinds of different views to help tell the story.
Hi Jim! Thanks a lot for your in depth comment :) I do agree with you regarding spacial adjustments, secondaries etc I would usually place my grain layer after my power windows, blurs, spacial adjustments and clip secondaries. However my creative LUT or set of parameters would generally come after. Also I think that's totally subjective and that's how I personally like to go about it
Yes, remember when people used to just lay grain over their footage? What a nightmare. Makes zero sense. Grain is dependent on the nuances of the emulsion with color and how much light has exposed a given region of the celluloid. You need RGB separated with different parameters.
i dont like film grain. in fact i dont like any of those fake film artefacts. like halation , glow , geated wave and all those other stuff emulating the technical shortcomigs of film. its like a gimick no one really needs to me. i want a sharp clear image with great colors. after all its 2024 not 1954
I hear you and although those elements have become overused and overhyped recently, I think they have their place when used appropriately or sparingly. Digital capture with modern lenses is often too perfect and too sharp to some DOP’s, and just as the use of vintage lenses, grain, halation etc can help a little bit offset that
@@thedouglasdutton i understand that but to me making the image worse in purpose is not the solution. It makes no sense to me to use an arri only to degrade the image in post. I re cently watched the supernatural series they used film im the first seasons and it looked terrible to me. Then red cameras came into play, the image looked good but they added to much grain. A few seasons later the image was even better and much less grain was used. I see a trend using less qnd less of those things in modern filmmaking
You are fighting a tool dude. In some cases they help with the emotion/mindstate (think fight club with that projector jamming) of a character or even narratively. Personally I use small grain in some projects to increase the perceived detail and even sharpness. So yeah, it can be a gimmick or it can be helpful, is for us to decide
It should be noted that where you place your film grain in a digital emulation that any spatial effects or blurs, smooth power windows or even lightening and darkening of secondaries, should be done before the grain node. All of the if done after the grain node will impair the grain. I personally wouldn't have the grain before any look lut either, but that's an subjective call. If you want to test this, just turn the "grain only" check box on and try some power windows and blurs etc. on nodes after it and take a good look at the grain. It will look terrible.
The last CST is an exception, but everything else in my opinion should be done before the grain node in Resolve. We are doing visual emulations and it matters not how or when it appeared on film, because if your were doing a true emulation of the process, we would have grain on the first node and then do some printer lights and be done with it.
Obviously we don't because we have the capability to change the camera footage and shape and finnish it to all kinds of different views to help tell the story.
Hi Jim! Thanks a lot for your in depth comment :)
I do agree with you regarding spacial adjustments, secondaries etc
I would usually place my grain layer after my power windows, blurs, spacial adjustments and clip secondaries. However my creative LUT or set of parameters would generally come after.
Also I think that's totally subjective and that's how I personally like to go about it
Hi Douglas! Thanks again! Nice tip on how to get a grain texture file if you don't have one! Never thought of that ;)🙏
Nice, it adds character to the image if tastefully done 😎
Thank you! Cheers! 😉
Yes, remember when people used to just lay grain over their footage? What a nightmare. Makes zero sense. Grain is dependent on the nuances of the emulsion with color and how much light has exposed a given region of the celluloid. You need RGB separated with different parameters.
Awesome! Thanks again 😊
My pleasure!
Hello! When you add the matte, are you still leaving the Resolve Grain OFX node on? That is the only part that confused me...Great video!
I was expecting you to be selling the film grain thing but I was so impressed by your generosity when you taught us how to make it ourselves. Subbed😊
My pleasure 😉
I learnt a lot! Subscribed 🙏🏼
Glad to hear it! Welcome aboard 😉
Hi Douglas,
Thank you for the video. Any idea how this clip was shot to get such as beautiful effect?
Thanks again.
Hey Rajnesh! My guess would be slow shutter + controlled lighting with a dark backdrop. But perhaps our DOP friends could give us their input :)
@@thedouglasdutton Thank you, Douglas.
Encore merci... On retrouve vraiment le vrai " professionnalisme "
What are you doing to export renders in Prores 422 HQ?
i dont like film grain. in fact i dont like any of those fake film artefacts. like halation , glow , geated wave and all those other stuff emulating the technical shortcomigs of film. its like a gimick no one really needs to me. i want a sharp clear image with great colors. after all its 2024 not 1954
I hear you and although those elements have become overused and overhyped recently, I think they have their place when used appropriately or sparingly. Digital capture with modern lenses is often too perfect and too sharp to some DOP’s, and just as the use of vintage lenses, grain, halation etc can help a little bit offset that
@@thedouglasdutton i understand that but to me making the image worse in purpose is not the solution. It makes no sense to me to use an arri only to degrade the image in post. I re cently watched the supernatural series they used film im the first seasons and it looked terrible to me. Then red cameras came into play, the image looked good but they added to much grain. A few seasons later the image was even better and much less grain was used. I see a trend using less qnd less of those things in modern filmmaking
You are fighting a tool dude. In some cases they help with the emotion/mindstate (think fight club with that projector jamming) of a character or even narratively. Personally I use small grain in some projects to increase the perceived detail and even sharpness. So yeah, it can be a gimmick or it can be helpful, is for us to decide
U boring