You only need your output color space to be Rec709-A. The timeline color space will influence the way that different grading tools affect the image, so it's best to work in a wide color space (such as Davinci wide gamut intermediate).
yes! thanks to the others who have commented I have been playing around with it and have managed to follow the workflow you described and got the colors I wanted. I prefer Davinci but couldn't get past that hurdle. I've applied that workflow on my subsequent projects and have been pleased with the results! So, thank you for commenting that!
But if you change the timeline color space in the settings to DWG some of the feature like exposure wheels don't work the right way. Try to increase the exposure and you will see the black pixels around the brightest part of the image. You do not see this using Rec709 timeline color space or Rec709-A.
Jarek, if you're talking specifically about this film emulation, there's a setting in the halation part where the clipped whites are marked with black.
@@CiprianTrip you mean the GAM limiter inside the Halation node? I’m not using DaVinci so I do not remember clearly. Additionally I see the problem in the first CST node - in the first top line of the node tree. Originally it converts the camera source to Arri. But the CST converts input color space: use timeline invested of Sony S-gamut3Cine for example. It should be S-gamut3-Cine Slog3 not rec709 slog 3 to sth…
Not sure if this is correct, but if you're shooting in a profile that's not included with the power grades, you can change it in the "To LogC" node. Right click it, show compound node and click on the first node "To Linear". This will bring up the color space transform. Now just change the input gamma to whatever color space you're using. This has worked for me since slog2 wasn't included in the power grades. Again not sure if this is correct, just discovered it randomly clicking through the nodes one day.
Hey man thanks for the video, lovely grading process! I am not a pro at all, but if you enable the Cineon node, you have to disable the print node :) Otherwise it destroys the grade!
@@Basonfuji you know, you are so right lolol I was watching another video on CinePrint 35 (never not watching color grading vids) and I noticed that’s exactly how it’s supposed to work🤣
I think the cineonout is another look u can use. enabling that without printout on is how you monitor the look. you can use either printout or cineonout for your look. but not both of them at the same time.
oof that is a good question.. i believe you need the paid version of Davinci. When using the grain and the halation node I am able to manipulate it within Davinci using their native tools so I assume that Cineprint is also using Davinci's native tools as well
@@sachinshetty16 thanks! i’m not sure what the technical difference is but the proxies are a much more compressed version of the originals and allow for a much easier time when editing because the playback can go smoothly. On my mac, the 6k raw can take a toll eventually!
1:30 He actually just came out with an update a couple days ago adding support for normal Fuji F-log, DJI, and some other Canon profiles. Got an email about it. Free update for existing users
love the shots, one thing I've been experimenting with is using the new resolve beta film look creator as a print, gives me good results and can be easily tweaked
i have been trying my hardest to get the new resolve beta but i haven’t been able to download it😫 i decided i would just wait for it to get released for GA. but i have heard of that and am excited to play around with that!
Since you use Rec.709-A for your project settings, I was wondering if you also select "Use Mac display color profiles for viewers" and "Automatically tag Rec.709 Scene clips as Rec. 709-A" in your general preferences? I apologize if you already mentioned this in the video and I missed it.
@@picklenpepper yo! he actually came out with an update for flog1! he either should have emailed it or it should be in the download if you bought it in the last couple of weeks
@@notdarrengarcia Lol last question. So in cineprint16 Tom gives you the opportunity to adjust the skin tones with the nodes in the "Den+Sub" node. Where would I be able to make adjustments to skin tones in cineprint35?
I personally prefer to do all my color grading on the HDR wheels, color management/wide gamut intermediate. This gives me the widest color space and the most image latitude. Can this work with CinePrint 35?
@@leebrandt8597 yes i believe so! i’ve been meaning to try wide gamut as well as that is what i was using a little while ago. i keep doing rec709-a for export because it keeps my colors accurate. if you get cineprint35 let me know how you export with wide gamut! i’d be very curious to see 😄
@@marcusjansson1769 i have it on all intra at 400mbps! i have always a preferred trying to squeeze the most out of it so i will more often than not deal with the bigger file sizes
@@marcusjansson1769 for the XT4 i actually used cineprint16! he recently came out with an update for cineprint35 where it now supports f-log but i haven’t messed with it enough. off rip, the colors look a bit funky so i will for sure need to mess with it mlre
@@thai.188 yeah for sure! i’m using the base model of the Macbook Pro M1 Pro line. i think it’s a few years old now but it works great! i think if you’re looking to upgrade, anything with the new M1(M2, and M3 as well) will do you good. The only thing I would change about mine is I should have gone a bit more on the RAM portion so if you can afford that, i would definitely add that on as well.
Awesome video!! Hey I noticed you used some other tools you said you purchased like the lens blur and vignette. Do you mind sharing where you got those. Thank you 🙏🏻
@@SalBenavides yeah totally! i got those from another guy who does emulation stuff. look up “mononodes” on google and it should take you to his stuff! i got a bundle and i believe he has quite a few other things
@@JoeyHowellArt i like it a lot better. cineprint 16 was/is amazing but the refinement of cineprint 35 is really clear. he halation looks better and the overall colors look amazing. i will still use cineprint 16 in the future but for most cases cineprint 35 is more than likely what ill use. plus the new cineprint 35 also comes with 16mm versions so it covers a lot of ground!
@@JoeyHowellArt yeah! i add some more nodes to do certain things within the grade. now, if i am placing them in the correct spot that is what im unsure of lol😅 but you definitely can!
Hey There, Do you know what a color space transform is? You seamed unsure about it at the beginning (i did not yet look at the whole video at the time of the comment)
@@mariuswickli3206 hey! yeah i know what it does but technically speaking not too sure. a color space transform allows the nodes following to use the color space that your camera is in. previously when using CinePrint 16 i would use a color space transform to color grade in my Fujifilm’s color space to grade properly. The information should be available for your camera either on the company sight or somewhere on Google!
@@notdarrengarcia I'm familiar with CSTs! You mentioned that the Grading preset only exists for the the Fuji Log2 and your camera only records log1. You can easily trandform your log1 into log2 (if both are available in the CST Settings, i'm not sure as i don't use fuji). Although this will not give you the flexibility of the Log2 it should still work with the grading preset you use :D
hey! for this you would need to adjust the CST accordingly. I don't have my computer in front of me but if you open either the "LOOK" or "PrintOut" node it should have a CST you can adjust in there
![The Wall Song ร้องข้ามกำแพง | EP.215 | พาเวล นเรศ - พูห์ กฤติน | 17 ต.ค. 67 [1/5]](http://i.ytimg.com/vi/IUzrjuf60P4/mqdefault.jpg)
You only need your output color space to be Rec709-A. The timeline color space will influence the way that different grading tools affect the image, so it's best to work in a wide color space (such as Davinci wide gamut intermediate).
yes! thanks to the others who have commented I have been playing around with it and have managed to follow the workflow you described and got the colors I wanted. I prefer Davinci but couldn't get past that hurdle. I've applied that workflow on my subsequent projects and have been pleased with the results! So, thank you for commenting that!
@@notdarrengarcia great tutorial btw!
But if you change the timeline color space in the settings to DWG some of the feature like exposure wheels don't work the right way. Try to increase the exposure and you will see the black pixels around the brightest part of the image. You do not see this using Rec709 timeline color space or Rec709-A.
Jarek, if you're talking specifically about this film emulation, there's a setting in the halation part where the clipped whites are marked with black.
@@CiprianTrip you mean the GAM limiter inside the Halation node? I’m not using DaVinci so I do not remember clearly. Additionally I see the problem in the first CST node - in the first top line of the node tree. Originally it converts the camera source to Arri. But the CST converts input color space: use timeline invested of Sony S-gamut3Cine for example. It should be S-gamut3-Cine Slog3 not rec709 slog 3 to sth…
Not sure if this is correct, but if you're shooting in a profile that's not included with the power grades, you can change it in the "To LogC" node. Right click it, show compound node and click on the first node "To Linear". This will bring up the color space transform. Now just change the input gamma to whatever color space you're using. This has worked for me since slog2 wasn't included in the power grades. Again not sure if this is correct, just discovered it randomly clicking through the nodes one day.
@@soupersketchy woah! nice! tbh you’re probably right. that sounds like the exact thing to do
I’m glad TH-cam recommended this to me!! Just started using the new version and I see someone else from San Antonio using it too! Super dope!
@@ericreyna1284 210!! dude thanks for watching! you’ll have to hit me up if you ever need a hand on a project or something 😄
Great video, the EXP adjustment blew my mind, not gonna lie. Wow!
@@lucasjames8181 oh man that’s awesome!! i’m glad i was able to help!😄
Just FYI when you enable cineon youre supposed to disable the the printOUT because its a different kind of film stock for a different look
@@liamhewitson417 yeah! someone else also pointed that out and i’m very thankful for it🙏🏽
Yes ,I was about to say this..
Hey man thanks for the video, lovely grading process! I am not a pro at all, but if you enable the Cineon node, you have to disable the print node :) Otherwise it destroys the grade!
@@Basonfuji you know, you are so right lolol I was watching another video on CinePrint 35 (never not watching color grading vids) and I noticed that’s exactly how it’s supposed to work🤣
@@Basonfuji thank you thank you🙏🏽
I think the cineonout is another look u can use. enabling that without printout on is how you monitor the look. you can use either printout or cineonout for your look. but not both of them at the same time.
well said buddy! this is the simplest explanation I got about grading CinePrint! cheers 🥂
@@hatemwalid thanks!!! i tried my best🤙🏽😄
Hi how do you find the shots that you use in this video ? You shoted them yourself or got them on the web ? Great video
Great stuff, thanks for the breakdown man!
@@watzmaaname sure thing! i hope it helps!😄
Hey boss quick question: could I use cineprint with the free version of davinci or would I have to pay for it ?
oof that is a good question.. i believe you need the paid version of Davinci. When using the grain and the halation node I am able to manipulate it within Davinci using their native tools so I assume that Cineprint is also using Davinci's native tools as well
Great video! I'm thinking if I should purchase the cineprint35 and this came up. Thank you for the detailed explanation. Subscribed
woah! i’m glad i was able to help!! the emulation is great😄 thanks for stopping by!
Great breakdown..What difference it makes in choosing between proxies and camera originals?
@@sachinshetty16 thanks! i’m not sure what the technical difference is but the proxies are a much more compressed version of the originals and allow for a much easier time when editing because the playback can go smoothly. On my mac, the 6k raw can take a toll eventually!
Nice Job! I haven’t use CinePrint but it looks great!
@@fujicinema thanks a ton!😄
1:30 He actually just came out with an update a couple days ago adding support for normal Fuji F-log, DJI, and some other Canon profiles. Got an email about it. Free update for existing users
@@chasefilms8860 yo!! that’s huge! thanks for letting me know👏🏽
love the shots, one thing I've been experimenting with is using the new resolve beta film look creator as a print, gives me good results and can be easily tweaked
i have been trying my hardest to get the new resolve beta but i haven’t been able to download it😫 i decided i would just wait for it to get released for GA. but i have heard of that and am excited to play around with that!
Since you use Rec.709-A for your project settings, I was wondering if you also select "Use Mac display color profiles for viewers" and "Automatically tag Rec.709 Scene clips as Rec. 709-A" in your general preferences? I apologize if you already mentioned this in the video and I missed it.
@@haha_dats_funny no worries! i actually do have those settings enabled as well! i’ve seen other recommend it so i tried/do it myself too
im using FLOG1 where do you put the CST node, help please hehe. Any info is appriciated. Love your stuff!
@@picklenpepper yo! he actually came out with an update for flog1! he either should have emailed it or it should be in the download if you bought it in the last couple of weeks
Bro I’m 2 minutes in and this clip looks amazing
@@TheAdeSeun yo!! thank you so much!!😆
@@notdarrengarcia For sure! I wanted to ask, how do you rename the power grade?
Nevermind! I figured it out!
@@notdarrengarcia Lol last question. So in cineprint16 Tom gives you the opportunity to adjust the skin tones with the nodes in the "Den+Sub" node. Where would I be able to make adjustments to skin tones in cineprint35?
@@TheAdeSeun i think you right click on the grade itself? im not too sure! i know it’s a similar process for the stills you would grab from the clip
I personally prefer to do all my color grading on the HDR wheels, color management/wide gamut intermediate. This gives me the widest color space and the most image latitude. Can this work with CinePrint 35?
@@leebrandt8597 yes i believe so! i’ve been meaning to try wide gamut as well as that is what i was using a little while ago. i keep doing rec709-a for export because it keeps my colors accurate.
if you get cineprint35 let me know how you export with wide gamut! i’d be very curious to see 😄
@@notdarrengarcia My output is Rec 709 2.4
Great, Can i know the Price of CinePrint 35. and how to get it?
yeah you can get it at Tom Bolles website! if you google Tom Bolles it should take you to his website
where can I download that emulation?
@@rangdy4936 look up tom bolles on google! he is the one that made this emulation😄
what settings did you have for your X-T4? love the vid
@@marcusjansson1769 i have it on all intra at 400mbps! i have always a preferred trying to squeeze the most out of it so i will more often than not deal with the bigger file sizes
@@marcusjansson1769 and i also shoot in log and i usually expose 1.75 stops over
Thx mate❤
Did you use cineprint on the x-t4 content aswell or your own colour grading?
@@marcusjansson1769 for the XT4 i actually used cineprint16! he recently came out with an update for cineprint35 where it now supports f-log but i haven’t messed with it enough. off rip, the colors look a bit funky so i will for sure need to mess with it mlre
What kind of macbook are you using? I want to upgrade my laptop because my current laptop using davinci is very laggy.
thanks
@@thai.188 yeah for sure! i’m using the base model of the Macbook Pro M1 Pro line. i think it’s a few years old now but it works great! i think if you’re looking to upgrade, anything with the new M1(M2, and M3 as well) will do you good. The only thing I would change about mine is I should have gone a bit more on the RAM portion so if you can afford that, i would definitely add that on as well.
i think Apple calls it unified memory? it will just help the computer process multiple tabs at the same time
@@notdarrengarcia thank you very much bro 🙏
@@thai.188yessir, i got you👏🏽
Hey nice grade ! Where can we get these powergrades ?
@@airbreaker thank you! here’s the link! www.tombolles.net/cineprint35
@@notdarrengarcia i have a lot of blue with it ahah
Awesome video!! Hey I noticed you used some other tools you said you purchased like the lens blur and vignette. Do you mind sharing where you got those. Thank you 🙏🏻
@@SalBenavides yeah totally! i got those from another guy who does emulation stuff. look up “mononodes” on google and it should take you to his stuff! i got a bundle and i believe he has quite a few other things
@@notdarrengarcia
Thank you my friend. I’ll check him out.
How do you like cineprint 35 compared to cineprint 16?
@@JoeyHowellArt i like it a lot better. cineprint 16 was/is amazing but the refinement of cineprint 35 is really clear. he halation looks better and the overall colors look amazing. i will still use cineprint 16 in the future but for most cases cineprint 35 is more than likely what ill use. plus the new cineprint 35 also comes with 16mm versions so it covers a lot of ground!
@@notdarrengarcia can you input your own nodes for color separation and masking?
@@JoeyHowellArt yeah! i add some more nodes to do certain things within the grade. now, if i am placing them in the correct spot that is what im unsure of lol😅 but you definitely can!
Hey There, Do you know what a color space transform is? You seamed unsure about it at the beginning (i did not yet look at the whole video at the time of the comment)
@@mariuswickli3206 hey! yeah i know what it does but technically speaking not too sure.
a color space transform allows the nodes following to use the color space that your camera is in. previously when using CinePrint 16 i would use a color space transform to color grade in my Fujifilm’s color space to grade properly. The information should be available for your camera either on the company sight or somewhere on Google!
@@notdarrengarcia I'm familiar with CSTs! You mentioned that the Grading preset only exists for the the Fuji Log2 and your camera only records log1. You can easily trandform your log1 into log2 (if both are available in the CST Settings, i'm not sure as i don't use fuji). Although this will not give you the flexibility of the Log2 it should still work with the grading preset you use :D
@@mariuswickli3206 ohhhh I did not think of that! I’ll have to give that a try! Thanks🤘🏽
Damn
why would you shoot in rec709???
@@apocryphal_man the footage is shot in BRAW! if you’re referring to the timeline stuff that’s because it helps keep the colors consistent on export
578 😉
Slog2 user…. Help please
hey! for this you would need to adjust the CST accordingly. I don't have my computer in front of me but if you open either the "LOOK" or "PrintOut" node it should have a CST you can adjust in there
@@notdarrengarciathanks 🙏🏾