#Fujifilm #fuji #xt4 #davinciresolve #davinci #resolve #colorgrade #kodak #kodak2383 #filmprintemulation
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Kodak's 2383 film print is something special. I do not think anyone would be willing to deny that fact. The color rendition and skin tones are just special. I have always loved the look I get from emulating this film print. There are a couple of ways to go about that. I have tried a good few. Here are a couple that I use at the moment.
First is by using the film print emulation LUTs DaVinci Resolve provides themselves. All powergrades and LUTs are available for download. Before continuing you should download those and have them ready to follow along.
When you download DaVinci you will get a preset set of LUTs with it. Some of those are film looks including the Kodak 2383. I have supplied you with a couple that I have edited to take the blacks all of the way to 0% IRE. The ones you get with DaVinci fade the blacks. If that is something you like then go for the ones you got with the program. Otherwise you will want to import mine. You will either need import mine for the powergrade to work or else you will have to update the LUT node to have the one you want it to have.
Getting to the powergrade. You will see that it has the same exact build as the last set of powergrades that I have supplied. I am reusing this design for all of mine going forward.
It is actually very simple what is going on. It is exactly the same as the ACEScct intermediate note tree but the Aces>709 composite(Which I'm realizing I mislabeled) node has the LUT after a conversion from Aces to Rec.709 color and Cineon Film Log gamma.
It is important to understand that DaVinici's LUT is expecting those two for it to work properly.
At the top I have instead of an Aces transform I use a normal color space transformation node. That way I can have it take in ACEScct, and AP1, then convert it to Rec.709, and Cineon Film Log.
As a side note, Cineon Film Log was made for when film was scanned into digital files Cineon Film Log would retain as much of the dynamic range as possible.
After the conversion I have one of my color shifting nodes that I use on all of my powergrades.
Then lastly the LUT node.
You will have to edit the gamma a bit. The LUT tends to make the image a little too contrasted and undersaturated in my opinion. But if you play with it you can get a great look out of it.
The other method is one I recently discovered. I am still playing with it to see what I really think about it, but so far it is another really solid choice.
The Colorist Factory has supplied a LUT of their design that converts Alexa Log C3 to Kodak 2383. I have created a powergrade for that conversion based on their tutorial on how to implement it.
For theirs the process is a bit different. Interestingly enough it does not convert the image, as much as it just shifts the image.
At the beginning we have a color space transformation node that converts the image to Log C3, that is going to serve as our intermediate for this powergrade.
Going to the output side, as you can see to the right, you have the LUT node before the conversion back to Rec.709.
This is the first LUT that I have encountered that does this. Typically a LUT will convert the image to Rec.709 entirely.
Maybe it was a way to leave more control in the hands of the colorist. It also, hypothetically, retains more detail and color quality than a full conversion LUT would.
In the last couple of days since I found the Colorist Factory's LUT I have been impressed with the quality. It feels like the image has more fidelity than DaVinci's film print emulation LUT.
This powergrade will work with any footage type in any gamma/color space because it takes advantage of DaVinci's color management for timelines. I you need a refresher, or do not know what that means, take a look at this article. It will explain it all to you.
I hope this was helpful. Thank you for reading.
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