Film emulation software ...ColorVision? Just work throug Davinci?

[Stacey Spears]

I find it interesting, and I guess odd, that one would want to make their content look like a particular film stock. Maybe it is a comfort zone thing? I fully understand the idea of going for a look that you liked from something else, but trying to emulate the film stock just seems odd to me. Then again, I have seen plenty of people ask for LUT that would make a RED look like an Arri.

And use color charts on set so you know what was shot and have a known reference as a starting point.

What would be the ideal chart to use in your opinion? Does one exist that gives you all the information you could ever want to create the perfect grade? If not, what would you like to see on a chart that could be captured at the head of every shot? I would like to get the "perfect" chart myself.

 

[fred gasc]

I To me, a multi-node correction is a better deal because then you can change separate parameters at different stages and have more control over the effects. Too often, a LUT slams the image too hard, and I think you need something much more subtle most of the time.

In truth, for that, you need a good colorist.

Bingo!
I have a collection of hundreds of luts and
99% are the same story.
First there is absolutly no consistency in the
Sense that for a same film stock emulation,
Not 2 are the very same. So those should be named LOL (look-like) instead.
Then there are generaly not subtle.
Also I ignored that LUTs could be "suitable" or not for 16 bit float. (if someone could explain that ?).

As a result of their impact on the image,
In LW for ex I can apply luts with a % amount, but even so I have to put a CC node
Before and after.
Also found critical a color temp node.
So in the end it's like a spund tech with sliders, playing
With all the nodes to obtain a look that is not vulgar
Or overdone. Time consuming, better used to learn
How to color.

So in the end, I don't know if it's not better being good at color or give the job to a colorist. Color science is complicated. I'm
Currently on it and it's not a joke to be good
At it.
Because in the end, those look luts are unpersonal because the neighbour also uses the very same ones.

I remember read an article on how they did the 2 strip technicolor on Aviator. And this is really a
Hard work.
But now we are inundated of footage that try to
Emulate film and they all look the very same.
Nothing better than a personal touch IMO.

 

[Marc Wielage]

What would be the ideal chart to use in your opinion? Does one exist that gives you all the information you could ever want to create the perfect grade? If not, what would you like to see on a chart that could be captured at the head of every shot? I would like to get the "perfect" chart myself.

None are perfect. I've used just plain grayscale charts in a pinch, and at least there I know I can neutralize the image and come up with real black and real white. I like the theory behind the DSC charts quite a bit, and Dave Corley (who runs the company) is a very bright guy who is very committed to making the charts as accurate and usable as possible.

http://www.dsclabs.com/

I have been able to come up with reasonable camera log -> Rec709 "normalizing" corrections that I typically use as PowerGrades, just using curves and primaries, and they generally work just fine. I use the manufacturer's settings as a starting point, then fall back on my own grade just to get a little more range. "Perfect" grade ain't gonna happen, but getting something that makes the client happy and makes the most out of the footage is the goal.