Create Textural Depth with Depth Map

Grain is one of the key components of the film look but few things are more distracting than seeing clumps of film grain dancing around on the talent's face. One solution is to use the HSL qualifier to isolate skin tones and use the keyer to de-emphasize the grain. An even easier way is to... Continue Reading →

Create Textural Depth II

The viewer’s eye can be drawn to the subject in a number of ways. Two of the techniques employed here are color separation, achieved through split-toning, and obscuring the surroundings using a mask and reducing brightness. Another approach is to create textural depth by accentuating the texture in cooler, darker backgrounds while de-emphasizing grain in... Continue Reading →

Create Textural Depth!

During an appearance on Cullen Kelly’s Grade School, the brilliant colorist Jill Bogdanowicz revealed a secret to accenting texture without it looking over-processed. While working on Joker, the colorist used Live Grain - which separates out the red, green and blue channels, creating grain that resembles scanned film - to accentuate texture in the cooler,... Continue Reading →

Not A Grade Reveal!

A few caveats: first, the original footage was green and overexposed; secondly, we didn't use the recommended DaVinci Wide Gamut; and lastly, as we do all of our grading before the LUT, the original footage looked nuts when we removed the LUT for the grade reveal, so we normalized it for the video. https://youtu.be/3Bv3RUGbwEc

Cullen Kelly’s Kodak 2383 LUT + DL

The aggressive compression algorithms of streaming platforms destroy grain, which is why we don’t upload videos with grain to YouTube. Instead, we’re offering subscribers the opportunity to download clips, allowing you to view the picture as it was intended. We recommend throwing the movie on the timeline of your favorite NLE, setting the project to... Continue Reading →

Grade Reveal & Download with Grain Added

This video is the culmination of the many changes we've made since around the time we switched over to P3-D65 - some tiny, some significant - from shooting S-Gamut3.cine rather than S-Gamut3, avoiding yellow in the false color guide of the Ninja V for anything but specular highlights, monitoring with video levels instead of full... Continue Reading →

Dehancer 5.3 Improved Grain

With update version 5.3, Dehancer introduces significant changes to the Film Grain tool: 1. The dependence of the optical resolution on the resolution of the timeline has been fixed. Now with a timeline size less than 4K the image no longer has a blurry look, and the maximum value of Film Resolution = 100 provides full detail... Continue Reading →

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