the film look, with dehancer

Let's take a look at a clip that I think is a good first test. This is a situation that film would handle pretty well. Bright highlights out the window. Let's drag Dehancer onto this node. We're going to look through a lot of the features of Dehancer, but we're not going to look at every single feature. I'm going to go ahead and select our camera. You can apply Dehancer to Rec. 709 footage, and I did a lot of experiments with changing the footage to Rec. 709 first, and then applying Dehancer. But for now, we're just going to pick the camera in the settings in Dehancer. So I'm going to go to Choose Camera. This was on the Alexa. They just have Log C. So for the Alexa 35, because that's the only Alexa that doesn't use Log C, you may want to convert that to Rec. 709 before using this. So right off the bat, we have this look right here, which looks pretty good. So let's go through and look at a few of these items. I'm going to leave everything up here for now, and I'm going to start to look at our film profiles that we have here. I was experimenting with Ektachrome, and back in the day, I was liking Kodak Pro 100. 250D looks pretty good. So maybe we'll stick between Kodak 250D and Ektachrome. So we will continue to go down this list here. Film compression. This is something that basically kind of just brings your highlights back down. So you can see in the scopes, nothing's really happening in the bottom. It's just affecting the highlights, and you can see in the window and in her shirt right here, even her arm right here. So a combination of these settings will let you select kind of where you want the highlights to be considered. So I'm just going to go back to normal here, reset this whole thing. And that's pretty good. I might bring down the highlights just a little bit more. I'm going to leave this as is. And one of the new features of Dehancer, which is really great, is the print film emulation. So I'm going to go ahead and pop on 2383, and you can see what that does to our image. This is what we had before, and this is with the print film emulation. I enjoy it. And with an analog range limiter, it'll squeeze that image a little bit. So I'm going to leave that off for now. Also, when I was experimenting with this, I did pull to a little bit cooler and put our color density up. These are your printer lights. I am not going to get into these, but, you know, if you go more yellow, the image is going to become more yellow, blue. Same with all of these. Film grain. This is with just the look and no film grain. This is with the film grain. I'm going to just reduce the amount a little bit. But this is a negative film grain, and this is positive. Halation is another one. It creates kind of a glow around bright spots, and it's usually reddish in color. And then bloom, you can kind of see around her, around these hot spots around her face and her arm, the bloom turning on and off. I kind of like the bloom. There's a vignette. It looks pretty nice. This vignette seems to look nicer right out of the box than when I create a vignette with a power window. Film breathe kind of changes slightly how the color looks as it's rolling. I'm going to leave that off. Gate weave is kind of when the film frame is like moving around a little bit as it's going through. So another thing that you have, which is nice, and honestly the way I've been using Dehancer mostly for the past year, is just a false color. I would turn off everything in Dehancer and just use the false color. I haven't seemed to see anything with the clipping indicators. I'm going to keep this false color on and go in and just try to bring down this window a little bit. And the nice thing about the false color is I could use HDR wheels and just affect the highlights. But for now, I'm going to remember where these colors on her face are and bring down the highlights outside until there is no orange. And I'm going to pull up until we get that color back in her face. Somewhere around here. So you can see here it looks as if we're clipping. We're not clipping, but it looks like it. And this kind of really brings it back. And this you can do to taste. Looks like our color density is a little high too, so I'm just going to turn that down. Color density, where are you, where are you, where are you? Let's just see what it looks like at zero. Yeah, so I'm going to keep it around the middle. So yeah, this is looking pretty good. So this is the look that I made previously, and this is where we are right now. I know that this look has a higher color density, which we just turned down on here, but we're looking pretty similar. So we have a total impact here. So if we bring this all the way down, it's done nothing. I mean, even this looks good right here. You could kind of like bring down this overall look a little bit and then beforehand, I'll just go in our curves again, bring down our shadows a little bit. This is one, this is with the look dialed down a little bit and curves adjustments beforehand. This is the look that we were getting with the technique in the previous video. This is that look in the previous video with grain applied. So this is where we are right now. I'm going to bring up our total impact just a little bit. That's looking pretty nice. So just as an example, we'll look at just the Aerie, just 709. So this is what we built, and this is just Rec. 709. So one thing to note, this does definitely bog down the system. With no grade, we're playing back very smoothly. And then when we turn this on, it's pretty choppy. Takes a little bit longer to render. But anyways, this footage right here was from a series of videos for a skincare company that we used this clip and a couple other clips like this to end the videos to kind of help bring them together a little bit. So in my test earlier today, I took a look at some of that footage, which is very much just like clean, bright, like beauty style stuff. So that is where you need to do a little more work with this. It kind of doesn't always make sense to have like a vintage film look on a higher end, like bright studio style commercial. But I did get some good looks in here that is representative of what I'm talking about here. So we'll take a look at this, for example. The clip that we made earlier, it's looking pretty good. I would be careful with halation. If you have a bright light in the eye, depending on your halation settings, it can really kind of like make that glow a little bit too much. But here it's looking pretty good. This is with no grain. Grain on a skincare ad, you got to be careful with that because sometimes you want to, you know, be accurate and grain can kind of make things look like facetune kind of film compression. So you can see the bright areas in her face are totally removed with the film compression. So we want to be careful with that. So this is looking pretty good right here. This is with film compression turned on. This is with it off. For something like a face, I think it works to keep it off. If you're showing something like a window outside behind me, then turn on your film compression and try to get that back down a little bit. Another thing we can look at here, we can turn off the film. And I think that that looks amazing. It's with all of our settings, except the film is just turned off. Similar look, but what we have kept is the one and only film print. So if we turn that off, we're kind of just looking more like Rec. 709. So this is like if you printed your image on film. So we're going to turn back on our film emulation right now and see what else we got here. So I'm actually going to show the full frame here. I have a couple looks in here. This is just Rec. 709. Again, we can see here that the highlights are just kind of like all squished. So we have another look here where those kind of come back a little bit. And that I would bet that film compression is, yes, turned off. I also have this that was bringing down the highlights a little bit. So I'm going to put this to a positive grain. It's just very subtle. So this is where we just landed. And there's Rec. 709. Color density is a little high, so I'm just going to go to 75%. Yeah. So this is how our color density was. A little maybe too red here. And now we're looking good. So let's take a look at what it looks like if we just change our film from Ektachrome to... I always did like Pro Image 100. Did that not change at all? Oh, see? This isn't even enabled here. I prefer the version without this enabled. So we'll leave that. We'll go to a different clip. This looks pretty good. I mean, this look could be working well for a music video. Obviously, a music video is more creative look and doesn't need to be like perfectly accurate for like colors and skin tones. So all right, let's move on to something else. Let's start one of these from scratch. So drop Dehancer on here. Select our camera. Let's say for something like this, we just want it to look normal, but look like it was shot on film. So that's what I'm going to try to build right now. I'm going to go with 500T. So I am not going to put film compression on because we can see what that does to the face. We want these highlights in the face here. I am going to put our print. And let's just see what it looks like if I turn this off. So I mean, this looks really cool. This is just with the print. Let's just make the white white. This looks pretty good. Going back to this clip real quick. It is cool to look at if you just turn off the film. So I turned off the Ektachrome, but it's still on the print film. There's with the Ektachrome on. And there's just with the print film. Again, there's a million different things that you can do in here. It's taking me a long time to even go through all of the settings here. But let's just take a look at a few other clips. That's with our look applied as well as that. So let's try a little bit with the exposure here. I just want to bring her up a little bit. And let's say we didn't want her to be so warm. Let's just turn down our color density a little bit and just cool this down. Here's another shot with a window in the background. It's holding in the window. It's looking really nice compared to the 709. Of course, we can make this roll off smoother. It was nowhere near clipping, but in Dehancer with our settings that we've made, I would say that it does definitely have a filmic look to it in the way that film actually looks in the highlights. This is just the look that we've made in the most recent look that we've made. I'm going to keep that look and just bring up our gamma a little bit. Looks really cool. And let's just not forget that there's options in here. Hector 100 looks great. This is an incredible looking image right here. I like the simplicity. I like how simply we can make this. The plugin has improved over the years. I am just seeing this look right here for the first time. I have not even looked through every single option here, and it looks amazing. I'm going to save this look. And then let's just say you don't like the green here. We can pull the green out on our own, and that's more white balanced. Okay, so back to looking through some of these. A lot of options here. That looks nice. So for this, I feel like it's a little desaturated. So maybe a touch of saturation here. There we go. The more that I'm looking at this, the more and more that I love it. Okay, so here's another clip. Interior window out the back. We're going to go from scratch here. Select our camera, and the first thing that I find that I really like doing is to turn on this Kodak 2383 print film. So this is looking pretty contrasty. One thing we could do is reduce the contrast before. And I would also put up the saturation a little bit and tone our grain down. So that's looking pretty good. With this turned off, it looks pretty great as well. And let's just compare this with what Rec. 709 is. Rec. 709, our look. If we're feeling that the highlights are too hot, we will go in and bring down our highlights a bit. That's too much. So that's good. Just brings it down a little bit. And let's look at bloom and halation. Halation is very minor in certain scenarios. And bloom, you can see what it does around here. Rec. 709 and our look. You can take this so much farther than this. You're good. I'm almost done. So here's a clip in the night with different looks that we've created. So this is the most common look that we've been using. I'm just going to go back into our curves and just bring up our shadows a little bit. Possibly pull the highlights down. And let's change our grain. Grain one just a little bit. Here's an example of something where you definitely want the colors to be accurate because it's food. This is too saturated here. This is looking better but still a little bit saturated. I would pull down the saturation in the reds a little bit. I guess it's not out of bounds but just a quick saturation. Maybe 45. A shout out on the street. Rec. 709, our most recent look. And we can see that this red is too nuts right here. I think it's because of the density in the film print. Yes, color density is all the way up. Let's put it back in the middle. Yeah, there we go. And going through some other looks. Again, color density is too high here. I bet. Let's turn that down. And just Rec. 709. This is with the print film and this is without. And this is with the film profile and without. There are times when I like only using the print film. It really feels like the possibilities are endless here. I love it. I created a bunch of great looks. This looks really, really good. And it's not necessarily... I'm not looking at it like, does it look like this film stock or that film stock? I'm just looking at it like, does it look like a good image? And it does. You can get a free trial, test everything out. It's really, really cool. Also, if you want to buy it, I will hook you up with a discount just for being here today. Just check the description for that. Also, check my previous video. It's similar to this, but a little bit simpler and with something that's built into Resolve. Okay, I'm done with Resolve for today. Next week, we are going to take a look at some tasty lighting setups. Peace.