Original subtitles

All right.

So now that we have our color space transforms and everything

on our group here, and pretty much all of you grade are added to the group,

it's time to think about a creative look.

This movie was designed from the ground up to kind of feel like an eighties film.

You know, it's got kids on bikes, it has puppets, man.

It's like, definitely that kind of feeling.

One of our big references was Super eight,

which is a fantastic film if you haven't watched it.

But the way that this feels kind of the way

that the highlights are kind of nice and soft

and we have subtle kind of warm undertones.

We have a little bit of cool kind of in the shadows,

and it just

has a certain quality to it that is kind of hard to explain.

Part of it is from the contrast and having kind of some deep

shadows where everything's kind of pushed into black a little bit.

And these are qualities that you get with a film print.

There's also kind of this graininess to the image,

and it all kind of comes together to feel like a movie

that was shot back in the eighties, even though Super eight wasn't.

But if we look back at another one of our references, it

has the same kind of

feeling where the highlights are blooming a little bit.

And even though this movie is shot with really high contrast,

like the light is very rarely soft in this movie, it's always pretty harsh.

You still kind of

get this soft quality in the highlights and those deep, dark shadows.

So that's kind of the look that we're going for.

And we can build this ourselves with the combination of kind of the tools

that we've used.

But a great way to get us pretty close to that

ballpark is to use a really good film Emulation Light.

So I think I mentioned this earlier,

but there is a fantastic lot that is free that I really, really like.

It's made by our friend Colin Kelly.

And if you go to starter packs Colin Kelly color scheme,

you can sign up and download this for free.

There we go.

It'll give you a download link in your email and inside of that zip file

under FP, we can use this one right here, the 2383 EWG to do EWG.

That's for DaVinci Wide Gamut.

Just throw this somewhere I can find it.

I'll put it on the desktop for now,

but you definitely want to put that in a reasonable place

then to install the LAT and go up to DaVinci Resolve under preferences

under General.

And here where it says locations

we can add wherever we put that

let and select folder and it saves.

And then if we go over to our lots up here in the upper left, we can click on

let's up here and say refresh that, I'll make sure it loads up everything.

And here at the top 2383 TWD to EWG

and this is a lot that's designed to go right before a color transform.

So the good news is in our group post clip, we have our color transform

and it's designed to work inside of DaVinci White Gamut,

which is very close to what we're working in here.

So it's going to work fine.

So I'll hit shift s to make a new node and we'll call this let

and double click

to add the lot to that note.

Now we can close our LUTS and now we haven't really done anything,

but we're starting to have that kind of quality of those highlights

and we're getting that kind of deeper contrast.

So this is just with the color transform

and this is with the film Emulation. Let.

So it really makes a big difference

in kind of de saturating some of these reds.

It pulls some of the blue

out of the greens here and makes those a little bit more yellow.

Definitely adds some contrast,

adds a little bit of coolness to the shadows.

It does a lot just in this one light.

Here's with just the color transform

and here's what the film emulation Let.

So it really

does a lot of work for us in the look development.

And of course we can tweak this and adjust it to our liking.

And like always, we should be looking and making sure that this doesn't

ruin all of our footage and we have to just fight it all the time.

Some of this footage definitely looks pretty dark compared

to where we were, but it is at night and it is just with a harsh light here.

We're going to have to do some work on this shot.

But for the most part, I'm liking what's happening here.

We're just going to go through and take a look at each of these here.

We can probably boost the Midtown's just a little bit,

but I like what's happening.

I like kind of pushing that pink more towards a purple

here in the house.

Things are definitely pushed a little bit warm and the highlights

almost greenish, which we might not like.

So we'll have to deal with that.

But I think for the most part this is looking pretty good.

We can always go back to this

and change it If we find there's a problem with every single shot.

But I think for the most part this is going to work really well.

Again, just a reminder, none of these shots are corrected.

So far, we're just kind of trying to get a decent look over everything

and then we're going to color great under this look.

So when a shot looks really bad like this, it's probably just underexposed

because when you have something that's underexposed

and you're putting it through a lot that has some high contrast,

what it's doing is pushing the darker stuff down, just to add that contrast.

And so if everything's dark anyway, it pushes it down darker.

B I think for the most part this is going to work just fine.

Again, here is without the light and here it is with it.

It doesn't look like it was just shot on a video camera.

It has kind of this cinematic pop to it.

Very nice.

So I think for the most part, this is going to look really good.

We'll have to do a little bit of tweaking,

but I don't feel like the light or the color transform are causing problems.

The only thing I might say for the overall look is we might just want it

just a touch warm.

And so let's play around with hitting shift

s and we're going to call this warm

and we're just going to push the temperature just a little bit warmer,

which is going to look bad on some of our shots

because they aren't corrected.

But I do want to have some of that kind of warmer feel.

Let's bring this away from green just a touch.

So now we're

just adding a little bit of warmth,

taking away some of that green.

And is it breaking anything?

I don't think so.

I think it looks nice for the most part.

I like it.

So we're going to go with that for our creative look.

We have our color space transform are 23, 83 left and we're warming up

slightly and taking the tint a little bit away from green.