Print Film Emulation Training

Print Film Emulation Training

Cullen Kelly

xap13.58.152.136

 

Tyhis course is about one of the most popular topics in the world of color grading; grading under a print film emulation.

Cullen Kelly will walk you through the entire process of grading under prints in this 1-hour and 20-minute training series. He will reveal every little secret to creating bold and beautiful film-like images, and share tips that can't be found online. In the first part, he will show you how to select the correct emulation and set it up properly. Then, he will move on to cleanly tailor and tune the emulation and finally teach how to effectively grade underneath it. Stop searching "how to create my images look like film" online, it will only lead to confusion. Just watch this training series, and you'll quickly get up and running getting the most out of your images.

Note that some knowledge of general color grading and color management is required.

 

About the instructor

Cullen Kelly is a renowned colorist and color scientist, that has shaped visuals for top brands, academy award films, and series for Netflix and HBO. As the host of Lowepost's Masters of Color podcast, he leads discussions with industry experts. He also trains for Blackmagic Design and consults globally, reflecting a deep passion for his craft and collaborators.

Who is this course designed for?

  • DaVinci Resolve users
  • Colorists

 

Become a premium member and get instant access to all the courses and content on Lowepost.

 

Become a Premium Member

 



  • Like 12
  • Thanks 4

Go to home

User Feedback

Recommended Comments

Jake Baine

Thanks Cullen! Is there any reason behind choosing ACES AP0 vs AP1? I've heard that AP0 is mainly for storage and archival since it's a massive gamut. It also produces more muted colors than AP1.

Link to comment
Share on other sites
Vincent Hogan

Thank you.  As a former timer in the old film days on my trusted Hazeltine,  I can't help think that grading under an PFE is far more restrictive in a creative sense, your thoughts on this? Additionally, whats the pros & cons on setting your color management/science at the project level verses in the node structure?

Link to comment
Share on other sites
Jeremy Castillo

We shoot a lot of RED Komodo where I work. What would be your Tone Mapping and Gamut Mapping settings when going from 
Input Color Space - REDWideGamutRGB, Input Gamma - RedLog3G10 to Output Color Space - ARRI Wide Gamut 3, Output Gamma - ARRI LogC3

Thanks in advance. 

Link to comment
Share on other sites
Emily Leishman

Hi there Cullen, 

I was playing around with your techniques from lecture 2 in resolve.... I just have a a few questions about it.

first off what is the link to the grade assist? I went to the raven grade website and it wasn't clear where I could find that particular thing without buying a package..? 

2) I tried to adjust contract your way (luminosity)  and found that my vectorscope didn't stay put after turning off and on.... could this  because of how far I adjusted it? large increments rather then very small? 

Note: I tried to do this on an already dull image (monochrome). This was also not using a lut first. 

Thanks, 

Edited by Emily Leishman
Link to comment
Share on other sites


Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Add a comment...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

×